Alternate Habitats by Cirrus Gallery & Cirrus Editions

Alternate Habitats

Cirrus 2017

Alternate Habitats

September 14th December 31st, 2017 Cirrus Gallery 2011 S. Santa Fe Ave. Los Angeles, CA 90021

Cirrus 2017

Alternate Habitats Introduction

Alternate Habitats focuses on Latin American artists as part of the Getty’s Pacific Standard Time: LA/LA, an initiative which seeks to explore the artistic connections between Los Angeles and Latin America. Bringing together works that are culled from both spiritual and site-specific inquiries, the show explores the ways in which our strictly defined structures of institution, language, and other implicit acts of measurement can be expanded to reflect inclusive contours of interaction. The works on display - encompassing diverse media of video, painting, photography, installation, and works on paper - sought historically to take art beyond commercial and institutional boundaries. They are here gathered to address contemporary gaps in diversity and dispersion of art on an international scale. The exhibition includes works by Emilia Azcarate, Elda Cerrato, Guillermo Deisler, Mirtha Dermisache, Rafael Hastings, Leandro Katz, Marta Minujín, Norberto Puzzolo, Luis Roldán, Eduardo Santiere and Horacio Zabala.

For the 2017 edition of Pacific Standard Time, Cirrus Gallery is pleased to collaborate with Henrique Faria Fine Art in the interest of re-invigorating Los Angeles as a dynamic platform for the interchange of ideas. With locations in New York and Buenos Aires, Henrique Faria is among the galleries selected to participate in proyectosLA, by way of which the artists Marta Minujin, Leandro Katz, and Horacio Zabala, and others will be represented in corresponding exhibitions at the Getty Center, the Hammer Museum, and the Museum of Contemporary Art in San Diego.

Emilia Azcárates’ works on view keep with her ritual-based personal history and professional practice. Selections from two series, Practicables (2012–present) and Gohonzon (2013–present), show an aesthetic and conceptual interpretation of traditionally devotional formats, highlighting how participation and tradition function within the existing gallery model. Done on paper, canvas, and board, the Gohonzon series (2013–present) reference the traditional scroll central to Nichiren Buddhist dogma. These works offer insight into how, in shifting the traditional habitat of spiritual imagery from a religious space to accommodate white walls, our view of either institutional space might be altered and informed. Azcarate’s abstraction can be understood as a flexible, comprehensive, and multifaceted form capable of including the complex relationship of the spiritual with reality. Emilia Azcárate (b. Caracas, Venezuela, 1964) studied at Central Saint Martins College of Art & Design, London, from 1982 to 1986. In 2006 she was accepted to the CIFO Scholarship Program at the Cisneros Fontanals Art Foundation, Miami. Currently, she lives and works in Madrid, Spain. Throughout her life, the artist has had the restless urge to explore different religions and spiritual traditions. Emilia was brought up in the Catholic religion, and used to attend mass as a child. In 1986 Emilia Azcaráte Untitled (from the series Practicables) 2013 3

Emilia Azcarรกte Untitled (from the series Gohonzon) 2013 4

she underwent initiation in the Hare Krishna religion, until she stopped going to the temple in 2002 and gradually distanced herself from the creed. In 2012, in response to her continuing need for a spiritual link with some religion, she started to practice Nichiren Buddhism. However, it was her experience with Hare Krishna that led Azcรกrate to start to explore ways of articulating her spiritual experience and creating iconographies, both as an epistemological and as an articulation of its inherence in her everyday life. In 2012, the artist started to practice Nichiren Buddhism, a branch of Buddhism founded in thirteenth-century Japan by Nichiren Daishonin, which is based on the teachings of the Lotus Sutra and it is centered on chanting Nam-MyohoEmilia Azcarรกte Untitled (from the series Gohonzon) 2013 5

Renge-Kyo in front of the Gohonzon—the sole object of devotion, a scroll inscribed with characters in Chinese and Sanskrit. Azcárate’s work has been exhibited in Centro de Arte Los Galpones, Caracas (2008) Casa de América, Madrid (2004) and Sala Mendoza, Caracas (1998). Azcárate has also participated in group shows, such as CIFO: Una mirada múltiple, selections from the Ella Fontanals-Cisneros Collection, Museo Nacional de Bellas Artes, Havana, Cuba (2012); Return, Casa de América, Madrid (2009); Notes about abstraction, Berezdivin Collection, San Juan, Puerto Rico (2008); Jump Cuts, Venezuelan Contemporary Art, Mercantil Collection, Americas Society, New York (2005); The curse rib, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain (2005); Prague I Biennial, National Gallery, Veletrzní Palác, Prague (2003); among many others. Her work is been acquired by both public and private collections, including: Sayago and Pardon Collection, Los Angeles, California; Ella Fontanals Cisneros Collection, Cisneros Fontanals Art Foundation (CIFO), Miami, Florida; Mercantil Collection, Fundación Banco Mercantil, Caracas; Banesco Collection, Fundación Banco Banesco, Caracas; Berezdivin Collection, San Juan, Puerto Rico; and the Patricia Phelps de Cisneros Collection, Fundación Cisneros, Caracas. Emilia Azcaráte Untitled (from the series Practicables) 2012 6

Elda Cerrato Serie de la Realidad: Repertorio de los SueĂąos. El SueĂąo de la Naturaleza 1976 9

Elda Cerrato participated with Horacio Zabala and many others in the generational renewal that marked the beginning of the 70’s under the influence of the conceptual trend, which drew from conventions in architectural representation. In large paintings like Serie de la Realidad: Repertorio de los Sueños. El Sueño de la Naturaleza (1976), Cerrato explores how painting from a historical perspective acknowledges gentrification and those displaced by it within a natural landscape. Cerrato is currently a Consulting Professor at the Art Department and Researcher for the Instituto de Historia del Arte Argentino y Latinoamericano at the Faculty of Philosophy and Literature of the Universidad de Buenos Aires, and an external examiner for other universities in Argentina and Uruguay. From 1962 to the present, she has participated in more than 150 group exhibitions with paintings, drawings, engravings, installations and performances in Europe, Asia and in North, Central and South America, including Argentina’s and Venezuela’s Biennales and National Salons as well as in eight International Biennales, in some of which she has won prizes. She has been involved in teaching, academic and research activities since 1960 in universities and art schools both in Argentina and abroad, especially at the Faculty of Architecture and Urbanism of the Universidad de Buenos Aires and at the Humanities Department of the Universidad Central de Venezuela’s Art School.

Elda Cerrato Serie del Ser Beta aislado. Maternidad 1971 11

Elda Cerrato Pasa lo mismo en el movimiento que en el mapa? 1976 12

Guillermo Deisler’s alternate habitat is a de-centralized one. His collages on display fall within a greater context of the artists’ collaborative initiatives centered on the release, circulation, and exchange of experimental publications. These various publications, originating in coincidental fashion at various states in Latin America and Europe throughout the 1960’s, wove a powerful web of communication and creative cooperation extending broadly over subsequent years into the practice of postal art. Venturing to construct other circuits for art outside of its established channels, Deisler identified social networks as powerful, democratic, and mobile habitats unrestricted by walls and hierarchical barriers to entry. Deisler’s most frequently used techniques were woodcarving and collage. He used them to produce visual poetry, in which textual elements were more than just a written language to transport content. His artistic handling of the linguistic sign was heavily influenced by his experiences in exile. He had to deal with new and foreign languages several times: “That languages among each other are just a means of separation and no international codex of signs that would support each other“ lead him to a search for “sign systems, that would work beyond language and that help to understand and utter a thought, a message.“

Guillermo Deisler Untitled 1989-90 16

Guillermo Deisler Untitled 1989-90 17

Guillermo Deisler Untitled 1989-90 18

Guillermo Deisler Untitled 1989-90 19

Guillermo Deisler Untitled 1989-90 20

Deisler (b. Santiago, Chile, 1940; d. Halle/Salle, Germany, 1995) was a set designer, visual poet, wood engraver, graphic designer, instructor and postal artist, editor of artists’ books and other publications. From 1967 to 1973 he was university assistant and lecturer for graphics at the Universidad de Chile in Antofagasta. After the military coup on September 11, 1973 he was arrested for two months before friends managed to get him a French visa so that he could emigrate to Paris. After a few months in exile he decided to move to the former GDR. There he met some Chilean refugees in Eisenhüttenstadt. Due to decisions made by Chilean comrades and to an agreement between the socialist states he was “banned” (Deisler) to Bulgaria as a “refugee”. Still, he worked together with the theatre director Hans-Uwe Haus on a regular basis, and on various projects in the GDR and in Greece. Only in 1986 was he able to return to the GDR. Guillermo Deisler Book Burning: Poetry Factory (Quema de Libros) 1992 21

Guillermo Deisler Register from Auto de FĂŠ 1992 22

Guillermo Deisler Auto de FĂŠ 1993

Deisler lived, to his death, in Halle/Salle, where he worked at the opera. He engaged himself intensely in experimental and visual poetry and founded the artists- and Mail Art project UNI/vers(;) in 1987, which he kept running, with 35 issues, up to his death. In 1988 he organized the exhibition Visuelle Poesie (Visual Poetry) together with Karla Sachse. Two years later he edited the anthology wortBILD. Visuelle Poesie in der DDR (wordIMAGE. Visual Poetry in the GDR) together with Jörg Kowalski. In every country Deisler lived in he published original graphic artists books in circulations between three and 50, amongst them GRRR in Chile in 1969, le cerveaux in France in 1975, in 1977 packaging poetry in Bulgaria and in 1988 make-up in the GDR. His Mail Art project Federn der ganzen Welt für meinen Flug (Feathers of the whole world for my flight) had been shown in Annaberg-Buchholz in 1989 and furthermore – during the autumn demonstrations – in Berlin. This project is today at Schloß Friedenstein in Gotha. On October 21, 1995 he died of cancer in Halle. His archive with over 5000 Mail Art pieces is today in the archives of the Academy of Arts in Berlin. His

works are at SĂ¤chsische Landesbibliothek Dresden, at the Schiller-Nationalmuseum/ Deutsches Literaturarchiv Marbach, at Sackner-Archive of Concrete & Visual Poetry in Miami as well as at the Public Library of the Museum of Modern Art in New York. On October 21, 1995 he died of cancer in Halle. His archive with over 5000 Mail Art pieces is today in the archives of the Academy of Arts in Berlin. His works are at SĂ¤chsische Landesbibliothek Dresden, at the Schiller-Nationalmuseum/Deutsches Literaturarchiv Marbach, at Sackner-Archive of Concrete & Visual Poetry in Miami as well as at the Public Library of the Museum of Modern Art in New York.

Guillermo Deisler Untitled (Diptych) 1992 24

The show includes works on paper by legendary Argentine asemic writer Mirtha Dermisache. Made from the 1970’s–2000, these documents address historical and current physical, social, and temporal barriers of text art and it’s display. The word asemic means “having no specific semantic content”. A wordless, open semantic form of writing, it’s non-specificity invites the viewer to fill its lack of meaning with their own interpretation. The drawings in the show provide a unique foundation for understanding asemic writing as a practice and as seed for Dirmisache’s creation of Mirtha Dermisache Sin título (Texto) 1970 27

various platforms of engagement that are inclusive and democratic. A retrospective exhibition of Dermisaches’s work will open on August 10th , 2017 at Malba Museum. Curated by Agustín Pérez Rubio, the show will display work from her first book produced in 1967 to her final pieces produced in the 2000’s. Mirtha Dermisache (b. Buenos Aires, 1940-2013) studied visual arts at the Manuel Belgrano and Prilidiano Pueyrredón National Schools of Fine Arts, respectively. In Mirtha Dermisache Sin título (Texto) 1970 28

1967 she finished her first 500-page book, afterwards continuing with the development of her graphisms, which continues to this day. Her works were published between 1970 and 1978 by the Center for Art and Communication, led by Jorge Glusberg. In the 70’s her graphisms were published by Marc Dachy and Guy Schraenen in Antwerp and were also published in the magazines Flash art, Doc(k)s, Kontext, Ephemera and Ax. Additionally, Ulises Carrión exhibited her works in the gallery Other Books and So (Amsterdam), and Roberto Altmann did the same in the Malmö Konsthall (Sweden). During this same time, she created the Workshop of Creative Actions in Mirtha Dermisache Sin título 1970 - 2000 29

Buenos Aires. Starting in 2004, and together with Florent Fajole, she carried out a series of publishing devices that explore the dimensions of the installation and the printing process, highlighting different conceptual aspects of publications in the same spatial reality. Her first solo show in Buenos Aires was in the gallery The Edge. Later, she exhibited her work at the MACBA (Barcelona) and the Center Pompidou (Paris). Her work has been acquired by institutions such as Museo de Arte Moderno de Buenos Aires; Museu d’Art Contemporani de Barcelona; Museo de Arte Reina Sofía, Madrid; Centre Georges Pompidou, Paris; and the Stedelijk Museum, Amsterdam. Mirtha Dermisache Sin título (Texto) 1970 - 2000 30

For Rafael Hastings’ film Peruvian (1978), Manongo Mujica (a Peruvian musician and artist) is filmed in a studio walking towards the four cardinal points. Like other videos of the time, the work presents a studio edition with “chroma” background. In the film Mujica appears to occupy and re-occupy his own body while maintaining the flat neutral expression more typical of a static photograph than a film. By highlighting differences between internal and external, movement and stasis, Hastings presents cultural and personal identity as mutable spaces and terms. His videos had the support of the CETUC (teleducation center of the Catholic University).

Rafael Hastings Peruvian 1978 32

A visual artist, writer, and filmmaker known for his films and his photographic installations, Leandro Katz’ works include long-term projects dealing with Latin American subjects that incorporate historical research, anthropology, and visual arts. On view with his films Mucho ha cambiado París/Paris has changed a lot (1977) and La Caída (Otoño)/Fall (1976/2011), are two photographs, each showing change in phases of subjects we usually see only in their fixed states, such as the moon in Blue Moon (1979). Leandro Katz Blue Moon 1979 35

Leandro Katz has produced many artists’ books and seventeen narrative and nonnarrative films. Recent exhibitions include Encuentros de Pamplona 72: fin de fiesta del arte experimental, Museo Reina Sofía, Madrid; Natural History, Henrique Faría Gallery, NY, Imán, NY, Proa, Buenos Aires; and 10,000 Lives, Gwangju Biennale, Korea. For his work, he has received support from the Guggenheim Foundation, the Rockefeller Foundation, The National Endowment for the Arts, USA, and the Hubert Bals Fund, Holland, among many others. Leandro Katz Overhead Fall (5 second study) 1976 36

Leandro Katz La Caída (Otoño)/Fall 1976/2011 37

Leandro Katz Mucho ha cambiado ParĂs/Paris has changed a lot 1977 38

Marta Minujin’s black and white film, La Menesunda, documents her legendary 1965 show of her installation of the same name. Described as “A total work of art” during its 2016 reconstruction at Buenos Aires’ Museum of Modern Art, La Menesunda was a collection of environments. Each chamber within the installation created for the spectator a unique encounter of extremes in temperature, color, texture, and social comfort, changing the role of ‘museum-goer’ from spectator to key performer. An avant-garde and conceptual artist, Marta Minujin was born in 1943. In 1963 she orchestrated her first happening, La Destrucción (The Destruction). In 1966 she followed up with Simultaneidad en Simultaneidad (Simultaneity in Simultaneity), which was part of the greater event of the Three Countries Happening, with Alan Kaprow (New York) and W. Vostell (Berlin). She also created ephemeral works with the help of mass participation. These include C. Gardel de Fuego (C. Gardel on Fire) (1981), El Partenón de Libros (The Parthenon of Books) (1983), and La Torre de Babel con libros del todo el mundo (The Tower of Babel with Books from all over the World) (2011). One of her best-known projects was Paying off the Argentine Foreign Debt with Corn, “the Latin American Gold” (El pago de la deuda externa argentina con maíz,

“el oro latinoamericano”) (1985-2011). She invited Andy Warhol to this New York performance in 1985, in which she paid off Argentina’s external debt using corn, the traditional Latin American food staple and most widely grown crop in the Americas. Surrounded by 1,000 ears of corn, spray painted gold, Warhol and Minujín acted out the negotiation of the debt, symbolizing not only the interchange of merchandise, but also of artistic and cultural experiences. After 12 photographic shots taken in Warhol’s studio, The Factory, the artists signed and distributed the individual ears of corn to the public in front of the Empire State Building. This piece has become a symbol of the cultural relations between the United States and Latin America, undertaken by the greatest Pop Art exponents of each country. After the recent rediscovery of three of the lost shots, the expanded series of six photographs was presented for the first time at Henrique Faria Fine Art. Marta Minujín La Menesunda 1965 40

The two Norberto Puzzolo pieces included in the show were made in 1966, the year of his first solo show at the Carillo gallery in Rosario, Argentina. This was same year in which he joined the movement that founded Rosarioâ&#x20AC;&#x2122;s Grupo de Arte de Vanguardia (Avant-garde Art Group). These paintings on paper show his venture into the avantgarde languages being questioned by the artist and his peers in the 60â&#x20AC;&#x2122;s. Norberto Puzzolo was born in Rosario, Argentina in 1948 and continues to live and work in his native city. Trained as a painter in the studio of Juan Grela, he took up the languages of the avant-garde starting in the 1960â&#x20AC;&#x2122;s. In 1968 he began to include film and photography in his work, techniques he uses to this day. In recent years he has added digital tools, above all for his multimedia installations, thus continuing to fortify his work with his taste for the experimental and commitment to the reality of his time.

Norberto Puzzolo Sin tĂtulo 1966

Norberto Puzzolo Sin tĂtulo 1966 42

Luis Roldan’s Eidola is a grouping of painted sculptures searching for corporeality. These gathered objects used to be hat molds - the volumes that shaped hollow felts into hats. Fleshlike in their pursuit of completeness, they stand in the place of the head like expectant wood brains searching for real estate. The sculptures organized in the exhibition space are fragments that invite us to continue completing, enlarging, and augmenting the myriad hypotheses that might justify their existence. Luis Roldán (b. Cali, Colombia, 1955) studied Art History at the École du Louvre (Paris), engraving at S.W. Hayter (Paris) and Architecture at Pontificia Universidad Javeriana (Bogotá, Colombia). He has exhibited extensively at institutions internationally. A selection of solo shows include: Expiación, Fundación Gilberto Alzate Avendaño, Bogotá (2014); Presión y flujo, Galería Casas Reigner, Bogotá (2014); Mechanical Ventilation. Interactions with Willys de Castro and Other Voices, Henrique Faria, New York (2013 and 2011); Transparencias, Museum of Modern Art, Medellín (2011); Continua, Sicardi Gallery, Houston (2007); Acerca de las estructuras, Museum of Contemporary Art and Design, San José, Costa Rica (2006) Luis Roldán Eidola 2015 45

and Permutantes, Sala Mendoza, Caracas (2005). Selected group shows include: the First Biennial of Cartagena (2014); the Tenth Monterrey Biennial (2012); the 53rd Venice Biennale, Latin America Pavilion, (2009); and Dibujos, Museum of Modern Art, Buenos Aires (2004). He has won numerous awards such as the Luis Caballero Award (Bogotá, 2001) and the National Award in Visual Arts (Colombia, 1996). His work is included in important collections such as Colección Patricia Phelps de Cisneros, Museo del Barrio and Deutsche Bank Collection, New York; FEMSA Collection, Monterrey; Cisneros Fontanals Art Foundation, Miami and the Museums of Modern Art in Buenos Aires, Bogotá and Medellín. He lives and works both in New York City and Bogotá. Luis Roldán Eidola 2015 46

Luis Roldรกn Eidola 2015 47

Luis Roldรกn Eidola 2015 48

Luis Roldรกn Eidola 2015 49

Luis Roldรกn Eidola 2015 50

Eduardo Santiere’s works use paper as a springboard for imagining a distant and uncertain future, where playful, dream-like forms interact with biomorphic constellations. For the works in this exhibition, he used a technique he has termed “scratching”: a manipulation of the surface of the paper as if it were a bas-relief sculpture to create delicate scratches, stipples, tears and mounds. Building the composition up from the paper itself in exacting detail, Santiere works envision futuristic, science-fictional landscapes. Eduardo Saintere, (b. 1962 Buenos Aires, Argentina) lives and works in Buenos Aires, Argentina. Santiere has had several gallery and museum exhibitions, notably at Henrique Faria, New York, the Josee Bienvenu Gallery, among many others. Eduardo Santiere Multitudes 5 2017 51

Eduardo Santiere Multitudes 3 2016 52

Eduardo Santiere Escenario de un mundo vacĂo 2014 53

In 1975 Horacio Zabala co-organized the Last International Exhibition of Mail Art at the Galería Arte Nuevo in Buenos Aires and a year later, while residing in Rome, proposed an international poll as well as a socio-aesthetic intervention aimed at artists, art historians and art critics under the banner Hoy el Arte es una Cárcel (Today Art is a Jail). Included in the exhibition are selections from his series Hipótesis, made from 2010-2015. Based on his works from the early 1970’s, titled Anteproyectos de Cárceles (First Drafts of Jails), Hipótesis (Hypotheses) are a series of intriguing “Hypotheses” about art. In essence, these hypotheses are monochrome planes connected by punctuation signs and algebraic symbols that create impossible propositions and nonexistent mathematical equations. The endless combinations of the elements (monochromes, punctuation signs and algebraic symbols) that make up these Hypotheses are but a mere indication of the myriad possibilities that still coexist in art today. Horacio Zabala (b. Buenos Aires, 1943) was trained as an architect at the University of Buenos Aires. He had his first solo art show in 1967. In 1972 he began publishing essays and other theoretical texts on art, and in 1975 began curating and planning Horacio Zabala Hipótesis XXV 2010 57

exhibitions. He was a member of the Grupo de los Trece (Group of Thirteen), which was centered around the Centro de Arte y Comunicación (CAYC), until 1976. In that year, which marks the start of Argentina’s final and most violent military dictatorship, he went into an exile that would take him to Rome, Vienna and Geneva, where he would continue to produce and exhibit his art for 22 years. On his return to Argentina, he created the exhibition Ejercicios y Tránsitos (Exercises and Transits) (1998) at Buenos Aires’s Museum of Modern Art, published El arte o el mundo por segunda vez (Art or the World, Once Again) (1998) and resumed his curatorial efforts. Since then, his works have appeared in numerous solo and group shows in Argentina and abroad, and have entered major collections and museums, both private and public, around the world. He lives and works in Buenos Aires.

Horacio Zabala Hipótesis para cuatro monocromos, un signo de equivalencia y paréntesis 2013 58

Horacio Zabala Viento sin norte 2008 62

Alternate Habitats Index

Emilia Azcaráte Untitled, 2013 Acrylic and graphite on board from the series Practicables 15 3/4” x 15 3/4” x 1 1/2” (40 x 40 x 3.8 cm) $2,500 Pg. 01

Emilia Azcaráte Untitled, 2013 Acrylic on canvas from the series Gohonzon 39 5/16” x 31 7/16” x 1 1/2” (99.8 x 79.8 x 3.8 cm) $8,000 Pg. 02

Emilia Azcaráte Untitled, 2013 Acrylic on canvas from the series Gohonzon 39 5/16” x 31 7/16” x 1 1/2” (99.8 x 79.8 x 3.8 cm) $8,000 Pg. 03

Emilia Azcaráte Untitled, 2013 Acrylic and graphite on board from the series Practicables 15 3/4” x 15 3/4” x 1 1/2” (40 x 40 x 3.8 cm) $2,500 Pg. 04

Elda Cerrato Serie de la Realidad: Repertorio de los Sueños. El Sueño de la Naturaleza, 1976 Acrylic on canvas 27 9/16” x 19 11/16” (70 x 50 cm) $18,000 Pg. 09

Elda Cerrato Serie del Ser Beta aislado. Maternidad, 1971 Acrylic on canvas 44 7/8” x 31 7/8” (114 x 81 cm) $30,000 Pg. 11

Elda Cerrato Pasa lo mismo en el movimiento que en el mapa?, 1976 Acrylic on canvas 14 3/8” x 22 1/4” (36.5 x 56.5 cm) $17,000 Pg. 12

Guillermo Deisler Untitled, 1989-90 Collage on paper 18 1/8” x 14 3/8” (46 x 36.5 cm) $5,500 Pg. 16

Guillermo Deisler Untitled, 1989-90 Collage on paper 18 1/8” x 14 3/8” (46 x 36.5 cm) $5,500 Pg. 17

Guillermo Deisler Untitled, 1989-90 Collage on paper 18 1/8” x 14 3/8” (46 x 36.5 cm) $5,500 Pg. 18

Guillermo Deisler Untitled, 1989-90 Collage on paper 18 1/8” x 14 3/8” (46 x 36.5 cm) $5,500 Pg. 19

Guillermo Deisler Untitled, 1989-90 Collage on paper 18 1/8” x 14 3/8” (46 x 36.5 cm) $5,500 Pg. 20

Guillermo Deisler Book Burning: Poetry Factory (Quema de Libros), 1992 Photocopies of art projects and press notes Mixed media on paper (Document 2) 11 13/16” x 8 1/4” (30 x 21 cm) Pg. 21

Guillermo Deisler Register from Auto de Fé, 1992 Poetic action by Guillermo Deisler on the 500th anniversary of the conquest of America Mixed media on paper (Document 3) 11 13/16” x 8 1/4” (30 x 21 cm) Pg. 22

Guillermo Deisler Auto de Fé, 1993 from the series Word - Letter - Line Book object (Document 1) Ed. 4/13 10 1/4” x 8 1/4” (26 x 21 cm) Pg. 22

Guillermo Deisler Untitled, 1992 Photograph (Diptych) 15 3/4” x 23 5/8” each (40 x 60 cm each) $18,000 (Diptych & Three Documents) Pg. 23-24

Mirtha Dermisache Sin título (Texto), 1970 Marker on paper 11” x 9 1/16” (28 x 23 cm) $8,500 Pg. 27

Mirtha Dermisache Sin título (Texto), 1970 Ink on paper 11” x 9 1/16” (28 x 23 cm) $8,500 Pg. 28

Mirtha Dermisache Sin título, 1970-2000 Ink on paper 14” x 9 5/8” (35.5 x 24.4 cm) $8,500 Pg. 29

Mirtha Dermisache Sin título (Texto), 1970-2000 Ink on paper 14” x 9 5/8” (35.5 x 24.4 cm) $8,500 Pg. 30

Rafael Hastings Peruvian, 1978 Film transferred DVD 2:03 Edition 1/5 $6,000 Pg. 31-32

Leandro Katz Blue Moon, 1979 Print on gelatin silver toned in blue 8 photos mounted on acid-free carton 17 3/4” x 18 1/2” (45 x 47 cm) $18,000 Pg. 35

Leandro Katz Overhead Fall (5 second study), 1976 Black and white photograph on museum board panel 17 3/4” x 13 3/4” (45 x 35 cm) $10,000 Pg. 36

Leandro Katz La Caída (Otoño)/Fall, 1976/2011 Film original 16 mm, NTSC, digital video 10:00 Ed of 3/5 + 2 AP $8,000 Pg. 37

Leandro Katz Mucho ha cambiado París/Paris has changed a lot, 1977 Film original 16 mm, digital video Music: Richard Landy $10,000 Pg. 38

Marta Minujín La Menesunda, 1965 B & W Documentary Film Filmmaker: Leopoldo Maler DVD (original: 16 mm) 4:3 8:09 Sponsored by the ITDT on the initiative of Jorge Romero Brest Edition 2/10 $12,000 Pg. 39-40

Norberto Puzzolo Sin título, 1966 Ink and tempera on paper 9 13/16” x 15 3/16” (25 x 38.5 cm) $8,000 Pg. 42

Norberto Puzzolo Sin título, 1966 Ink on paper 9 13/16” x 15 3/16” (25 x 38.5 cm) $8,000 Pg. 42

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 5 15/16” x 7 1/2” x 7 1/2” (15 x 19 x 19 cm) $3,500 Pg. 45

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 7 1/16” x 2 3/4” x 2 3/4” (18 x 7 x 7 cm) $1,200 Pg. 46

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 5 1/2” x 8 1/4” x 4 3/4” (14 x 21 x 12 cm) $3,500 Pg. 47

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 3 9/16” x 2 15/16” x 2 3/16” (9 x 7.5 x 5.5 cm) $1,200 Pg. 48

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 5 1/8” x 9 1/16” x 7 1/2” (13 x 23 x 19 cm) $3,500 Pg 49

Luis Roldán Eidola, 2015 Oil on canvas applied to wood 6 11/16” x 8 1/16” x 7 1/16” (17 x 20.5 x 18 cm) $3,500 Pg 50

Eduardo Santiere Multitudes 5, 2017 Graphite, colored pencil, scratching on paper 22 3/4” x 15 1/16” 57.7 x 38.2 cm) $8,000 Pg. 51

Eduardo Santiere Multitudes 3, 2016 Scratching on paper 22 5/8” x 15 1/8” 57.5 x 38.4 cm) $8,000 Pg. 52

Eduardo Santiere Escenario de un mundo vacío, 2014 Scratching on paper 39 3/8” x 51 3/16” (100 x 130 cm) $13,000 Pg. 53-54

Horacio Zabala Hipótesis XXV, 2010 Acrylic on canvas, enamel on wood Dimensions variable $12,000 Pg. 57

Horacio Zabala Hipótesis para cuatro monocromos, un signo de equivalencia y paréntesis, 2013 Acrylic on canvas, enamel on wood Dimensions variable $12,000 Pg. 58

Horacio Zabala Viento sin norte, 2008 Digital Video 5:00 $6,000 Pg. 61-62

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Alternate Habitats Spanish Text

Henrique Faria anuncia su participación en la muestra Alternate Habitats que se exhibirá en Cirrus Galley de Los Angeles. Alternate Habitats se podrá ver entre el 14 de septiembre y el 28 de octubre como parte de Pacific Standard Time: LA / LA, una ambiciosa exploración del arte latinoamericano en diálogo con la ciudad de Los Ángeles, que se llevará a cabo desde septiembre de 2017 a enero de 2018 en más de 70 instituciones culturales en todo el sur de California por iniciativa de Getty Foundation. Esta muestra en Cirrus Gallery explora las formas en que nuestras nociones de lenguaje e institución fueron puestas en cuestión para reflejar contornos inclusivos de interacción. Las obras expuestas -que abarcan vídeo, pintura, fotografía, instalación y obras sobre papel- se destacan por haber trascendido los límites comerciales e institucionales del arte y han sido reunidas aquí para abordar las brechas contemporáneas en la diversidad y dispersión del arte a escala internacional. La exposición incluye obras de Emilia Azcarate, Elda Cerrato, Guillermo Deisler, Mirtha Dermisache, Rafael Hastings, Leandro Katz, Marta Minujín, Norberto Puzzolo, Luis Roldán, Eduardo Santiere y Horacio Zabala. Henrique Faria se encuentra entre las galerías seleccionadas para participar en Proyectos LA, a partir de lo cual artistas como Marta Minujín, Leandro Katz, Horacio Zabala y otros estarán representados en las exposiciones correspondientes en el Getty Center, el Hammer Museum y el Museo de Arte Contemporáneo de San Diego. Desde 1970, Cirrus Gallery presenta exhibiciones individuales y colectivas de artistas emergentes y consagrados del sur de California, Estados Unidos y Europa. Las obras de Emilia Azcárate conservan su historia personal basada en lo ritual y su práctica profesional. Las selecciones de dos series, Practicables (2012-presente) y Gohonzon (2013-presente), muestran una interpretación estética y conceptual de los formatos tradicionalmente devocionales, destacando cómo la participación y la tradición funcionan dentro del modelo actual de galería. Trabajada sobre papel, lienzo y madera, la serie Gohonzon (2013-presente) hace referencia al

tradicional desplazamiento central del dogma budista Nichiren. Estas obras ofrecen una visión de cómo, al cambiar el hábitat tradicional de las imágenes espirituales desde un espacio religioso hacia las paredes blancas, nuestra visión de cualquier espacio institucional podría ser modificada. La abstracción de Azcarate puede entenderse como una forma flexible, integral y multifacética capaz de incluir la compleja relación entre lo espiritual y lo real. Elda Cerrato participó con Horacio Zabala y muchos otros en la renovación generacional que marcó el inicio de los años 70 bajo la influencia de la tendencia conceptual, que derivó de las convenciones en la representación arquitectónica. En grandes cuadros como Serie de la Realidad: Repertorio de los Sueños. El Sueño de la Naturaleza (1976) Cerrato explora cómo la pintura, desde una perspectiva histórica, ha entendido la gentrificación y a sus desplazados dentro de un paisaje natural. El hábitat alterno de Guillermo Deisler es uno descentralizado. Sus collages en exhibición se encuadran dentro de un contexto más amplio de las iniciativas colaborativas de los artistas centradas en la circulación e intercambio de publicaciones experimentales. Estas diversas publicaciones, originadas de manera coincidente en diversos lugares de América Latina y Europa a lo largo de los años sesenta, tejieron una poderosa red de comunicación y cooperación creativa que se extendió ampliamente en los años posteriores a la práctica del arte correo. Intentando construir otros circuitos para el arte fuera de sus canales establecidos, Deisler identificó las redes sociales como hábitats poderosos, democráticos y móviles, sin restricciones. La exhibición incluye obras sobre papel de la legendaria escritora asémica argentina Mirtha Dermisache. Realizados a partir de los años 1970-2000, estos documentos tratan sobre las barreras históricas y las actuales barreras físicas, sociales, y temporales del arte textual y de cómo exhibirlo. La escritura asémica implica la falta de un contenido semántico específico. Una forma de escritura sin palabras, de semántica abierta, cuya no especificidad invita al espectador a llenar su falta de significado con su propia interpretación. Los dibujos en la exhibición proporcionan una base única para entender la escritura asémica como una práctica y como semilla para la creación de Dermisache de varias plataformas de acción que son inclusivas y democráticas. Una exposición retrospectiva de la obra de Dermisache se inaugurará el 10 de agosto de 2017 en el Malba. Curada por Agustín Pérez Rubio, la exhibición mostrará su trabajo desde su primer libro producido en 1967 hasta sus últimas piezas producidas en los años 2000.

Para la película de Rafael Hastings Peruvian (1978), Manongo Mujica (un músico y artista peruano) es filmado en un estudio caminando hacia los cuatro puntos cardinales. Al igual que otros videos de la época, el trabajo presenta una edición de estudio con fondo “chroma”. En el filme, Mujica parece ocupar y re-ocupar su propio cuerpo mientras que mantiene una expresión neutral más típica de una fotografía estática que una película. Al destacar las diferencias entre el interior y el exterior, el movimiento y la quietud, Hastings presenta la identidad cultural y personal como espacios y términos cambiantes. Sus videos contaron con el apoyo de la CETUC (centro de teleducación de la Universidad Católica). Artista visual, escritor y cineasta conocido por sus películas y sus instalaciones fotográficas, las obras de Leandro Katz incluyen proyectos a largo plazo relacionados con temas latinoamericanos que incorporan la investigación histórica, la antropología y las artes visuales. Junto a su obra en video Mucho ha cambiado París/Paris has changed a lot (1977) son dos las fotografías en exhibición, cada una mostrando cambios en las fases de elementos que normalmente vemos sólo en sus estados fijos, como la luna en Blue Moon (1979). La película en blanco y negro de Marta Minujín, La Menesunda, documenta la legendaria exhibición en 1965 del mismo nombre. Descripta como “Una obra de arte total” durante su reconstrucción de 2016 en el Museo de Arte Moderno de Buenos Aires, La Menesunda era un conjunto de ambientes. Cada cámara dentro de la instalación creaba para el espectador un encuentro único de extremos en cuanto a temperatura, color, textura y comodidad social, cambiando el papel del asistente al museo de espectador a intérprete clave. Eidola, de Luis Roldán, es una grupo de esculturas pintadas que buscan la corporeidad. Los objetos aquí reunidos solían ser moldes para sombreros - los volúmenes que convertían a los fieltros huecos en sombreros. Están allí en lugar de la cabeza como expectantes cerebros de madera buscando un estado real. Las esculturas organizadas en el espacio expositivo son fragmentos que nos invitan a continuar completando, ampliando y aumentando las innumerables hipótesis que podrían justificar su existencia. Las dos piezas de Norberto Puzzolo incluidas en la muestra fueron realizadas en 1966, año de su primera exposición individual en la Galería Carrillo de Rosario. Ese mismo año se unió al movimiento que fundó el Grupo de Arte de Vanguardia de Rosario. Estas pinturas en papel muestran cómo se aventura en el cuestionamiento

de los lenguajes de vanguardia realizados por el artista y sus colegas en los años 60. Las obras de Eduardo Santiere utilizan el papel como punto de partida para imaginar un futuro lejano e incierto, donde las formas lúdicas y oníricas interactúan con las constelaciones biomórficas. Para las obras presentes en esta exposición utilizó una técnica que ha denominado “scratching”: una manipulación de la superficie del papel como una escultura de bajo relieve para crear delicados arañazos, puntos, lágrimas y montículos. Construyendo la composición desde el propio papel en sumo detalle, las obras de Santiere contemplan paisajes futuristas, de ciencia ficción. En 1975, Horacio Zabala coorganizó la Última exposición internacional de artecorreo en la Galería Arte Nuevo de Buenos Aires y un año más tarde, residiendo en Roma, propuso una encuesta internacional al tiempo que una intervención socio-estética dirigida a artistas, historiadores de arte y críticos de arte, bajo el lema Hoy el Arte es una Cárcel. En la exposición se incluyen selecciones de su serie Hipótesis, realizada a partir de 2010. Basada en sus obras de principios de los 70, tituladas Anteproyectos de Cárceles, Hipótesis es una serie de intrigantes “hipótesis” sobre el arte. En esencia, se trata de planos monocromos conectados por signos de puntuación y símbolos algebraicos que crean proposiciones imposibles y ecuaciones matemáticas inexistentes. Las interminables combinaciones de estos elementos (monocromos, signos de puntuación y símbolos algebraicos) que conforman estas hipótesis no son más que una mera indicación de las innumerables posibilidades que todavía coexisten en el arte actual. Para solicitar imágenes y más información: info@henriquefaria-ba.com

This exhibition was mounted in collaboration with Henrique Faria Fine Art (New York and Buenos Aires) for the 2017 edition of the Gettyâ&#x20AC;&#x2122;s Pacific Standard Time: LA/LA. PST:LA/LA is a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

Artwork images courtesy Henrique Faria Fine Art Installation images courtesy Cirrus Gallery Cover image: Guillermo Deisler, Untitled, 1989-90 Catalog essay by Saskia Bailey Spanish translation courtesy Henrique Faria Fine Art Layout and design by Nico Hernandez For more information visit www.cirrusgallery.com Cirrus Editions Ltd ÂŠ 2017

Cirrus 2017

ISBN 978-1-387-36228-8

90000

9 781387 362288