Puerta Roja presents ‘Weightless Matter’, Gladys Nistor’s debut solo exhibition in Asia

Weightless Matter


Gladys Nistor

09.11.17 – 06.01.18

 

(Hong Kong, 29 September 2017) Puerta Roja is proud to introduce for the first time in Hong Kong the bewildering art of Argentinean artist Gladys Nistor. Weightless Matter presents all site-specific works breaking from traditional mediums and genres that expand the definitions of art and defy the perceptions of the viewer. The opening reception is kindly sponsored by the Consulate General of the Argentine Republic in Hong Kong and Macau, as part of the Hong Kong Argentinian Festival 2017. Gladys Nistor will be present to introduce her work to Asia and the event will include a special performance by the Hong Kong Ballet.

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Gladys Nistor, Untitled 1701, Objects de Lumiere, site-specific installation, variable dimensions, 2017

“I try as much as I can to avoid the tedious contact with matter”

Gladys Nistor

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Circle 1701, Aleph Series, black adhesive velvet and powder pigment on acrylic plinth, 70 x 70 cm, 2017

Gladys Nistor’s bodiless work is playful and paradoxical, floating in space, boldly illuminating an imaginary dimension. Nistor precisely balances light and dark in order to release objects from gravitational laws. By constructing intense contrast, the artist distils aesthetics down to their very core. With striking simplicity and intriguing illusion, she leaves the viewer bewildered. Eyes and mind are conflicted to question the mechanisms of both the work and our own perception of it.

Weightless Matter presents the artist’s site-specific new series Objets de Lumière. Every piece is uniquely and intimately tailored to the gallery space. The works leave convention behind by breaking away from frame, canvas and three-dimensionality to fully occupy the environment.

Adriana Alvarez-Nichol, founder of Puerta Roja says: “Over the last seven years Puerta Roja has constantly explored through the work of its stable of Latin American and Spanish artists the use of untraditional media, seldom presenting in its exhibitions traditional canvas painting. Glady’s work follows the path of non-objective or art to its limits. When I encountered the artist work I was at first mystified, but quickly curiosity evolved into a deep sense of reflection on the essence of perception, on the blurring lines between matter and light, on our own origin. I was engulfed by the simplicity and purity of Glady’s view of the world and the environment we live in”.

22291363_1504070902972209_991867688055947726_oWeightless Matter is kindly sponsored by the Consulate General of the Argentine Republic in Hong Kong and Macau, as part of the Hong Kong Argentinian Festival 2017. The gallery is extremely proud to share Argentinian culture with the local and international community, Argentinian wine will be served at the opening reception. The Spanish restaurant, La Paloma, located next to the gallery, will also take part in the festival by inviting Argentinian chefs to serve a special menu in conjunction with the opening reception of Weightless Matter. The Hong Kong Ballet is also involved in this event, performing on both the opening reception and during The Gallery Walk For Charity on the 21st of November. The Hong Kong Ballet wishes to reconnect with the visual art scene through this collaboration and diversify its audience. Puerta Roja is delighted to collaborate with different sectors of the creative industries in order to promote interdisciplinary creativity and a bring a unique experiences to the public. Gladys Nistor’s first solo show in Asia could not be more fitting for the HKAGA’s The Gallery Walk For Charity. This year, funds raised will go to support a range of charities relevent to art: The Women’s Foundation, Sovereign Art Foundation, The HKAGA Artists Residency Abroad Funding Scheme and HKAGA Arts Education Programmes.

Gladys Nistor was born in Argentina, studied Philosophy in Israel and in 1990, she received a scholarship from the French Government in to study fine art at the École Nationale Supérieure des Beaux-Arts in Paris. In 1994, she received a Master in Fine Arts from the Université de Paris VIII. Experiencing early success in her home country, her work saw through the years a dramatic transformation increasingly focused on a minimal expression and subtraction of matter, giving her a growing presence in France and culminating in her participation in Painting Zero Degree. Inspired by Roland Barthes’ book “Writing Degree Zero”, curator Carlos Basualdo presented artists who were reducing their artworks through radical means, focusing on pictorial practices that fitted neither the concept of abstract paintings nor that of the ready-made.  Established names such as Robert Ryman and Daniel Buren were featured alongside ten emerging artists including Gladys Nistor. Presented by Independent Curators International (ICC) the exhibition toured museums in the USA for two years to great acclaim and where Nistor’s works claimed the limelight.

Disillusioned with the realities of “life as an artist”, Nistor took a step back from her practice to work as a designer in Paris for over a decade. However, the deep and incontestable emotional and spiritual necessity to return to her artistic work, brought her back in full force to produce her most innovative series of works. Objets de Lumière team not only with vitality but are also executed with the maturity of an artist that has gone through a process of deep introspection and reflection on life.

Puerta Roja is proud to present in Gladys Nistor in Asia for the first time in 2017 at a time when the artists career is reignited with full force.

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This year Puerta Roja returns to Art Taipei, presenting works by an outstanding roster of Spanish and Latin American artists led by Carlos Cruz-Diez

Laurent Martin ‘Lo’, Galactic Sister, Weathered bamboo, steel rings and hooks, titan braid thread, leads and ceramic ball,150 x 110 x 120 cm, 160 cm rotation, 2014 – 2016

 

 

This year Puerta Roja returns to Art Taipei, presenting works by an outstanding roster of Spanish and Latin American artists led by Carlos Cruz-Diez, one of the most influential artists of the 20th and 21st centuries. Carlos Cruz-Diez’ works have become part of the most prominent public collections including, amongst others, the National Taiwan Museum of Fine Arts, MoMA, Tate Modern, Georges Pompidou and The Museum of Modern Art Sydney. 

The booth will showcase a new series of mobile bamboo sculptures by Laurent Martin ‘Lo’. His works have been well appreciated in Asia. He was invited to participate in the Bamboo Traces Exhibition at the National Taiwan Craft Research and Development Institute and Taiwan Design Fair at the Wu Yuan Cultural Centre of Tainan. In the Korean International Art Fair (KIAF) held in September this year, Lo’s work was extremely well received, where nine works were acquired by prominent Korean collectors, including a highly regarded private museum, Koo House Museum of Art and Design.

Puerta Roja will also present the works of Miguel Chevalier, who has been selected by MOCA for a special project in conjunction with Art Taipei. As Cruz-Diez forged the way for Op-Art and Kinetic art, Chevalier is recognized as a progenitor of digital and virtual art. Along with numerous solo exhibitions in Europe, Chevalier has had prominent public installation commissions around the world. His work is held in the collections of prominent museums such as Musee d’Art Moderne de la Ville de Paris. 

Alongside Cruz-Diez, Chevalier and ‘Lo’ will be two of Puerta Roja’s rising artists, Javier León Pérez and María García-Ibáñez.  

(Hong Kong, 10 October 2017) Puerta Roja is returning to Art Taipei from the 19th to 23rd of October at the Taipei World Trade Centre. In line with Puerta Roja’s mission of promoting established and emerging contemporary Latin American and Spanish artists in Asia-Pacific, this exhibition will feature a selection of works by Franco-Venezuelan Op-Art master Carlos Cruz-Diez, Mexican digital pioneer Miguel Chevalier, Spain-based emerging artists Laurent Martin ‘Lo’, Javier León Pérez and Maria García Ibañez.

The highlight of this year’s participation will be the vibrant works by the internationally renowned Franco-Venezuelan artist Carlos Cruz-Diez. Dedicating his life to the rigours of research in colours, lines and perception, Cruz-Diez is one of the most influential artists of the 20th and 21st centuries. The artist is recognised as one of the founders of the Op-Art and Kinetic Art movements of the 1950s. New works from Physichromie, the artist’s most complex and celebrated series, will be at presented at the fair. Cruz-Diez began the series in 1959, using three-dimensional strips on a two-dimensional surface. Colours oscillate from one chromatic range to another, creating a kinetic experience in accordance to the viewers’ movement around the piece. The mathematically precise vertical bands harness the phenomena of colour reflection and interference to re-create mesmerising effects seen in nature.

His work has been well appreciated in Asia Pacific since 1988 when Physichromie Double Face was installed in the Olympic Park in South Korea. In 1990 the National Taiwan Museum made him part of their permanent collection. In 2001 the Spirale Virtuelle was installed in the Korean Folk village in Suwonsi. Cruz-Diez’ art is part of more than 60 major museum collections worldwide including MoMA, Tate Modern and Georges Pompidou. He has held multiple museum exhibitions, most notably the touring solo exhibition Circumstance and Ambiguity of Colour, across Asia in many national museums and leading galleries. The show was exhibited at Sang Sang Tok Tok Gallery in 2011 and to the great acclaim at The Jeonbuk Province Art Museum in 2012. Most recently, he also participated in Spatial Illumination – 9 Lights in 9 rooms at the Daelim Contemporary Art Museum. In addition, the artist executed numerous high profile public commissions and exhibitions in Australia, China, Japan, and Taiwan.

Whilst Cruz-Diez’ art betrays the fallacy of our vision to create a new mode of perception, Miguel Chevalier explores how the digital world offers a new way of seeing.  Since 1982, his art has been dedicated to the exploration of technology. Chevalier is known internationally as one of the pioneers of virtual and digital art. He has created dozens of projects variously incorporating video projections, virtual reality, holographic imagery and other forms. He has produced exhibitions and installations for galleries, museums and public spaces around the world. He has been awarded a number of architecturally-based commissions. Chevalier generative fractal flower series will be presented at the fair. Virtual flowers evolve with the cycle of seasons never repeating themselves. Unusual shapes, amazing colours, other artificial paradises are created.

In contrast to Chevalier’s digital practice, Laurent Martin ‘Lo’ generates work out of an intimate and hands-on interaction with a single natural material, bamboo. Like Calder’s mobiles, the sculptures follow strict mathematical laws of movement and balance. His manipulation of the bamboo plants from solid canes to thin and articulating contours, creates mobile sculptures where the artwork consists of not only the bamboo itself, but also the intangible hollow space within and the shadows and silhouettes they project. Lo’s exquisite creations are well appreciated internationally as well as in the Asia Pacific region. Lo was recently invited by the National Taiwan Craft Research and Development Institute to participate in the Bamboo Traces Contemporary International Bamboo Art and Craft Exhibition. This exhibition is a worldwide collaboration project, gathering artists and designers from many different countries and cultures, exploring bamboo, a traditional material in Asia, from a modern context.

In tune with Lo’s mobile bamboo sculptures will be the meticulous sculptural paper works by Spanish artist Javier León Pérez. In his stunning three-dimensional works, small elements of carefully cut Japanese paper overlay and interweave gracefully with each other. By repeating detailed processes, endlessly, fractal patterns emerged. Here the eyes are hypnotised by the flowing movement that entwines the macro and micro perspective together. These works have boundless interpretation, invoking associations to landscapes, tree roots or veins. In fact, this is because León Pérez’ extremely personal creative process follows the same structure as the underlying order of nature, as reflected in its organic forms. This concept has many parallels with the philosophical ideas of Li (理), and is also found in Neo-Confucian Chinese Philosophy.

Another rising Spanish artist, Maria García Ibañez, displays a simplicity of lines, purity and elegance that almost betrays the deep discourse and moral dilemmas that are embodied in the works of León Pérez. García Ibañez explores the hidden beauty beneath the elements, dissecting them and then reconstructing their essence and layers with a deeply feminine aesthetic.

Puerta Roja is delighted to announce its participation in KIAF with Carlos Cruz-Diez, Laurent Martin ‘Lo’, Javier León Pérez, Carlos Aguirre, María García-Ibáñez and Ventoso

Carlos Cruz Diez, Physichromie 1868, Chromography on aluminium, 100 x 150 cm, Paris 2013

 

Puerta Roja returns to KIAF for the fourth year, presenting works by an outstanding roaster of Latin American and Spanish artists led by Carlos Cruz-Diez, one of the most influential artists of the 20th and 21st century.

Cruz-Diez is no stranger to Korea since the installation of his Physichromie at the Olympic Park and Spirale Virtuelle in the Korean Folk village in Suwon-si. He has held solo exhibitions at the Dream Forest Art Centre at the Sang Sang Tok Tok Gallery in Seoul. Most notably he had a greatly acclaimed show at the Jeonbuk Art Museum in 2012 and participated in Spatial Illumination – 9 Lights in 9 rooms at the Daelim Contemporary Art Museum.

Puerta Roja will also present a new series of mobile bamboo sculptures by Laurent Martin “Lo” who will be flying from Spain for the occasion. The artist work was extremely well received last year, with all works sold out to prominent Korean collectors by the second day of the fair.  

The booth will showcase Carlos Aguirre, one of the pioneers of conceptual art in Mexico, and three rising artists Javier León Pérez, María García-Ibáñez and Ventoso.

(Hong Kong, 6 September) Puerta Roja are returning to Korea International Art Fair (KIAF) for the fourth time. KIAF will take place from 21 to 24 September 2017 at Coex Hall A and B Seoul. In line with Puerta Roja’s mission of promoting established and emerging contemporary Latin American and Spanish artists in Asia-Pacific, this exhibition will feature a selection of works by Franco-Venezuelan Op-Art master Carlos Cruz-Diez, Mexican conceptual art pioneer Carlos Aguirre, Spain-based emerging artists Laurent Martin ‘Lo’, Javier León Pérez and Maria García Ibañez, and Ventoso from Argentina.

The highlight of this year’s participation will be the vibrant works by the internationally renowned Franco-Venezuelan artist Carlos Cruz-Diez. Dedicating his life to the rigours research of colours, lines and perception, Cruz-Diez is one of the most influential artists of the 20th and 21st centuries. The artist is recognised as one of the founders of the Op-Art and Kinetic Art movements of the 1950s. New works from Physichromie, the artist’s most complex and celebrated series, will be presented at the fair. Cruz-Diez began the series in 1959, using three-dimensional strips on a two-dimensional surface. Colours oscillate from one chromatic range to another, creating a kinetic experience in accordance to the viewers’ movement around the piece. The mathematically precise vertical bands harness the phenomena of colour reflection and interference to re-create mesmerising effects seen in nature. He also uses mechanisms of isolating and exaggerating colour by means of contrast and harmonisation which is used not only in this series but throughout his work. From observation and investigation into the wonders of colour, Cruz-Diez generates virtual colours, present in the eyes of the viewer but not in the physical support.

Cruz-Diez is part of more than 60 major museum collections worldwide including MoMA, Tate Modern and Georges Pompidou. His work has been well appreciated in Asia Pacific since 1988 when Physichromie Double Face was installed in the Olympic Park in South Korea. In 2001 the Spirale Virtuelle was installed in the Korean Folk village in Suwonsi. He has held multiple museum exhibitions, most notably the touring solo exhibition Circumstance and Ambiguity of Colour, across Asia in many national museums and leading galleries. The show was exhibited at Sang Sang Tok Tok Gallery in 2011 and to the great acclaim at The Jeonbuk Province Art Museum in 2012. Most recently, he also participated in Spatial Illumination – 9 Lights in 9 rooms at the Daelim Contemporary Art Museum. The artist has also executed numerous high profile public commissions and exhibitions in Australia, China, Japan, and Taiwan.

As one of the pioneers of conceptual art in Mexico, Carlos Aguirre has been exhibiting thought-provoking and socially conscious work for over 35 years. Over this time, the artist has produced a wide-ranging and dynamic range of works, resulting from a practice that incorporates three core elements: social, linguistic and material. Unlike many conceptual artists, the “idea” does not take precedence over the aesthetics and process of creation, on the contrary, they are vital to conveying the artist’s intent. From his background in design, Aguirre employs typography, graphic communication and material experimentation to eloquently address complex social issues. Experimentation lies at the heart of Aguirre’s creative process—the artist is constantly learning by means of trial and error with new materials and techniques. Whether the work untangles social structures, makes political statements or is simply a result of artistic investigation, Aguirre teases our minds to develop our own interpretations and reveals our own contradictions.

Aguirre has represented Mexico in different Biennales such as Paris, Sao Paulo and Havana. He obtained the prestigious Guggenheim Fellowship in 1996 and has worked extensively in solo projects for some of the most prestigious contemporary art museums in Mexico, including MAM (Museum of Modern Art), MUAC (Contemporary Art National University Museum) and Museo del Chopo.

Juxtaposing works by the two pioneers will be the mobile bamboo sculptures by Spain-based French artist Laurent Martin ‘Lo’. Lo’s bamboo sculptures immerse the viewer in the physical and sensorial virtues of the organic material. Closely bound to the forces of nature, Lo’s bamboo sculptures follow strict mathematical laws of balance and movement. His creations are gravity-defying, swinging in the air and drawing curves of harmony like the gracious strokes of Chinese calligraphy.

Lo developed deep insight and knowledge into bamboo’s properties and craftsmanship through his travels to Southeast Asia including Indonesia, Thailand, Vietnam, Laos and Taiwan. His exquisite bamboo creations are well appreciated internationally as well as the Asia Pacific Region. Lo was recently invited by the National Taiwan Craft Research and Development Institute to participate in the Bamboo Traces Contemporary International Bamboo Art and Craft Exhibition. This exhibition is a worldwide collaboration project, gathering artists and designers from many different countries and cultures, exploring bamboo, a traditional material in Asia, from a modern context. His works have also been acquired by prominent collectors including Hong Kong renowned architect and collector Mr. William Lim.

As well as being well received across Asia, Lo’s bamboo sculptures were particularly prominent last year at KIAF. All of the works exhibited were acquired by prominent Korean collectors by the second day of the fair. For this year’s edition, Puerta Roja is bringing an even wider and further developed collection of Lo’s works as a result of his extreme popularity. The artist will also be present during the occasion.

In tune with Lo’s mobile bamboo sculptures will be the meticulous sculptural paper works by Spanish artist Javier León Pérez. In his stunning three-dimensional works, small elements of carefully cut Japanese paper overlay and interweave gracefully with each other. By repeating detailed processes, endlessly, fractal patterns emerged. Here the eyes are hypnotised by the flowing movement that entwines the macro and micro perspective together. These works have boundless interpretation, invoking associations to landscapes, tree roots or veins. In fact, this is because León Pérez’ extremely personal creative process follows the same structure as the underlying order of nature, as reflected in its organic forms. This concept has many parallels with the philosophical idea of Li (理), a concept found in Neo-Confucian Chinese Philosophy.

León Pérez is the recipient of numerous awards in Spain and his work on Japanese paper was recognised in the Paper Biennial of Contemporary Art at the Museum Rijswijk in the Netherlands, and the Biennale of Contemporary Art Lalin in Spain. León Pérez’ works have been acquired by important Spanish collections, including La Caixa Foundation and DEARTE, and by prominent collectors in Hong Kong, Taiwan, Indonesia, Philippines and Korea.

Another rising Spanish artist, Maria García Ibañez, displays a simplicity of lines, purity and elegance that almost betrays the deep discourse and moral dilemmas that are embodied. García Ibañez explores the hidden beauty beneath the elements, dissecting them and then reconstructing their essence and layers with a deeply feminine aesthetic. María’s works reflect a marriage, a reconciliation between science and aesthetics, contemporary digital techniques and traditional craftsmanship, the views of the old and the ‘new’ worlds, the anatomical construction of the human body and its soul, strength and vulnerability.

García Ibañez has participated in a number of cultural projects and has held solo and collective exhibitions in Asia, Europe and Mexico. As a young artist, she was recognised and broadly supported with several production grants including the residence grant for creators from Ibero-America supported by the main Cultural Councils and Foreign Affairs ministries of Spain and Mexico.

Argentinean artists Ventoso are the new generation of optical art. Rooted in the spirit of geometric abstraction masters of the 20th century, the works by Ventoso intend to solve visual strategies that deal not only with spatial or assembly concerns, but also with the experience for the viewer that every piece carries within. Ventoso is a family artistic collective formed in 2006. Abel, an architect, along with Héctor and Jorge, engineers by profession, have searched together for a unique mean of artistic expression. The collective’s work, based on abstraction, seeks to emphasize the formal aspects of art through an autonomous language manifest­ed in the proposal of visual and tactile experiences. The rigor­ously programmed geometrical compositions, which are the fundamen­tal constant in the collective’s plastic language, generate refined and personal aesthetics of volumetric games.

Since 2007, Ventoso started to build an international following, particularly in Latin-America and the USA.  In 2016, their work joined the permanent collection of Museum of Contemporary Art (MOCA) in Los Angeles. In addition, the collective would show in Paris at Gallery René Denis, solidifying its place as a worthy progeny of the great Op Art masters from Argentina, and for the first time in Asia with Puerta Roja in Hong Kong.

Puerta Roja is delighted to announce ‘Social Construction’ with Carlos Aguirre and Mariasun Salgado

Mariasun Salgado, Ode to Denialism #02, Excesses Series, mixed media collage printed on photographic paper, plexiglass mounted, 77 x 137 cm, 2013

 Social Construction

14.09.17 – 31.10.17

(Hong Kong, 28 August 2017) Puerta Roja, pioneering the introduction of Latin American artists to Asia since 2010, presents Social Constuction. This exhibition will introduce Mariasun Salgado, a rising Spanish artist, alongside Carlos Aguirre, one of the precursors of conceptual art in Mexico.

“While it is possible to say that man has a nature, it is more significant to say that man constructs his own nature, or more simply, that man produces himself.”

– The Social Construction of Reality, Perter L. Berger and Thomas Luckmann, 1966

What distinguishes us as human beings is not our ability to create social and physical structures, but that as “architects” we raise these structures in imagination, we conceptualise them before we erect them. These structures generate intersubjective narratives that exist external to the individual and are experienced differently at the personal and collective level. Global modernisation has altered our urban environments like never before. Megastructures and hyperconnected living spaces engulf us, they tower over us with a scale that makes their existence seem unquestionable. The ideologies and motifs behind the development of our external world, both physical and virtual, feed back into our internal conception of reality. Social Construction explores the relationship between ideological structures and contemporary architecture, presenting works by Spanish architect and artist Mariasun Salgado, alongside works by one of the pioneers of conceptual art in Mexico, Carlos Aguirre.

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Left: Carlos Aguirre, Desarrollos II, Digital resolution on photographic paper, plexiglass mounted, 100 x 100 cm, 2017. Centre: Mariasun Salgado, Babel’s Stairs II, Excesses Series, mixed media collage printed on photographic paper, plexiglass mounted,170 x 650 cm, 2013. Right: Carlos Aguirre, Desarrollos I, Digital resolution on photographic paper, plexiglass mounted, 100 x 100 cm, 2017

Mariasun Salgado’s surreal cityscapes explore the utopian and dystopian, juxtaposing the past, present and future to generate a distinctly postmodern point of view. In the series ‘Excess’ and ‘Space Explosion’ selected for this exhibition, she uses a tablet to create impeccable technical architectural drawings, maintaining tactile interaction while using a digital interface. Hybridising the analogue and digital, she creates a space that lies between realism and abstraction. Salgado layers narrative elements to express her theoretical concepts by collaging vintage photographs into the work—tinting the futuristic scenery with feelings of nostalgia. She cuts and pastes different mediums, to develop a unique and highly intellectual creative process. As a result, Salgado’s works address the anxieties that arise from contemporary structures, with a particular focus on contemporary urban overcrowding and hyper-density.

Carlos Aguirre’s architectural digital spaces accompany seamlessly but distinctively those of Salgado. Experimentation lies at the heart of Aguirre’s creative process—the artist is constantly learning by means of trial and error with new materials and techniques. His work exploring architecture begins with photographing his everyday environment on daily walks. He then playfully arranges, re-arranges, assembles, manipulates and adjusts the images, until a distilled reality has been abstracted. Consisting largely in digital format -the artist refused to paint since his formative years- Aguirre’s work is highly flexible and materialised in multiple forms, from small scale printed format to ephemeral site-specific large-scale installations. The works of the exhibition will reflect digitally constructed spaces, both in concept and in composition.

Puerta Roja has also chosen to include as part of the exhibition a selection of Aguirre’s better- known socially and politically charged works using language. As language can be understood as the architecture of the mind, its inclusion extends the conceptual dialogue from the core of the exhibition.

Further, it is the nature of the most recent events in world politics that made this inclusion not only pertinent but also imperative for Aguirre and Puerta Roja. The gallery will present a just-finished work stemming from the artist’s most recent and extensive project on Donald Trump’s rise in American politics. We believe it provides a window into the changing social construction in America -and its repercussions on all of us around the world- as distilled from the language used by one of the most polemic political figures in modern history.

Puerta Roja is delighted to announce its participation in Art Stage Jakarta with Carlos Cruz-Diez, Laurent Martin ‘Lo’ and Javier León Pérez

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Physichromie 1941, chromography on aluminium, 50 x 100 cm, Paris 2014

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Puerta Roja returns to Indonesia for Art Stage Jakarta with outstanding works by master of Optical and Kinetic Art Carlos Cruz-Diez, and two emerging artists Laurent Martin Lo and Javier León Pérez.

(Hong Kong, 20 July 2017) Puerta Roja, the only gallery in Asia Pacific to specialise in Spanish and Latin American art, has been selected as one of the leading galleries from Hong Kong to participate in its second edition of Indonesia’s premier international art fair Art Stage Jakarta. Art Stage Jakarta will take place from 11 to 13 August 2017 at Sheraton Grand Jakarta Gandaria City Hotel. Curated by Founder Adriana Alvarez-Nichol, Puerta Roja will bring a strong mix of both established and emerging artists.

The highlight of the selected works will be the vibrant works by the internationally renowned Franco-Venezuelan artist Carlos Cruz-Diez who dedicated his life to the rigours research of colours, lines and perception. The artist’s most complex and celebrated series, Physichromie, will be presented by Puerta Roja for the first time at Art Stage Jakarta. Cruz-Diez began the series in 1959, using three-dimensional strips on a two-dimensional surface. Colours oscillate from one chromatic range to another, creating a kinetic experience is accordance to the viewers’ movement around the piece. The mathematically precise vertical bands harness the phenomena of colour reflection and interference to re-create mesmerising effects seen in nature. He also uses mechanisms of isolating and exaggerating colour contrast and harmonisation which is used not only in this series but throughout his work. From observation and investigation into the wonders of colour, Cruz-Diez generates virtual colours, present in the eyes of the viewer but not in the physical support. Hailed as one of the founders of the Op-Art and Kinetic Art movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide including MoMA, Tate Modern and Georges Pompidou, and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan.

Juxtaposing works by Cruz-Diez will be the mobile bamboo sculptures by Spain-based French artist Laurent Martin ‘Lo’. Lo’s bamboo sculptures immerse the viewer in the physical and sensorial virtues of the organic material. Closely bound to the forces of nature, Lo’s bamboo sculptures follow strict mathematical laws of balance and movement. His creations are gravity-defying, swinging in the air and drawing curves of harmony like the gracious strokes of Chinese calligraphy. Lo developed deep insight and knowledge into bamboo’s properties and craftsmanship through his travels to Southeast Asia including Indonesia, Thailand, Vietnam, Laos and Taiwan. His exquisite bamboo creations are well appreciated internationally as well as the Asia Pacific Region. Lo was recently invited by the National Taiwan Craft Research and Development Institute to participate in the Bamboo Traces Contemporary International Bamboo Art and Craft Exhibition. This exhibition is a worldwide collaboration project, gathering artists and designers from many different countries and cultures, exploring bamboo, a traditional material in Asia, from a modern context. His works have also been acquired by prominent collectors including Hong Kong renowned architect and collector Mr. William Lim.

Art-Stage-Jakarta-images

Laurent Martin “Lo” Magic Bamboo Weathered bamboo, steel rings and hooks, titan braid thread 200 x 100 x100 cm 2013. Center: Carlos Cruz-Diez Couleur Additive Denise A Chromography on aluminium 180 x 80 cm Ed. 8 Paris 2007. Right: Javier León Pérez Ayuno #2 Estratum Series Japanese Paper, Acrylic Box 120 x 100 x 8 cm 2015.

In tune with Lo’s mobile bamboo sculptures will be the meticulous sculptural paper works by Spanish artist Javier León Pérez. In his stunning three-dimensional works, small elements of carefully cut Japanese paper overlay and interweave gracefully with each other. By repeating detailed processes, endlessly, fractal patterns emerged. Here the eyes are hypnotised by the flowing movement that entwines the macro and micro perspective together. These works have boundless interpretation, invoking associations to landscapes, tree roots or veins. In fact, this is because León Pérez’ extremely personal creative process follows the same structure as the underlying order of nature, as reflected in its organic forms. This concept has many parallels with the philosophical idea of Li (理), a concept found in Neo-Confucian Chinese Philosophy. The artist is the recipient of numerous awards in Spain and his work on Japanese paper was recognised in the Paper Biennial of Contemporary Art at the Museum Rijswijk in the Netherlands, and the Biennale of Contemporary Art Lalin in Spain. León Pérez’ works have been acquired by important Spanish collections, including La Caixa Foundation and DEARTE, and by prominent collectors in Hong Kong, Taiwan, Indonesia, Philippines and Korea.

Puerta Roja celebrates its upcoming 7th anniversary with ‘Collector’s Cabinet’

Toumani Camara Velázquez

Héctor Velázquez, Solveing og meteorit, bronze & meteorite, 27 x 8 x 7 cm, 2013

Collectors Cabinet

15.06.17 – 31.08.17

(Hong Kong, 13 June 2017) Puerta Roja celebrates its 7th anniversary as the only gallery in Asia Pacific specialised in Latin American and Spanish art with “Collector’s Cabinet”. The exhibition brings together a diverse range of artists represented by the gallery, including a selection from founder Alvarez-Nichol’s personal collection and juxtaposing them to highlight the common spirit that runs between them. 

Puerta Roja celebrates this summer its 7th anniversary as the only gallery in Asia Pacific specialised in Latin American and Spanish art with “Collector’s Cabinet”.  Since its foundation by Adriana Alvarez-Nichol, the gallery has focused on exhibitions that expand the understanding of Latin American artists’ contribution to the development of global art movements, selecting artists whose discourse remains relevant to Asia Pacific. Its programming has introduced master’s works from Mexican modernism to South American geometric abstraction. The gallery has supported the internationalisation of emerging artists and has presented ground-breaking new media installations by Miguel Chevalier as well as works by conceptual artists such as Carlos Aguirre and TRES Collective.

This exhibition brings together a selection of the diverse range of artists represented by the gallery, highlighting the common spirit that runs between their work and showcasing chosen works from Alvarez-Nichol’s personal collection. Challenging perceptions and stereotypes of Latin American and Spanish art, “Collectors Cabinet” juxtaposes the practices of artists working in different mediums, movements and times.

From the digitally generated pixels of Miguel Chevalier, Hector Velázquez’ yarn covered figurative sculptures to Casanova’s wood and bronze sculptures, the amazingly diverse mediums and techniques used are not only vehicles for visual communication, but reveal a story within themselves.

The dialogue between the classical, modern and contemporary is negotiated in the silver point oil paintings of Roberto Cortázar. His impeccable technique, seldom mastered by contemporary artists, intertwines figurative realism with gestural abstraction, altering the way in which objects are represented. Cortázar also constantly explores and references post-war movements in his work. The collocation of one of his figurative “kinetic” series paintings with that of Carlos Cruz-Diez, a precursor of the Op Art and Kinetic movement, provides insight into the role of the artist as an interpreter versus an inventor. The Cruz-Diez works in bold, graphic, abstract patterns expose the simple yet misleading mechanisms behind our perception of reality, presenting an ever-changing circumstance rather than absolute certainty. Ventoso, from a younger generation following on the footsteps of the likes of Cruz Diez, plays with that uncertainty with monochromatic three-dimensional planes.

Invitation images

Left: Javier León Pérez, Nuit #1, Return to the Silence Series, Oli on canvas,163 x 145, 2014 Center: Ventoso, DTi, Assemblage High Density Polymer,115 x 115 cm, 2015. Right: Robert Cortázar, Man and curvature in space No. 7, Kinetic Series, oil and silver point on wooden panel, 70 x 65 cm, 2011

Looking beyond representation as an exploration of the invisible metaphysical world is Irene Dubrovsky, whose work depicts images of constellation maps and celestial forms through the weaving of amate paper. The choice of material, as it is in the case of Laurent Martin Lo’s bamboo mobile sculptures or Cristina Moroño’s hand-made paper representations, is neither a purely practical or aesthetic solution, but a conscious decision to embrace materials charged with spiritual connotations.

Abstract expressionism re-defined the understanding of the art object, as it can be appreciated in José Luis Alexanco’s mature hand, but importantly allowed a focus on the creative process itself. Younger, emerging artists such as Javier León Pérez and María García Ibáñez have spun from the pure, intuitive marks of early abstract painting, to depict the micro and macro worlds that were once invisible through tactile practices and three-dimensional representations. Miguel Chevalier does that too with generative code, mimicking natures algorithms to create mesmerizing, visual fractalization. Weather it is the hand that moulds the vision or modern mechanisms, these artists tap into the geometry of nature.

In more direct manner, the conceptual artwork of Carlos Aguirre questions the structure of language and categorization, and TRES Collective explore the implications of public space and garbage through artistic practices that concentrate on the methodological intertwining and dialogue with science, anthropology, and archaeology among other disciplines.

Although Puerta Roja has a regional focus, this exhibition highlights the universality of its artists discourse, providing a platform for cultural exchange between one “periphery” culture and another… building direct bridges between Latin America and Asia without the need for western translations. Although there are vast differences in culture, geography and language, art can create communication beyond the confines of a single language and develop new and positive dynamics for globalisation.

Within the diversity of discourse and mediums by Puerta Roja artists, emerges a pattern of rigorous commitment to research, experimentation and practice. It is not a single style or form that brings these works to coexist on the same walls, but an intimate relationship with the material and concept, whatever that may be. It is here that the art may truly engage with the viewer, providing food for the soul in its breath-taking execution. It is through this deep negotiation with the creative process that Puerta Roja artists can create visually impacting work, not as an end in itself but as a tool to transmit their ideological messages and challenge the perceptions of the viewer.

Artists include: Carlos Aguirre, José Luis Alexanco, José María Casanova, Miguel Chevalier, Roberto Cortázar, Carlos Cruz-Diez, Irene Dubrovsky, María García-Ibáñez, Javier León Pérez, Laurent Martin “Lo”, Christina Moroño, TRES, Héctor Velázquez and Ventoso.

Puerta Roja presents Specially Curated Programme for Le French May 2017

‘Carlos Cruz-Diez: Mastering Colour’

Le French May Reception

11.05 | 6 – 8:30 pm

 

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Installation shot of “Carlos Cruz-Diez: Mastering Colour” 2017, © Puerta Roja

 

24 April 2017 – HONG KONG: Puerta Roja is proud to present a special programme of events as an official participant in Le French May 2017. The gallery’s blockbuster exhibition Carlos Cruz-Diez: Mastering Colour – the first solo gallery exhibition in Hong Kong by the Franco-Venezuelan artist – is ongoing until 25 May and will be accompanied by events, talks and community engagement workshops, highlighting the theme of French culture and artistic presence. The programme will be launched with Le French May Reception at the gallery on the 11th of May from 6 to 8:30pm.

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Plafond Physichromie Passanger platform at the railway station Saint-Quentin-en-Yvelines 104 x 7.20 m, Paris 1980 Architect: R. Moro, ©ADAGP, Paris 2017

Hailed as one of the founders of the Kinetic and Optical Art movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan. As one of the most influential artists of the 20th century, he received the Rank of Officer of the National Order of the Legion of Honour and of Commandeur of the Ordre des Arts et des Lettres for his contribution to French culture. Cruz-Diez’ works are part of numerous public and private collections, including the Centre Georges Pompidou, Musée d’Art Moderne de la Ville de Paris and MoMA. With Mastering Colour, Puerta Roja, introduces some of the most refined works by the artist to the region, capturing over six decades of tireless research into colour, line and perception, as well as experimentation with new materials and technologies.

Carlos Cruz-Diez relocated from Caracas to Paris in 1960 to further his career as an artist. This coincided with a trend of Latin American intellectuals looking to make their mark in the city seen as the cultural capital of modernization. Cruz-Diez joined a community of like-minded artists who were structuring a new discourse that challenged the traditions of the establishment, displayed in exhibitions such as Mouvement 2 at the Galerie Denise René of 1964. In the shadows of the two World Wars and the midst of the Cold War, the mentality was focused on change. Artists wanted to democratize art by collaborating on projects and showing work in public spaces. Advancements were being made to demystifying romantic notions with research, reason and mathematics. Cruz-Diez was no longer an individual artist breaking new ground, but a leading voice of the Op-Art and Kinetic movements.

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©Articruz

With the aim of bringing the ideas of Carlos Cruz-Diez to the Hong Kong community, Puerta Roja is holding an educational program of events, talks and workshops, as part of Le French May. One of the highlights is an art workshop co-organised with The Sovereign Art Foundation as part of its ‘Make it Better’ programme for underprivileged children in Hong Kong. The workshop was designed in collaboration with the Cruz-Diez Art Foundation Learning Lab and will explain how colour is used in Cruz-Diez’s artwork. Puerta Roja will also hold a talk during its Le French May Reception on the 11th of May from 6 to 6.30pm, where the gallery founder Adriana Alvarez-Nichol will share her in-depth knowledge about Cruz-Diez and the history of the Kinetic and Optical Art movements.

In the words of Cruz-Diez: “Art and life cannot be separated because they are one in the same thing.” To celebrate this, Puerta Roja will invite the French music agency, Cliché, to curate an exclusive performance in the gallery space on 16th of May. This collaboration will establish the gallery’s first series of multidisciplinary events within its annual programme that integrates artwork with the community and presents moments for engagement with the younger generation.

Puerta Roja Founder Adriana Alvarez-Nichol says: “We are honored and excited to be participating in Le French May for the third time, especially when we are exhibiting such an influential and prestigious master as Carlos Cruz-Diez. I hope this special program will inspire curiosity within the community and continue our mission to share knowledge across continents.”

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Congratulations to Laurent Martin “Lo”! The opening of Bamboo Traces at Contemporary International Bamboo Art & Craft Exhibition Taipei

 Laurent Martin “Lo” exhibiting at the National Taiwan Craft Research And Development Institute

Laurent Martin “Lo”, Galactic Sister, Weather beaten bamboo, steel rings and hooks fishing thread and ceramic ball, 150 x 110 x 120 cm, 2014 – 2016

Puerta Roja congratulates Laurent Martin “Lo” on the opening of Bamboo Traces – Contemporary International Bamboo Art & Craft Exhibition in Taiwan. The exhibition opened on the 29th of March with great success. The exhibition tells the story of bamboo, an ancient material, continuously evolving in modern times. Exposing the diversity of the material in its application to various disciplines and industries.  Lo is showing eight pieces, including some of his most ambitious and delicate work. Dried in the Mediterranean sun, theses hanging mobiles bring a contemporary and somewhat outsider vision to this traditionally Asian material. You can visit the exhibition until the 16th of July.

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The gravity defying mobiles swing in the air, drawing curves like the gracious strokes of Chinese calligraphy. The artist creates tension using fishing wire between the bamboos natural segments, curving the golden ration out of the negative space in a room.  A fragile harmony is achieved through opposites: flexibility and strength, fullness and void, light and shadow, movement and quietness.

Lo’s work fits beautifully with the curatorial concept of the show; “While the art makers try to communicate with bamboo with their body, mind and the muscles of hands, creating works with the sense of philosophy and spirit, and presenting an alternative spiritual value of contemporary bamboo craft. Thus, the context of bamboo’s new contemporary craft movement is gradually formed.”

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Puerta Roja Presents the First Gallery Exhibition by Carlos Cruz-Diez in Hong Kong

Carlos Cruz-Diez: Mastering Colour

20.03.17 – 25.05.17

Puerta Roja is delighted to present Mastering Colour – the first solo gallery exhibition in Hong Kong by Franco-Venezuelan artist, Carlos Cruz-Diez. Hailed as one of the founders of the Op-Art and Kinetic movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan.

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Carlos Cruz-Diez, Physichromie 1920, Chromography on aluminum, 50 x 100 cm, Paris 2014

With Mastering Colour, Puerta Roja, introduces some of the most refined works by the artist to the region, capturing over six decades of tireless research into colour, line and perception, as well as experimentation with new materials and technologies.

Described as a “master of visual effect, a creator of art with connections to many movements and ‘isms’” by the Wall Street Journal, Carlos Cruz-Diez has had a profound influence on artists around the world, including Chinese performance artist and photographer Liu Bolin. Recent large-scale grid structures from his celebrated Physichromie series, which Cruz-Diez began in 1959, seemingly depict a flat surface of vertical bands rendered in a contrasting palette and arranged with mathematical regularity into multiple geometric planes. As the viewer moves around the works, their colour dissolves and radically oscillates from one chromatic range to another, generating new ranges of colour not present, but based on individual visual perception. Yet behind the spectacle and ethereality of the works lies rigorous scientific research and painstaking method. Each structure is carefully designed to create what Cruz-Diez calls a “light trap” in a space where a series of colour frames interact and transform each other as they are seen from different angles.

Multiple perspectives of: Carlos Cruz-Diez, Physichromie 1920, 100 x 150 cm, Paris 2014 .

 

Like Physichromie, other influential series on show at Puerta Roja, such as Induction Chromatique and Couleur Additive, can be seen as live experiments that create an infinitely evolutionary situation of additive, reflective, inductive and subtractive colour. The destabilisation of the eye in Cruz-Diez’s work serves a dual purpose. On the one hand, it sets out to explore the physical effects of colour on the viewer, transforming their experience of art from passive into active. On the other hand, it encourages the viewer to experience colour as equivocal and continually changing, much as it is experienced in nature.

Commenting on the works that will be on exhibition at the gallery, Cruz-Diez says: “I speak about realities not to imitate them but to provoke them. The Physichromies are an invention to express myself with the delight of a painter in action, in which ‘the making of the painting’ can be observed, stripped from traditional concepts and techniques. The colour that reaches the eyes has been painted and remains suspended in time; my pieces, on the contrary, confront viewers with colour created in the instant, in real time.”

Carlos Cruz-Diez: Mastering Colour will also feature a site-specific installation and interactive elements that will further challenge the visitors’ experience of colour and perception.

“We are honoured not only to have this exhibition for one of the most influential artist of the 20th century at Puerta Roja, but also present his iconic oeuvre to the Hong Kong audiences, strengthening our programming to further enhance the awareness of Latin-American contemporary artists in the Asia-Pacific region” says Adriana Alvarez-Nichol, Founder of the gallery.

We are thankful to Robin Peckham for his contribution to the exhibition catalogue, an insightful and unique viewpoint into the world of Carlos Cruz-Diez from the perspective of today’s Asia Pacific. To view the full catalogue please click here.

The exhibition opens to the public on 18 March and will be celebrated on 20 March as part of the Hong Kong Art Gallery Association’s “Art Gallery Night” in conjunction with SOHO 189 ArtLane, which brings together Leo Gallery, Galerie Huit, Pearl Lam and Puerta Roja. Since its grand opening during Art Basel week in March 2015, SOHO 189 Art Lane has become one of the city’s most exciting and diverse art destinations for local and international collectors as well as the general public. Mastering Colour runs through May 25, as a special project of Le French May programme.


Induction Chromatique Série Gabo 30B

Carlos Cruz-Diez, Induction Chromatique Série Gabo 30B, Chromographgy on aluminium, 90 x 90 cm, Ed. 8, Panama 2011

Public Opening
20.03  .  6 – 8pm
Collector’s Brunch
24.03  .  10am – 1pm
Talks
24.03 12:30pm – 1pm
Adriana Alvarez-Nichol
Carlos Cruz Delgado
Mariana Cruz Ramirez
Extended Hours
21 – 25.03  .  9am – 9pm

Puerta Roja is proud to present “Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies” by Miguel Chevalier

“Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies”

Miguel Chevalier

14.02 – 19.03

Welcome the Spring in Shanghai with a brand new series by Miguel Chevalier, “Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies”, especially created for Jing An Kerry Centre, Shanghai.

Join us on February 14th for the Grand inauguration in Shanghai!

To receive more information on the show, please e-mail us on info@puerta-roja.com

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©Miguel Chevalier, Trans-Nature

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©Miguel Chevalier, Digital Water Lilies

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©Miguel Chevalier, Dreamed Gardens