art in society: the power of culture

Art in Society

The Power of

Arte en la sociedad

El poder de la

IDB Cultural Center 20th Anniversary, 1992-2012

Art in Society

The Power of

Inter-American Development Bank Luis Alberto Moreno President Julie T. Katzman Executive Vice President Roberto Vellutini Vice President for Countries Santiago Levy Vice President for Sectors and Knowledge Jaime Sujoy Vice President for Finance and Administration Steven J. Puig Vice President for Private Sector and Non-Sovereign Guaranteed Operations Office OF External Relations Marcelo E. Cabrol Manager Iván Duque Márquez Chief, Cultural, Solidarity and Creativity Affairs Division Cathleen Farrell Chief, Communications Management Division

Cataloging-in-Publication data provided by the Inter-American Development Bank Felipe Herrera Library Art in society : the power of culture = Arte en la sociedad : el poder de la cultura. p. cm.

“IDB Cultural Center 20th Anniversary, 1992-2012.”—Cover.

“August 1 to September 28, 2012.”—Cover.

1. Art, Latin American—Exhibitions. 2. Art, Latin American—Exhibitions—Catalogs. 3. IDB Cultural Center—Exhibitions.

I. IDB Cultural Center. II. Inter-American Development Bank. Cultural, Solidarity and Creativity Affairs Division.

N6502.A78 2012 709.8 A78—dc22

Copyright © [year of first publication] Inter-American Development Bank. All rights reserved; may be freely reproduced for any non-commercial purpose.

The unauthorized commercial use of Bank documents is prohibited and may be punishable under the Bank’s policies and/or applicable laws.

Art in Society: The Power of Culture Arte en la sociedad: el poder de la cultura

August 1 to September 28, 2012

Index / Índice Foreword / Presentación....................................................................... v Introduction / Introducción................................................................vi IDB Art Collection / Colección de Arte del BID.............................. x Argentina Emilio Pettoruti ............................................................................... 1 Benito Quinquela Martín ................................................................2 Cristina Santander...........................................................................3 Antonio Seguí ..................................................................................4 Bahamas Maxwell Taylor ................................................................................5 Belize Gilvano Swasey ...............................................................................6 Bolivia Alfredo Da Silva ...............................................................................7 Gaspar Miguel De Berrío .................................................................8 María Luisa Pacheco .......................................................................9 Brazil Victor Brecheret ............................................................................10 Thaís Salgado Helt ....................................................................... 11 Kazuo Wakabayashi ...................................................................... 12 Canada Kenojuak Ashevak ......................................................................... 13 Chile Samy Benmayor ............................................................................14 Roberto Sebastián Matta .............................................................. 15 Carlos Maturana (Bororo)..............................................................16 Gastón Orellana ............................................................................. 17 Colombia Olga de Amaral ..............................................................................18 Enrique Grau .................................................................................19 David Manzur ............................................................................... 20 Edgar Negret .................................................................................. 21 Costa Rica Francisco “Paco” Amighetti Ruiz ..................................................22 José Alberto Hernández Campos ..................................................23 Francisco Zúñiga ...........................................................................24 Cuba Carmen Herrera .............................................................................25 Wifredo Lam ..................................................................................26 Emilio Sánchez ..............................................................................27 Dominican Republic Tony Capellán ................................................................................28 Raúl Recio .....................................................................................29 Enriquillo Rodríguez Amiama ...................................................... 30

Ecuador Oswaldo Guayasamín .................................................................... 31 Eduardo Kingman ..........................................................................32 El Salvador Benjamín Cañas ............................................................................33 Guatemala Rodolfo Abularach .........................................................................34 Luis González Palma .....................................................................35 Carlos Mérida ................................................................................36 Guyana Winston Strick ...............................................................................37 Haiti Wilson Bigaud ...............................................................................38 Joseph Jean-Gilles .........................................................................39 Yves Telemak ................................................................................ 40 Honduras Byron Lombardo Mejía ..................................................................41 Jamaica David Boxer ...................................................................................42 Gerard Hanson ..............................................................................43 Japan Toyohara Kunichika....................................................................... 44 Korea Kwang-Young Chun ........................................................................45 Mexico Dr. Atl (Gerardo Murillo) .............................................................. 46 Diego Rivera ..................................................................................47 David Alfaro Siqueiros ................................................................. 48 Rufino Tamayo .............................................................................. 49 Nicaragua Alejandro Aróstegui ..................................................................... 50 Omar D’Leon .................................................................................. 51 Armando Morales ..........................................................................52 Panama Julio Zachrisson .............................................................................53 Paraguay Enrique Collar ...............................................................................54 Carlos Colombino ..........................................................................55 Peru Fernando de Szyszlo .....................................................................56 Carlos Runcie Tanaka ....................................................................57 José Sabogal ..................................................................................58 Venancio Shinki Huamán ..............................................................59

Spain Antoni Gaudí ................................................................................ 60 Suriname George Struikelblok ......................................................................61 Trinidad and Tobago Christopher Cozier ........................................................................62 United States Keith Haring ..................................................................................63 Mauricio Lasansky ....................................................................... 64 Roy Lichtenstein ............................................................................65 Andy Warhol ................................................................................. 66 Uruguay Jorge Damiani ................................................................................67 Pedro Figari .................................................................................. 68 Raquel Orzuj ................................................................................. 69 Joaquín Torres-García .................................................................. 70 Venezuela Carlos Cruz-Diez ............................................................................ 71 Humberto Jaimes Sánchez ............................................................72 Jesús Rafael Soto ...........................................................................73

Highlights from IDB Cultural Center Activities / Actividades sobresalientes del Centro Cultural del BID ..........75

Foreword / Presentación Art is for Everyone

El arte es para todos

The Inter-American Development Bank is pleased to present this exhibition of major pieces from its Art Collection, which is the product of twenty years of dedicated curatorship by the IDB Cultural Center. It represents the life of our institution, and has served as an instrument for cultural outreach to show the best from Latin American and Caribbean artists.

El Banco Interamericano de Desarrollo se complace en presentar esta exhibición de las más importantes piezas de nuestra colección de arte, que es el producto de veinte años de dedicada curaduría realizada por el Centro Cultural del BID. Ello refleja la vida de nuestra institución y ha servido como un instrumento de difusión cultural que muestra lo mejor de los creadores latinoamericanos y caribeños.

The Cultural, Solidarity and Creativity Affairs Division in the Office of External Relations has embarked on a strategic path to spread the cultural heritage of the region. We look forward to presenting, by the end of this year, a new interactive media communications system that will allow the public to enjoy our Art Collection, making it an accessible educational treasure for research.

La División de Cultura, Creatividad y Solidaridad de la Oficina de Relaciones Externas del BID, ha venido adelantando una labor estratégica para difundir el acervo cultural de la región. Esperamos contar para finales de este año con un nuevo medio de difusión interactivo que permitirá al público disfrutar de nuestra colección, convirtiéndola en un accesible tesoro educativo de consulta.

Within our institution, culture has become an essential element in development policies, and art has become a vehicle to connect with society and reflect its heritage.

We invite you to join our institutional effort to strengthen public cultural policies, to support the initiatives of creative entrepreneurs in remote areas of the continent, and to make culture a pillar of social cohesion and community support.

Para nuestra institución, la cultura ha sido un elemento esencial en las políticas de desarrollo, y el arte ha sido un vehículo para conectarse con la sociedad y preservar su patrimonio. Los invitamos a unirse a nuestro esfuerzo institucional para fortalecer las políticas públicas culturales, apoyar las iniciativas de emprendedores creativos en las zonas apartadas del continente, y hacer de la cultura un pilar de cohesión social y fortalecimiento comunitario.

Luis Alberto Moreno

Luis Alberto Moreno

President Inter-American Development Bank Washington, DC

Presidente Banco Interamericano de Desarrollo Washington, DC

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Introduction / Introducción Art in Society: The Power of Culture

Arte en la sociedad: el poder de la cultura

The Inter-American Development Bank opened its doors more than fifty years ago with a creative vision for social and economic growth in Latin America and the Caribbean. Within our institution’s appraisal of the strengths of the Region, the value of culture has always been considered an element of cohesion among our peoples, and a measure of social wealth that distinguishes us in the eyes of the world.

El Banco Interamericano de Desarrollo abrió sus puertas hace más de 50 años con una visión creativa para el crecimiento económico y social de América Latina y el Caribe.

Dentro de la concepción institucional sobre las fortalezas de la región siempre estuvo presente el valor de la cultura como elemento de cohesión entre nuestros pueblos y, sobre todo, como un factor de riqueza social que nos define ante los ojos del mundo.

Perhaps for this reason the Bank has always endeavored to include culture and creativity as integral components of the economic and social development process. In 1992, this priority was realized when the IDB Cultural Center was created, and its four programs began (cultural development grants, art exhibitions; concerts, lectures and film series; and art collection management). At that time, credit operations and technical cooperation focused on cultural initiatives with social impact were implemented, eventually leading to the creation of the Cultural, Solidarity and Creativity Affairs Division in the Office of External Relations.

Tal vez por ese motivo el BID ha sido una institución que siempre se ha preocupado por integrar la cultura y la creatividad como partes vitales del proceso de desarrollo económico y social. La confirmación de este propósito se dio con mayor fuerza en 1992 con la creación de su Centro Cultural, la puesta en marcha de operaciones de crédito y cooperación técnica orientadas hacia elementos culturales con enormes externalidades sociales y, más recientemente, con la creación de una División de Asuntos Culturales, de Solidaridad y de Creatividad de la Oficina de Relaciones Externas.

The IDB Cultural Center’s work in the culture sector has been impressive as corroborated by the more than 500 cultural entrepreneurship projects co-financed in all the Bank’s borrowing member countries.

At headquarters, more than 480 cultural events and eighty art exhibitions have served to disseminate the artistic patrimony of the Bank’s 48 member countries; and the IDB Art Collection has traveled around the region as a cultural ambassador over twenty times.

One of the Bank’s most remarkable contributions has been to assemble an art collection representing the cultural diversity

El trabajo del BID en el sector cultural ha sido importante como lo corroboran los más de 500 proyectos co-financiados en sus 26 países prestatarios; los más de 480 eventos realizados para difundir el patrimonio artístico de los países que integran la institución; las más de 80 exhibiciones abiertas al público en la ciudad de Washington y las casi 20 exhibiciones itinerantes que han engalanado salas de renombre en la región, sirviendo de embajadoras del talento continental.

Una de las obras más destacables de la institución ha sido la de conformar una Colección de Arte que refleje la diversidad cultural de sus países miembros y sirva de vehículo educativo, promocional y IDB Cultural Center 20th Anniversary

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of its partners. Comprising 1,722 pieces, this collection is the heritage of each and every citizen in the IDB member countries.

Both within its installation at headquarters, and when traveling abroad, it serves as an educational tool for all those who wish to examine the artistic and historical heritage of a region whose history and social evolution has been embellished by color and inspiration.

Through exhibitions and publications, the Bank has often sought to share the unique pictorial, photographic, and abstract expressions of our peoples. In 2013, in fulfillment of this outreach mandate and using new technologies, we have proposed to vastly disseminate access to the Collection into the hands of anyone who wants to experience Latin America and the Caribbean through art.

Over the years, the IDB Art Collection has been built with strict curatorial rigor, and without any profit objectives. Its images and sculptures communicate social messages from an international financial organization dedicated to poverty reduction, institutional strengthening, continental integration and economic progress. Throughout our history, the artworks of major artists of the continent have invited us to conceive its influences, its social moments, and the political circumstances driving each stroke. Quite possibly these works hold the desires of generations to claim their creative impetus as derived from the Canadian Arctic regions to the glaciers of the Southern Cone.

Since 1992 every artwork that entered the IDB became part of the institutional collection, which makes it different from the collection’s first phase, from 1959 to 1992, when artworks were acquired for purely decorative purposes to adorn the workspaces of our buildings. This curatorial focus has made the institutional component of the Collection a treasure protected by strict criteria that provides artistic and conceptual context to each piece. The institutional collection holds 900 contemporary artworks of

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Art in Society: The Power of Culture

patrimonial para todos aquellos que deseen conocer las profundas raíces artísticas de una región donde el color y la inspiración de los creadores adornan nuestra evolución social.

Esta Colección conformada por 1.722 piezas es un patrimonio de todos y cada uno de los ciudadanos de los países miembros.

Reconociendo esa condición de bien público, el BID ha procurado difundirlo mediante exhibiciones y publicaciones para informar al ciudadano sobre la tradición pictórica, fotográfica, figurativa y abstracta de nuestros pueblos. En cumplimiento de este deseo y haciendo uso de nuevas tecnologías, nos hemos propuesto llevar la Colección al público masivamente durante el próximo año, poniéndola al alcance de todos quienes quieran acercarse a América Latina y el Caribe a través del arte.

Construida a lo largo de décadas con rigor curatorial y sin fines de lucro, la Colección de Arte del BID tiene una gran fortaleza comunicacional. Sus imágenes y esculturas llevan consigo mensajes sociales propios de una institución concebida para contribuir en la reducción de la pobreza, el fortalecimiento institucional, la integración continental y el progreso económico y social. Las obras de los principales artistas del continente a lo largo de nuestra historia nos invitan a entender sus influencias, sus momentos sociales, las circunstancias políticas que marcaron cada pincelada y, no pocas veces, sus anhelos generacionales.

Desde hace dos décadas, cada obra de arte que ingresa al BID hace parte de una Colección Institucional que se diferencia de la primera etapa, entre 1959 y 1992, donde las piezas tenían principalmente como finalidad adornar los espacios laborales de la institución. Esta diferencia ha hecho del componente institucional un tesoro demarcado por criterios técnicos que realzan el contexto artístico y conceptual a cada obra.

Si se considera que la Colección Institucional esta compuesta por cerca de 900 creaciones, tenemos ante nosotros un patrimonio de arte contemporáneo de talla mundial, con un valor histórico imperecedero.

world-class heritage and enduring historical value.

We publish this catalog to commemorate the 20th Anniversary of the founding of the IDB Cultural Center, and to accompany this exhibition, “Art in Society: The Power of Culture.” We reflect on our mission to protect Latin American and Caribbean cultural heritage, encourage intercultural dialogue and cooperation, and bring human dimension and social responsibility to an international organization dedicated to the common good.

The IDB is the only multilateral lending organization that has a Cultural Center destined to promote creative entrepreneurship and spread the ancestral wealth of its member states, while opening the world to artists and stimulating the growth of culture industries. That mission is a distinctive quality in the Bank, as is its desire to map the continent’s cultural infrastructure, and research the economic impact of the creative economy; these are two important tasks that will help cultural policy flourish on the continent.

In the future the IDB’s work in the culture sector will be characterized by a dynamic integration of cultural and creative agendas within the operational lines of credit products and technical cooperation offered by the Bank. This is the work of an organization that sees Latin America and the Caribbean in a historic process of transformation towards a knowledge economy.

Culture and creativity are the basis for the transition towards a society of ideas, talent, intellectual property and greater social capital. Therein we find the power of culture in our society and the commitment of the IDB to vigorously protect, strengthen, and make it accessible to all.

Este catálogo publicado para conmemorar los 20 años del Centro Cultural, en el marco de la exhibición “Arte en la sociedad: el poder de la cultura”, deja en alto que la Colección de Arte signa el carácter del BID, reafirma nuestra misión de promover el patrimonio artístico latinoamericano y caribeño, fomenta el diálogo y la cooperación intercultural y le da una dimensión humana y de responsabilidad social a un ente internacional de derecho público.

El BID es el único organismo multilateral de crédito que cuenta con un Centro Cultural destinado a fomentar el emprendimiento creativo y difundir la riqueza artística de sus países miembros, mientras abre el mundo a los artistas y estimula las industrias culturales. Esa misión es un valor distintivo del BID, al igual que lo es su deseo de mapear la infraestructura cultural del continente y dimensionar la economía creativa, dos importantes tareas para el funcionamiento de las políticas culturales en el continente.

Hacia el futuro el trabajo del BID en el sector cultural estará marcado por una dinámica integración de la agenda cultural y creativa dentro de sus líneas operativas y sus productos de crédito y cooperación técnica.

Este es el trabajo de un organismo que ve a América Latina y el Caribe en un proceso de transformación histórica y en dirección hacia una economía del conocimiento.

La cultura y la creatividad son las bases de la transición de nuestra región hacia una sociedad de ideas, de talento, de propiedad intelectual y de mayor capital social. Ahí radica el poder de la cultura y el compromiso del Banco Interamericano de Desarrollo de contribuir vigorosamente a protegerla, fortalecerla y democratizarla para todos sus ciudadanos.

Iván Duque Márquez

Iván Duque Márquez

Chief Cultural, Solidarity and Creativity Affairs Division Inter-American Development Bank

Jefe División de Asuntos Culturales, de Solidaridad y de Creatividad Banco Interamericano de Desarrollo

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Highlights from the IDB Art Collection Obras sobresalientes de la colecci贸n de Arte del BID

Cuadernos de música (Music Notebooks), 1919 Emilio Pettoruti Argentina (La Plata, Argentina, 1892 - Paris, France, 1971) ink on paper (tinta sobre papel) 7 1/2 x 9 1/2 inches (19 x 24 cm)

Emilio Pettoruti caused a scandal with his avant-garde cubist exhibition in 1924 in Buenos Aires. While Pettoruti was influenced by cubism, futurism, constructivism, and abstraction, he did not claim to paint in any of those styles in particular. Exhibiting all over Europe and Argentina, Emilio Pettoruti is remembered as a pioneer of Modernism in Latin America, and one of the most influential artists in Argentina in the 20th century for his unique style and vision.

Emilio Pettoruti provocó un escándalo con la exposición cubista de vanguardia que realizó en Buenos Aires en 1924. Si bien había recibido influencias del cubismo, el futurismo, el constructivismo y la abstracción, no reivindicaba ninguno de esos estilos en particular para su pintura.

Con muestras en toda Europa y en Argentina, Emilio Pettoruti es recordado como un pionero del modernismo en América Latina y uno de los artistas más influyentes en la Argentina del siglo XX, por su estilo único y su visión excepcional.

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Entrando a la Boca (Entering the Boca), 1965 Benito Quinquela Martín Argentina (Buenos Aires, Argentina, 1890 - Buenos Aires, Argentina, 1977) oil on canvas (óleo sobre tela) 31 x 35 inches (79 x 89 cm)

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Art in Society: The Power of Culture

The port of Buenos Aires was a favorite subject of this popular late Postimpressionist who emulated Monet, and created dozens of versions of the same theme, mainly the Port of La Boca, the subject of this painting, which became very popular in the 1910s among the Buenos Aires elite.

El puerto de Buenos Aires era la musa favorita de este popular posimpresionista tardío que emulaba a Monet. Quinquela Martín creó innumerables versiones del mismo tema, principalmente del puerto de La Boca. Su pintura se puso de moda en la década de 1910 entre los miembros de la élite porteña.

La Duquesa de Alba (The Duchess of Alba), 1992 Cristina Santander Argentina (Buenos Aires, Argentina, 1942 - ) etching, aquatint and collage, AP (aguafuerte, aguatinta y collage) 48 1/4 x 41 inches (122 x 104 cm)

Cristina Santander studied at the National School of Fine Arts where she still teaches drawing and engraving. She attended the Atelier 17 in Paris with Stanley W. Hayter, and received a scholarship from the Government of France to study in Madrid. Her works have been collected by the Reina Sofia Museum in Madrid, National Library of Paris, National Library of Buenos Aires, the Iberia Collection and the Estampa Collection, among others.

Cristina Santander estudió en la Escuela Nacional de Bellas Artes, donde ahora enseña dibujo y grabado. Tomó clases con Stanley W. Hayter en el Atelier 17, en París, y recibió una beca del gobierno de Francia para estudiar en Madrid. Sus obras forman parte de la colección del Museo Reina Sofía en Madrid, la Biblioteca Nacional de París, la Biblioteca Nacional de Buenos Aires, la Colección Iberia y la Colección Estampa, entre otras.

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Sin título (Untitled), 1970 Antonio Seguí Argentina (Córdoba, Argentina, 1934 - ) oil on canvas (óleo sobre tela) 51 ½ x 76 15/16 inches (130 x 195,5 cm)

In the late 1970s Seguí embarked on the New Figuration that became characteristic of his work, presenting geometric, quadrangular, normally empty interiors, or else exteriors that are opaque in content but colored in texture. He enclosed human figures in cubes that give the impression of a melancholy theatrical montage. His imaginative vision is best seen in works completed between 1976 and 1980.

Hacia fines de los años setenta, Seguí se embarcó en la Nueva Figuración, corriente artística que se volvió característica de su obra, con interiores geométricos, cuadrangulares y por lo general vacíos, o bien exteriores de contenido opaco pero textura coloreada. En los cuadros de Seguí aparecen figuras humanas encerradas en cubos, que dan la impresión de un melancólico montaje teatral. La imaginativa visión de este artista se aprecia mejor en las obras realizadas entre 1976 y 1980.

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Art in Society: The Power of Culture

Lord, Am Tired (Señor, estoy cansada), 1996 Maxwell Taylor Bahamas (Nassau, Bahamas, 1938 - ) woodcut on paper (grabado sobre papel) 48 x 36 inches (122 x 91 cm)

As a founding member of the B-Cause Group (Nassau, 1991), Taylor is one of the key figures in the development of the arts in the Bahamas over the past thirty years. His influence was felt among other artists as he urged them to move away from “postcard” art. Taylor became familiar with woodcuts during brief studies at the Pratt Institute and Art Student League in New York. This work in particular echoes racial oppression, and the legacies of slavery.

Como miembro fundador del B-Cause Group (Nassau, 1991), Taylor ha sido una de las figuras claves en el desarrollo de las artes bahamesas a lo largo de los últimos treinta años. Su influencia es perceptible en otros artistas, en la medida en que los ha urgido a salir del arte de “postal”. Taylor se familiarizó con el grabado durante sus breves estudios en el Instituto Pratt y en la Art Student League, en Nueva York. Estas obras en particular se hacen eco de la opresión racial y de los legados de la esclavitud.

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Blue Sunshine (Resplandor azul), 2001 Gilvano Swasey Belize (Belize City, Belize, 1975 - ) linoleum print on paper (linoleografía impresa sobre papel) 20 x 16 inches (51 x 41 cm)

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Art in Society: The Power of Culture

Gilvano Swasey is an artist committed to many endeavors, including photographic arrangements with social meaning, collages and surreal compositions, and both expressionistic and realistic portraits.

Swasey is one of the most highly praised artists of his generation.

This linocut represents his more traditional style, which conveys a concern for the people and the environment to which he belongs.

En su multifacética producción, Gilvano Swasey incluye disposiciones fotográficas con significado social, collages y composiciones surrealistas, y retratos tanto expresionistas como realistas. Es uno de los artistas más ponderados de su generación.

El grabado al linóleo reproducido aquí representa su estilo más tradicional, que expresa la preocupación por el pueblo y el entorno al que pertenece el autor.

Sin título (Untitled), c. 1961 Alfredo Da Silva Bolivia (Potosi, Bolivia, 1935 - ) oil on canvas (óleo sobre tela) 48 x 57 ½ inches (122 x 146 cm)

In his nonfigurative work of the 1960’s, Alfredo Da Silva seemingly aspires to the forms and silence of interstellar space. His intricate geometric constructions, suggestive of strange functionless machines, could well be termed space age abstractions. His production, based on a repertory of forms that alternate between the geometric and the organic, has always been rich in meaning. He has never been able to banish completely from his mind the hallucinatory images of the Valley of the Moon near La Paz, as attested in his work by the mineral-like sharpness of the draftsmanship and the labyrinthine intricacy of the total composition.

En su obra no figurativa de los años sesenta, Alfredo Da Silva parece aspirar a representar las formas y el silencio del espacio interestelar. Sus intrincadas construcciones geométricas, que sugieren extrañas máquinas carentes de función, bien podrían denominarse “abstracciones de la era espacial”. Su producción, basada en un repertorio de formas que alternan lo geométrico con lo orgánico, ha estado siempre dotada de una plétora de significados. Da Silva nunca logró borrar por completo de su mente las imágenes alucinantes del Valle de la Luna, en las inmediaciones de La Paz, como lo atestiguan la nitidez cuasi mineral de su dibujo y la intrincación laberíntica de la composición total.

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Virgen del Carmen (Our Lady of Mercy), 1761 Gaspar Miguel De Berrío Bolivia (Potosí, c. 1706 - 1762) oil on canvas (óleo sobre tela) 33 ¾ x 26 ½ inches (86 x 67cm)

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Art in Society: The Power of Culture

One of the most important American Baroque painters of his day and a student of Melchor Pérez de Holguín, Gaspar Miguel de Berrío was representative of the School of Potosí. His works combine religious themes and symbols, gold leaf, and contemporary townscapes. This work was commissioned by Juan de Iturbe of Potosí, and purchased at Sotheby’s auction in 1992.

Gaspar Miguel de Berrío, alumno de Melchor Pérez de Holguín y representante de la Escuela de Potosí, fue uno de los pintores más importantes del barroco americano de su época. Sus obras, que combinan temas y símbolos religiosos con paisajes urbanos contemporáneos, se caracterizan por el uso del pan de oro. Este cuadro, encargado por Juan Iturbe de Potosí, fue adquirido en una subasta de Sotheby’s, en 1992.

Sin título (Untitled), 1970 María Luisa Pacheco Bolivia (La Paz, Bolivia, 1919 New York, USA, 1982) oil on canvas (óleo sobre tela) 40 ½ x 49 inches (103 x 124,5 cm)

Her painting has been traced as beginning within the framework of native realism but incorporating other more abstract and expressive elements by the end of the 1940’s. When she moved to New York her paintings became totally abstract and expressive, influenced by the prevalent artistic movements. Pacheco’s style is also characterized by her use and incorporation of materials such as wood and cloth into her paintings, collages and drawings.

Un recorrido por la pintura de esta artista permite advertir cómo pasa de sus inicios en el marco del realismo nativo a la incorporación de otros elementos, más abstractos y expresivos, hacia fines de la década de 1940. Cuando María Luisa Pacheco se mudó a Nueva York, sus pinturas se volvieron totalmente abstractas y expresivas, bajo la influencia de los movimientos artísticos prevalecientes por entonces. El estilo de Pacheco también se caracteriza por el uso y la incorporación de materiales como la madera y la tela en sus pinturas, collages y dibujos.

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San Francisco (Saint Francis), c. 1950 Victor Brecheret Brazil (Farnese, Italy, 1894 São Paulo, Brazil, 1955) bronze (bronce) 22 1/16 x 6 11/16 inches (56 x 17 cm)

Brecheret was an Italian-Brazilian sculptor and one of the first Brazilian modernists to achieve success. He lived most of his life in São Paulo, except for studies in Paris in his early twenties. Brecheret’s work combines techniques of European modernist sculpture with references to his native country: the physical characteristics of his human forms and visual motifs drawn from Brazilian folk art. Many of his subjects are figures from the Bible or classical mythology.

Este escultor ítalo-brasileño fue uno de los primeros modernistas de Brasil en alcanzar el éxito. Vivió la mayor parte de su vida en San Pablo, a excepción del período que pasó estudiando en París cuando era un joven de veintitantos. La obra de Brecheret, que combina técnicas de la escultura modernista europea con referencias a su tierra natal, se expresa a través de las características físicas de sus formas humanas, así como de los motivos visuales extraídos del arte folclórico brasileño. Muchos de sus temas representan figuras de la Biblia o de la mitología clásica.

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Art in Society: The Power of Culture

Sin título da Série Gaveta dos Recuerdos (Untitled from the Memory Drawer Series), 2005 Thaís Salgado Helt Brazil (Juiz de Fora, Minas Gerais, 1948 - ) mixed media on paper (lithograph and embroidery) técnica mixta sobre papel (litografía y bordado) 33 7/16 x 45 11/16 inches (85x 116 cm)

Thaís Salgado Helt is a veteran printmaker and founder, with her husband George Helft, of Oficina Cinco (“Workshop Five”), a lithographic workshop open to artists. Her work possesses stamina and character; her uninhibited expressionistic hand strokes have both graphic and pictorial qualities. A proponent of mid-20th century classical Brazilian abstraction, her work is also infused with a violent, dry, unsentimental lyricism, which gives her a voice of her own.

Esta experta grabadora fundó, junto con su marido George Helft, Oficina Cinco (“Taller Cinco”), un taller litográfico abierto a los artistas. En su obra, dotada de fortaleza y carácter, los trazos desenfadadamente expresionistas exhiben cualidades tanto gráficas como pictóricas.

Partidaria de la abstracción brasileña clásica de mediados del siglo XX, Thaís Salgado Helft también ha imbuido su arte de un lirismo violento, áspero y exento de sentimentalismo, que le confiere una voz propia.

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Composição I (Composition I, Composición I), 2006 Kazuo Wakabayashi Brazil (Kobe, Japan, 1931 - ) serigraphy on paper 73/120 (serigrafía sobre papel 73/120) 35 ½ x 25 inches (90 x 63,5 cm)

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Japanese born artist Kazuo Wakabayashi is a naturalized Brazilian. He was a pupil of Konosuke Tamura, from 1947 to 1950, while still attending a course at the Niki Academy in Japan. In 1961, Wakabayashi immigrated to Brazil and settled down in São Paulo. He has participated in innumerable exhibitions throughout the world.

Originario de Japón y naturalizado brasileño, Kazuo Wakabayashi fue discípulo de Konosuke Tamura de 1947 a 1950, mientras cursaba aún estudios en la Academia Niki, en Japón. En 1961 emigró a Brasil y se estableció en la ciudad de San Pablo.

Wakabayashi ha participado en innumerables exposiciones en todo el mundo.

Darkness Descending (Oscuridad que desciende), 2000 Kenojuak Ashevak Canada (Ikerrasak, Canada, 1927 - ) color lithograph on paper (litografía a color sobre papel) 38 x 57 inches (96,5x 145 cm)

Born in Ikerrasak, Northwest Territories, Kenojuak Ashevak spent most of her life living on the land in a manner not unlike her ancestors, traveling from camp to camp in South Baffin and Arctic Quebec, as hunting dictated.

Perhaps the most internationally recognized of all Inuit artists, Kenojuak received the Order of Canada in 1967 and was also elected to the Royal Canadian Academy in 1974. Three of her images have been released as Canadian postage stamps. Her work, a signature style being simple, direct and vivacious, has attracted art collectors and delighted audiences around the world.

Nacida en Ikerrasak, en los Territorios del Noroeste, Canadá, Kenojuak Ashevak transcurrió la mayor parte de su existencia viviendo casi como sus ancestros, que se trasladaban de campamento en campamento por el sur de Baffin y el Quebec ártico tras las presas de caza. Tal vez la artista inuit más reconocida en el mundo, Kenojuak recibió la Orden de Canadá en 1967 y también fue elegida para integrar la Academia Real Canadiense en 1974. Tres de sus imágenes fueron impresas en sellos postales canadienses.

Su obra, cuya impronta es la simpleza, el estilo directo y la vivacidad, ha atraído a coleccionistas y públicos del mundo entero.

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Composición III (Composition III), 1990 Samy Benmayor Chile (Santiago, Chile, 1956 - ) oil on canvas (óleo sobre tela) 65 ¼ x 66 ¼ inches (166 x 168 cm)

Samy Benmayor represents a new generation of Chilean artists that appeared in the early 1980s. He openly adopted avant-garde international influences, such as surrealism and abstractionism, different from the artistic traditions of his country. Although his work follows certain pictorial constants, it has never lost its disorganized enchantment, reinventing itself constantly and reflecting a spirit little circumscribed by the conventional.

Samy Benmayor representa a una nueva generación de artistas chilenos, surgida a principios de los años ochenta. Adoptó abiertamente influencias internacionales de vanguardia, como el surrealismo y el abstraccionismo, diferentes de las tradiciones artísticas de su país. Aunque su obra sigue ciertas constantes pictóricas, nunca ha perdido su desorganizado encanto, ya que se reinventa a sí misma de manera constante y refleja un espíritu poco circunscripto a lo convencional.

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Verbo América (The Eloquent Poetry of Latin America), 1997 From the Matta-Parra Series, Poem by Nicanor Parra Roberto Sebastián Matta Chile (Santiago, Chile, 1911 – Civitavecchia, Italy, 2002) etching 16/75 on paper (aguafuerte 16/75 sobre papel) 30 x 43 11/16 inches (76 x 111 cm) Gift of Mario J. Navarro, 1999 (Obsequio de Mario J. Navarro, 1999)

Roberto Sebastián Matta’s paintings, sometimes nightmarish and hallucinatory, made him a premier Surrealist and major artist of the mid-20th century. Born in Chile, he spent much of his life in France and, beginning in 1939, nearly a decade in the United States where he influenced the development of the New York School. Like Breton and other Surrealists, Matta embraced the idea of automatic drawing, or working as spontaneously as possible and as much as possible without forethought, which was purported to be a way of tapping the unconscious.

Las pinturas de Roberto Sebastián Matta, por momentos pesadillescas y alucinatorias, le otorgaron las calificaciones de surrealista primordial y artista más destacado de mediados del siglo XX. Nacido en Chile, pasó gran parte de su vida en Francia y casi una década en Estados Unidos (a partir de 1939), donde influyó en el desarrollo de la Escuela de Nueva York. Al igual que Breton y otros surrealistas, Matta abrazó la idea del dibujo automático, de trabajar con la mayor espontaneidad posible y sin reflexión previa, técnica con la que se apuntaba a abrir las compuertas del inconsciente.

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Los Angeles, 1988 Carlos Maturana (Bororo) Chile (Santiago, Chile, 1953 - ) oil on linen (óleo sobre lino) 78 ½ x 131 inches (199 x 333 cm)

Like many artists of his generation, Maturana is motivated by vehement improvisation. On many occasions, his painting has been the result of fortuitous chance impelled by passion and sentiment that have been constants in his life since he was a child.

He formed part of the Generación 80 with Samy Benmayor, Omar Gatica, Ismael Frigerio, among others, which sought to restore the aimless playfulness of art. He has participated in numerous exhibitions around the world.

Como muchos artistas de su generación, Maturana está motivado por la improvisación vehemente. Varias de sus pinturas son fruto del azar impelido por la pasión y el sentimiento, constantes en su vida desde la niñez. Junto a Samy Benmayor, Omar Gatica e Ismael Frigerio, entre otros, formó parte de la Generación del 80, que intentaba restaurar la lúdica ausencia de rumbo en el arte.

Maturana ha participado en numerosas exposiciones en todo el globo.

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Sin título (Untitled), 2002 Gastón Orellana Chile (Valparaiso, Chile, 1933 - ) pastel on paper (pastel sobre papel) 13 ¾ x 20 inches (35 x 51 cm)

In 1954, Orellana met Pablo Neruda, establishing an intense relationship that was to last until the death of the poet. This friendship was to greatly affect Orellana, to whom the poet dedicated the poem “Recibimiento” in 1966, praising “what lies in the work/ of Orellana/ is as alive/ as a life, as secure as/ an object, as mysterious/ as a stone.” He was a founding member of the Grupo Hondo in Spain proclaiming Neo-figurative principles. His later work depicted violence and human denigration, and after years in New York, he eventually moved on to colossal assemblages and collage with metal.

En 1954, Orellana conoció a Pablo Neruda, con quien entabló una intensa amistad, que duraría hasta la muerte del poeta. Esta amistad ejercería en él una fuerte influencia; Neruda, a su vez, le dedicó en 1966 el poema “Recibimiento”, elogiándolo por su obra viva y misteriosa. En España, Orellana fue miembro fundador del Grupo Hondo, que proclamaba principios neofigurativos. Su obra posterior es expresión de la violencia y la denigración humana. Luego de pasar algunos años en Nueva York, decidió incursionar en los ensamblajes colosales y en el collage con metal.

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Riscos calizos (Limestone Cliffs), 1988 Olga de Amaral Colombia (Santafé de Bogotá, Colombia, 1932 - ) wool (lana) 99 x 114 inches (251,5 x 289,5 cm)

Olga de Amaral is a pioneer in the area of fiber art. She discovered her love of textiles at the Cranbrook Academy of Art in Michigan in 1954.

In the mid-1960s she began to use textiles to search for new structural, organic, and chromatic possibilities. The features of her work are evocative of the Andes, while the treatment of wool, horsehair and gold leaf alludes to pre-Columbian and colonial cultures. In the last few years she has experimented with design and color to create spectacular golden panels that glisten as they catch light at different angles.

Olga de Amaral es pionera en el arte elaborado con fibras. Descubrió el amor por las telas en la Academia Cranbrook de Arte de Michigan, en 1954. A mediados de los años sesenta comenzó a usar materiales textiles, en busca de nuevas posibilidades estructurales, orgánicas y cromáticas. Los rasgos de su trabajo evocan a los Andes, en tanto que el tratamiento de la lana, la crin y el pan de oro alude a las culturas precolombinas y coloniales. En los últimos años, la artista ha experimentado con el diseño y el color para crear espectaculares paneles dorados que refulgen al captar la luz desde diferentes ángulos.

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El beso (The Kiss), 1995 Enrique Grau Colombia (Panama City, Panama, 1920 - Bogotá, Colombia, 2004) bronze (bronce) 6 ¼ x 21 ½ x 21 ¾ inches (16 x 55 x 55 cm)

Enrique Grau helped to establish new points of departure for Colombian art in the 1950s. Grau was granted a scholarship by the Colombian government to study at the Art Students League in New York, where he remained until 1943. Grau’s refined technique is marked by a firm grounding in drawing and his expert handling of pictorial matter, which resulted in part from his studies of painting and fresco at the Academy of San Marco in Florence. In his compositions one can find a seemingly arbitrary association of figures and objects.

Enrique Grau contribuyó a establecer nuevos puntos de partida para el arte de su país en la década de 1950. Obtuvo una beca gubernamental para estudiar en la Art Students League de Nueva York, donde permaneció hasta 1943. Su refinada técnica se caracteriza por una sólida formación en dibujo y un manejo experto del material pictórico, en parte resultado de una educación artística que incluyó estudios de pintura y fresco en la Academia de San Marco, Florencia. Muchas de sus composiciones exhiben una asociación aparentemente arbitraria de figuras y objetos.

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Tres elementos de una flor (Three Elements of a Flower), 1961 David Manzur Colombia (Neira, Colombia, 1929 - ) oil on canvas (óleo sobre tela) 71 x 55 inches (180 x 140 cm)

Manzur is most well known for his monumental murals in Bogotá, Cali and Miami. Manzur’s work has a connection to the old European masters, echoing the art of old, while hinting at the modern spirit. He often depicts a scene of some unknown drama, whose action has been frozen in time. In the 1970s he began creating his style of still life drawings, incorporating many of the items that had caught his interest such as the lute, fruits and musical themes, working principally with pastel on paper as his medium.

Manzur es conocido especialmente por sus grandiosos murales de Bogotá, Cali y Miami. Su obra se vincula a la de los viejos maestros europeos, pues se hace eco del arte de antaño, pero incorpora a la vez destellos del espíritu moderno. A menudo se describe en ella la escena de un drama anónimo cuya acción quedó congelada en el tiempo. En la década de 1970, Manzur comenzó a crear su estilo de naturaleza muerta, incorporando muchos de los elementos que habían captado su interés, como el laúd, las frutas y los temas musicales, principalmente con pasteles sobre papel.

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Sol (Sun), 1985 Edgar Negret Colombia (Popayán, Colombia, 1920 - ) painted aluminum (aluminio pintado) 18 x 18 x 18 inches (46 x 46 x 46 cm)

Negret is considered one of the most innovative sculptors of the postwar era.

He began to experiment with a variety of materials, including plaster, ceramics, iron and steel, and is known for his investigations into the development of an abstract sculptural language that can clearly maintain visual links with the real world. His work, like that of his North American counterparts Louise Nevelson and Ellsworth Kelly, belongs to the international geometrical movements.

The Museo Negret was established in Popayán in 1986 by the Colombian government as a permanent collection surveying Negret’s development as a sculptor.

Considerado uno de los escultores más innovadores de la posguerra, Negret ha experimentado con materiales muy diversos, como el yeso, la cerámica, el hierro y el acero. Es conocido por sus investigaciones tendientes al desarrollo de un lenguaje escultórico abstracto, que mantienen claros vínculos visuales con el mundo real. Su obra, al igual que la de sus pares de Estados Unidos, Louise Nevelson y Ellsworth Kelly, se enmarca en los movimientos geométricos internacionales. En 1985, el gobierno colombiano inauguró en Popayán la Casa Museo Negret, con el objetivo primordial de preservar y difundir el legado escultórico del maestro payanés.

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Parque (Park), 1986 Francisco “Paco” Amighetti Ruiz Costa Rica (San José, Costa Rica, 1907 - San José, Costa Rica, 1998) color woodcut on paper, 16/51 (grabado a color sobre papel, 16/51) 17 ½ x 23 ¼ inches (44,5 x 59 cm)

Amighetti is considered one of the pillars of Costa Rican culture. He was also one of the most prolific and original Latin American artists, and continued working all his life. He was a specialist in the art of color xylograph. Amighetti’s art spans a variety of themes, including sexuality, death, and social commentary. His work is both intensely personal while still relevant to an international audience. Despite his many travels throughout the world, he wrote, “I discovered my nation by distancing myself, I discerned it through evocations and nostalgias and all roads led me back to it...”

Pilar de la cultura costarricense, Amighetti fue uno de los artistas latinoamericanos más originales y prolíficos, un trabajador incansable hasta el último día de su vida. Especialista en el arte de la xilografía en colores, su trabajo abarca una variedad de temas, incluidas la sexualidad, la muerte y la crítica social, lo cual confiere a su obra un carácter tan intensamente personal como relevante para el público de todo el orbe. Sus numerosos viajes por el mundo no hicieron más que renovar el amor por su tierra: “Descubrí mi patria alejándome, la vislumbré en evocaciones y nostalgias, y por todos los caminos desemboqué en ella…”.

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Balas (Bullets), 2006 José Alberto Hernández Campos Costa Rica (San José, Costa Rica, 1978 - ) photograph on Kodak metallic paper (fotografía sobre papel metálico Kodak) 39 3/8 x 59 1/16 inches (100 x 150 cm)

Hernández is a graphic designer and photographer who studied at the School of Fine Arts at the University of Costa Rica. He established his studio in 2004 where he specializes in illustration and visual concepts in photography. He has exhibited all over the world, and frequently participates in international creative projects with and for Central American artists. His graphic work is specialized in cultural communication via digital technology. Hernández is known for his works on the theme of death and dying.

Diseñador gráfico y fotógrafo, Hernández estudió en la Escuela de Bellas Artes de la Universidad de Costa Rica. En 2004 instaló su estudio, donde se especializa en ilustración y conceptos visuales en fotografía. Ha expuesto su producción en el mundo entero y participa frecuentemente en proyectos creativos con artistas centroamericanos. Su trabajo gráfico se especializa en la comunicación cultural por vía de la tecnología digital.

Hernández es conocido por sus obras sobre la agonía y la muerte.

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Maternidad (Maternity), 1974 Francisco Zúñiga Costa Rica (Costa Rica, San José, 1912 - Mexico City, Mexico, 1998) graphite and color pencil on paper (grafito y lápiz a color sobre papel) 25 9/16 x 19 5/16 inches (65 cm x 49 cm)

Francisco Zúñiga is considered one of Mexico’s leading sculptors.

He focused many of his artistic efforts on the depiction of the indigenous people of Mexico. Like Diego Rivera, Zúñiga portrays the figures as rounded, substantial forms with great strength and character. Rather than representing specific individuals, Zúñiga drawings and sculptures embody the history and emotion of an entire population enduring the oppression of colonists, and subsequent governments that encroached upon their ancient culture.

Considerado uno de los principales escultores de México, Francisco Zúñiga canalizó muchas de sus iniciativas artísticas en la descripción de los pueblos originarios mexicanos. Al igual que Diego Rivera, retrata las figuras como formas redondeadas y sustanciales de gran fuerza y carácter. Más que representar individuos específicos, los dibujos y las esculturas de Zúñiga encarnan la historia y el sentir de todo un pueblo que soporta la opresión de los colonialistas y de los subsecuentes gobiernos que cercenaron su antigua cultura.

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Verde y negro (Green and Black), 1995 Carmen Herrera Cuba-United States (Havana, Cuba, 1015 - ) serigraph on paper 38/65 (serigrafía sobre papel 38/65) 34 1/2 x 27 inches (88 x 69 cm)

Three cultural worlds –Paris, New York, and Havana– intertwine in Carmen Herrera’s personal life and, in various forms, in the evolution of her work. Of different generations but similar artistic inclinations, Torres-García, Amelia Peláez, and Carmen Herrera were in Paris together at the beginning of the decade. The influences, direct and indirect, and the course upon which each was soon to embark, are a metaphor for the complex artistic genealogies that came into being among the European and American avant-gardes.

Tres universos culturales –París, Nueva York y La Habana– se entrelazan en la vida personal de Carmen Herrera, delineando de diversas maneras la evolución de su obra. De diferentes generaciones pero con inclinaciones similares, Torres García, Amelia Peláez y Carmen Herrera estuvieron juntos en París.

Las influencias directas e indirectas y el rumbo que tomaría pronto cada uno constituyen una metáfora de las complejas genealogías artísticas que cobraron cuerpo entre las vanguardias europeas y americanas.

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Untitled (Sin título), 1965 Wifredo Lam Cuba (Sagua la Grande, Cuba, 1902 - Paris, France, 1982) charcoal and pastel on paper (carboncillo y pastel sobre papel) 27 1/8 x 20 3/8 inches (69 x 52 cm)

Wifredo Lam was able to fuse the principles of cubism and surrealism with Latin-African and Oceanic cross-culturalism. He was not alien to either, as his father was a Chinese immigrant to Cuba and his mother was of Afro-Cuban origin. Born and raised in Cuba, Lam eventually arrived in Paris, where Pablo Picasso befriended him. After the world war erupted, Lam was more inclined toward the Caribbean than to the urban metropolises of the north and south. Then began his love affair with the jungle and the creatures it generates and inspires.

Wifredo Lam logró fusionar los principios del cubismo y del surrealismo con el crisol cultural afrolatino y transoceánico. Ninguna de estas culturas le resultaba ajena, ya que su padre había sido un inmigrante chino en Cuba y su madre era de origen afrocubano.

Nacido y criado en Cuba, el destino lo llevó a París, donde trabó amistad con Pablo Picasso. Durante la Segunda Guerra Mundial, sin embargo, pasó mucho más tiempo en el Caribe que en las metrópolis urbanas del Norte y del Sur. En ese momento comenzó su romance con la selva y las criaturas que ella genera e inspira.

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Casita al Mar (Beach House), 1974 Emilio Sánchez Cuba-United States (Camagüey, Cuba, 1921 New York, USA, 1999) lithograph on paper (litografía sobre papel) 22 x 29 1/2 inches (55 x 75 cm) Gift of the Emilio Sánchez Foundation, 2011 (Obsequio de la Fundación Emilio Sánchez, 2011)

In the 1960s Sánchez’s works became significantly more abstract, though always maintaining a strong sense of naturalism. It is during this decade that his work matured into an individual vision and when he began to develop his well known paintings of houses and architectural themes.

These architectural works stand out for their simplified forms where all superfluous details are eliminated. Here he captured the effect of light on color making it vibrant. Despite the fact that his buildings are often devoid of visible inhabitants, they hold a strong living presence of their own.

En la década de 1960, las obras de Sánchez se volvieron significativamente más abstractas, aunque siempre mantuvieron un fuerte sentido del naturalismo. Fue por entonces cuando el trabajo de este artista maduró hacia una visión individual, en el marco de la cual comenzó a desarrollar sus célebres pinturas de casas y temas arquitectónicos. Estas obras se destacan por sus formas simplificadas en las que se han eliminado todos los detalles superfluos. Es allí donde el artista capta el efecto de la luz que vuelve vibrante el color. Si bien estos edificios a menudo carecen de habitantes visibles, están dotados de una vívida presencia propia.

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Signos de Arena I (Sand Signs I), n/d Tony Capellán Dominican Republic (Tamboril, Dominican Republic, 1955 - ) oil and sand on linen (óleo y arena sobre lino) 39 1/2 x 35 1/4 inches (100 x 90 cm)

While Tony Capellán has done work in both drawing and engraving, he has turned increasingly to painting and to installation. Pride in his roots, the drama of the diaspora, and current events provide inspiration for images of great impact.

In his work he exposes the social problems of his island and the entire region. Fine texture and their division into blocks characterize his paintings, and symbolic elements of his own creation and reference to ritual abound.

Si bien Tony Capellán realizó dibujos y grabados, con el tiempo fue volcándose cada vez más a la pintura y la instalación.

El orgullo por sus raíces, el drama de la diáspora y los acontecimientos actuales inspiran en él imágenes de gran impacto, por medio de las cuales expone los problemas sociales de su isla y de la región entera. En sus pinturas, que se caracterizan por la textura fina y la división en bloques, abundan las referencias rituales y los elementos simbólicos creados por el artista.

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Bailando merengue (Dancing Merengue), 1991 Raúl Recio Dominican Republic (Santo Domingo, Dominican Republic, 1965 - ) oil on canvas (óleo sobre tela) 38 1/8 x 52 1/8 inches (97 x 132 cm)

Recio is an irreverent poet who is deliberately iconoclastic, but also a very serious artistic painter who is the closest to the Dominican transvanguardia.

He expresses himself freely as he mixes the satire of the tropics (sex and sun sought by tourists) with his own satisfaction at being authentically Dominican. Recio is one of the most extroverted and appealing personalities to emerge from the island nation in recent years. The quality of his prints and outstanding woodcut work show a vital, primitive force that characterizes him.

Poeta irreverente, deliberadamente iconoclasta, Recio es también un serio pintor artístico, íntimamente ligado a la “transvanguardia” dominicana. Se expresa con libertad, mezclando la sátira de los trópicos (el sexo y el sol que buscan los turistas) con la satisfacción que siente por ser auténticamente dominicano. Sin duda una de las personalidades más extrovertidas y atractivas que surgieron en la República Dominicana en años recientes, la fuerza primitiva y vital que lo caracteriza se manifiesta en la calidad de sus estampas y en sus magníficos grabados.

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Bahía en la noche (Bay at Night), 1994 Enriquillo Rodríguez Amiama Dominican Republic (Santo Domingo, Dominican Republic, 1962 - ) oil and acrylic on canvas (óleo y acrílico sobre tela) 45 x 59 inches (114 x 150 cm)

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Rodríguez Amiama studied art through correspondence courses and books. He received a scholarship to the Nidia Serra Art Center, and later attended the National School of Fine Arts. He was influenced

by Mexican artist Martha Chapa who gave him the idea of using everyday elements as symbols; for example, he began to paint fruit as a symbol of Latin American love and passion. By the 1980s he was moving into abstraction using real elements against a gestural background of free colors and brushstrokes.

Rodríguez Amiama aprendió arte leyendo libros y realizando cursos por correspondencia. Más tarde obtuvo una beca para estudiar en el Centro de Arte Nidia Serra, y luego cursó en la Escuela Nacional de Bellas Artes. Recibió influencias de la artista mexicana Martha Chapa, quien le dio la idea de usar elementos cotidianos a modo de símbolos; por ejemplo, Rodríguez Amiama comenzó a pintar frutas como símbolo de la pasión y el amor latinoamericanos. En la década de 1980 inició su acercamiento a la abstracción, colocando elementos reales contra un fondo gestual de colores y pinceladas libres.

El mundo de las manos No.1 (The World of Hands No. 1), 1967 Oswaldo Guayasamín Ecuador (Quito, Ecuador, 1919 - Baltimore, Maryland, 1999) ink on paper (tinta sobre papel) 14 1/2 x 10 1/2 inches (37 x 27 cm)

Guayasamín’s rhetorical images capture the political oppression, racism, poverty, and class division found in much of South America, especially among marginalized, indigenous people. His death on March 10, 1999, was marked by a day of national strikes by the indigenous people that he spent his life supporting; he is still lauded as a national treasure. The “World of Hands” reflects the pain and misery that the larger part of humanity has endured, and denounces the violence that every human being has had to live with in this 20th century marked by world wars, civil wars, genocide, concentration camps, dictatorships, and tortures.

Las imágenes retóricas de Guayasamín captan la opresión política, el racismo, la pobreza y la división en clases que se padecen en gran parte de Sudamérica, en especial entre los pueblos marginados y los indígenas. El día de su muerte, 10 de marzo de 1999, estuvo signado por huelgas nacionales de los pueblos indígenas que él había apoyado durante toda su vida.

Guayasamín sigue siendo enaltecido como un tesoro nacional. El mundo de las manos refleja el dolor y la miseria que ha soportado la mayor parte de la humanidad, y denuncia la violencia con que convivieron todos los seres humanos en el siglo XX, con su impronta de guerras mundiales, guerras civiles, genocidios, campos de concentración, dictaduras y torturas.

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Lugar natal (Native Land), 1989 Eduardo Kingman Ecuador (Loja, Ecuador, 1913 - Quito, Ecuador, 1997) oil on canvas (óleo sobre tela) 40 x 53 inches (100 x 135 cm)

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Kingman is one of the outstanding artists to emerge from a vigorous art movement in 20th century arts in Ecuador. His works attack personal and popular themes with strong expressiveness, breaking with any academicism. His generation in the 1930s erupted in a liberal revolution with new ideals in politics, sociology, literature and art. He was the Director of Quito’s Museum of Colonial Arts for twenty years.

Kingman es uno de los artistas más destacados que surgieron de un vigoroso movimiento en las artes ecuatorianas del siglo XX. Sus obras abordan temáticas personales y populares con una fuerte expresividad, que rompe con todo academicismo. La generación de este artista revolucionó la década de 1930 con nuevos ideales en los ámbitos de la política, la sociología, la literatura y el arte. Kingman dirigió el Museo de Artes Coloniales de Quito a lo largo de veinte años.

Sin título (Untitled), 1981 Benjamín Cañas El Salvador (Honduras, 1933 - Arlington, VA, USA, 1987) pastel on paper (pastel sobre papel) 29 1/4 x 22 inches (74 x 56 cm)

Born in Honduras, but considered a Salvadoran artist, Cañas became known internationally for his sculptures, but he was also a renowned architect with fine examples of structures, particularly churches, to his credit. This Renaissance-like richly colored surrealist oil painting is from his later period, and belongs to the series called Kafka: Letters to Milena.

Nacido en Honduras pero considerado un artista salvadoreño, Cañas adquirió fama internacional por sus esculturas, aunque también fue un arquitecto reconocido por sus magníficas estructuras, en particular sus iglesias. Esta pintura al óleo, con un tema surrealista y una rica coloración de estilo renacentista, pertenece a su último período, como parte de la serie Kafka: Cartas a Milena.

IDB Cultural Center 20th Anniversary

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Atisbando (Watching), n/d Rodolfo Abularach Guatemala (Guatemala, Guatemala City, 1933 - ) lithograph (litografía) 21 1/2 x 29 3/4 inches (55 x 76 cm)

During the 1950s Abularach worked in the National Archaeology and Ethnology Museum doing museum displays, which introduced him to American anthropological history. In 1959 he moved permanently to New York and encountered Zen Buddhism, then popular in New York, thereby creating an East-West dialogue in his work. He became famous for his enlarged images of the human eye.

The work of Abularach is a combination of the language of folklore, magic and mysticism, and contemporary concerns.

Durante la década de 1950 Abularach trabajó en el Museo Nacional de Arqueología y Etnografía, dedicado al armado de las vitrinas, tarea que lo acercó a la historia antropológica americana. En 1959 se mudó a Nueva York, donde entró en contacto con el budismo zen –por entonces de moda en aquella ciudad–, y a raíz de ello introdujo en su obra un diálogo entre Oriente y Occidente. Entre sus trabajos más famosos se cuentan las imágenes ampliadas de ojos humanos.

La producción de Abularach combina el lenguaje del folclore, la magia y el misticismo con las preocupaciones contemporáneas.

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80 mm f. 5.6 1/30 sec, 1998 Luis González Palma Guatemala (Guatemala City, Guatemala, 1957 - ) black and white gelatin silver print with Bitumen of Judea, ortho film, and textile (plata sobre gelatina, kodalith betún de judea, y tela) 39 3/8 x 78 3/4 inches (100 x 200 cm)

Luis González Palma is a modernist photographer who focuses on the plight of the indigenous peoples of Guatemala. He studied architecture and cinematography at the Universidad de San Carlos de Guatemala and then turned to photography. He has participated in more than 60 exhibitions in America and Europe. His photographs are often meant to bring psychological and cultural issues into the viewer’s mind, and he often uses sepia tints.

Tras estudiar arquitectura y cinematografía en la Universidad de San Carlos de Guatemala, Luis González Palma, fotógrafo modernista que pone la lente en el sufrimiento de los pueblos indígenas de Guatemala, se dedicó luego a la fotografía, creando obras que expuso en más de sesenta muestras de América y Europa. Muchas de sus fotografías, en las que suele usar tintas sepia, apuntan a situar cuestiones psicológicas y culturales en la mente del espectador.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Sin título (Untitled), 1950 Carlos Mérida Guatemala (Guatemala, Guatemala City, 1891 Mexico City, Mexico, 1984) ink and gouache on amate paper (tinta y gouache sobre papel) 15 1/2 x 9 1/2 inches (39 x 24 cm)

Carlos Mérida made his home in Mexico and initiated the first pro-Indian art movement in the Americas, seven years before the rise of Mexican Muralism. In 1927 he abandoned his figurative style, becoming one of Latin America’s pioneer Modernists.

His later works are closely linked to the Mayan world with its geometric elements, and he integrated indigenous “papel amate” (barkwood paper) into his paintings. Like Tamayo, Mérida rejected large-scale narrative painting in favor of the more intimate charms of easel painting.

Carlos Mérida encontró un hogar en México e inició allí el primer movimiento artístico pro-indígena, siete años antes de que surgiera el muralismo mexicano. En 1927 abandonó su estilo figurativo para convertirse en uno de los modernistas pioneros de América Latina. Sus obras más tardías se ligan estrechamente al mundo maya, con su predominio de elementos geométricos.

Mérida integró también en sus pinturas el “papel amate” de los indígenas mexicanos (elaborado con corteza de árboles). Al igual que Tamayo, rechazaba la pintura narrativa en gran escala y se inclinaba por el encanto más íntimo del caballete.

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American Woman (Mujer americana), 1994 Winston Strick Guyana (New Amsterdam, Berbice, Guyana, 1942 - ) leather, PVC and wood (cuero, plástico y madera) 33 1/16 x 11 13/16 x 1 15/16 inches (84 x 30 x 5 cm)

Winston Strick is a painter and his current interest is the use of leather for sculpture and wearable art. This piece was inspired by photos of artists working in leather that were shown to him by Ms. Riva Akinshegun. His renditions of themes drawn from mythology and struggle provide the flashpoint for many discussions on Modernism.

Winston Strick es un pintor cuyo interés se centra actualmente en la utilización del cuero en la escultura y en el “arte para usar”. Esta pieza fue inspirada por unas fotos que le mostró Riva Akinshegun, en las cuales se ve a artistas que trabajan el cuero. Las obras de Strick, que se inspiran en temas de la mitología y de diversos conflictos, proporcionan un punto álgido para muchos debates sobre el modernismo.

IDB Cultural Center 20th Anniversary

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On The Way to the Market (Camino al mercado), n/d Wilson Bigaud Haiti (Port-au-Prince, Haiti, 1931 - Petit-Goâve, Haiti, 2010) oil on canvas (óleo sobre tela) 16 x 31 1/4 inches (40 x 80 cm)

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Wilson Bigaud is one of the great masters of Haitian painting. Working towards a mastery of color as well as an illusion of volume modeled in light and dark, Bigaud demonstrated a mature command of his art in the great Terrestrial Paradise (1952), painted when he was just 21 and subsequently purchased by the Museum of Modern Art in New York. In 1951 he was one of the handful of artists chosen to execute the landmark murals in the Episcopal Cathedral of Sainte Trinité, which were destroyed in the recent earthquake. His genre scenes are material rather than dreamlike, solid and respectful of the limitations of naturalism.

Wilson Bigaud es uno de los grandes maestros de la pintura haitiana.

Luego de trabajar con ahínco en procura del dominio del color, así como de una ilusión de volumen modelada por la luz y la oscuridad, Bigaud demostró un maduro manejo de este arte en el gran Paraíso terrenal (1952), obra que pintó cuando tenía 21 años y que sería adquirida más tarde por el Museo de Arte Moderno de Nueva York. En 1951, Bigaud fue uno de los pocos artistas elegidos para realizar los emblemáticos murales de la Catedral Episcopal de Sainte Trinité, que sucumbieron en el reciente terremoto que asoló a Haití. Sus escenas de este género son más sustanciales que oníricas, además de sólidas y respetuosas de las limitaciones que impone el naturalismo. .

Haitian Landscape (Paisaje haitiano), 1970 Joseph Jean-Gilles Haiti (Hinche, Haiti, 1943 - ) oil on canvas (óleo sobre tela) 19 1/2 x 23 1/2 inches (50 x 60 cm)

Joseph Jean-Gilles, whose subjects are based on the myriad flowering forms and rolling hills of Haiti’s tropical landscape, depicts the scenes of his homeland as a poet might compose an idyll in the Garden of Eden.

Jean-Gilles is not alone among Haitian artists in pursuing this theme, but he is almost unique in pursuing it for so many years. This is the painting of an artist who, through the perfection of his craft, has grown away from those spontaneous reactions and improvisations that are hallmarks of the visionary artist.

Inspirándose en la miríada de formas florecientes y de suaves ondulaciones del trópico haitiano, Joseph Jean-Gilles retrata las escenas de su tierra natal a la manera de un poeta que compone un idilio sobre el Jardín del Edén. Jean-Gilles no es el único artista haitiano que aborda este tema, pero casi ningún otro ha persistido como él en desarrollarlo a lo largo de tantos años. He aquí la pintura de un creador que, en pos de perfeccionar su arte, fue alejándose de las improvisaciones y las reacciones espontáneas que son el sello distintivo del artista visionario.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Ceremoni Grand Bois (Great Forest Ceremony, Ceremonia Gran Bosque), c. 1996 Yves Telemak Haiti (Port-au-Prince, 1960 - ) sequin and bead appliqué on cloth (lentejuelas y cuentas sobre tela) 31 x 31 inches (79 x 79 cm)

Yves Telemak is Haiti’s preeminent living vévé flag artist, and was among the first flag makers to sign his work. Yves learned the ritual context of the flags, and later secularized the flags, setting high conceptual and technical standards for their production, and defining them as a uniquely Haitian fine art form. Telemak’s distinctive wide, colorful, geometric borders frame central panel scenes of bold dramatizations of the Vodou gods, Haitian cultural history and his own biographical experience.

Yves Telemak, principal artista haitiano que se dedica en la actualidad al arte de las banderas “vévé”, derivadas del vudú, fue uno de los primeros en firmar estas composiciones. Luego de interiorizarse del contexto ritual de las banderas, las secularizó, estableciendo para su producción un alto estándar conceptual y técnico. También definió este género como una forma exclusivamente haitiana de las bellas artes. Los característicos bordes anchos, coloridos y geométricos de Telemak enmarcan viñetas con audaces dramatizaciones de los dioses del vudú, la historia cultural haitiana y su propia experiencia biográfica.

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Espacios interiores (Interior Spaces), 2000 Byron Lombardo Mejía Honduras oil on canvas (óleo sobre tela) 33 1/4 x 41 5/8 inches (85 x 106 cm)

Byron Lombardo Mejía represents one of the new facets of Honduran art. This painting forms part of a series of paintings whose lugubrious atmosphere responds to another type of tragedy, that of the human condition. They also allude to a more millenarian type of catastrophe: a faded civilization effaced perhaps by its own arrogance, by blindness to its own errors, and now become an artifice of its own extinction. The humanist feeling confers on the images of both canvases symbolic and dramatic connotations. The appearance of the figures corresponds to the irrationality that characterizes man’s daily behavior, which ignores the most elemental laws of decency and co-existence.

Byron Lombardo Mejía es representante de una de las nuevas facetas del arte hondureño. Esta pintura forma parte de una serie cuya atmósfera lóbrega refleja la tragedia por excelencia: la de la condición humana. También alude a una catástrofe milenaria: una civilización desvaída, borrada quizá por su arrogancia, por la ceguera o por sus propios errores, que ahora se vuelve un artificio de su propia extinción. El sentimiento humanista confiere connotaciones simbólicas y dramáticas a las imágenes de ambas telas. La apariencia de las figuras se corresponde con la irracionalidad cotidiana de los seres humanos, que pasa por alto las más elementales normas de la decencia y la coexistencia.

IDB Cultural Center 20th Anniversary

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Untitled (Sin título), n/d David Boxer Jamaica (St. Andrew, Jamaica, 1946 - ) oil on canvas (óleo sobre tela) 23 1/2 x 17 1/4 inches (60 x 44 cm)

Although Boxer was essentially self-taught as an artist, he developed a coherent but continuously evolving iconography consisting of complex and often highly personal metaphors that commented on the human condition and the anguish of modern existence. Although he also produced non-figurative works, he usually concentrated on the human figure. He often worked with images appropriated from myth, religion, music, history, archaeology and art history.

Si bien David Boxer fue esencialmente un artista autodidacta, supo desarrollar una iconografía coherente pero en continua evolución, conformada por metáforas complejas y a menudo muy personales, que toman posición frente a la condición humana y a la angustia de la existencia moderna. Aunque también produjo obras no figurativas, Boxer prefería concentrarse en la figura humana. Trabajó abundantemente con imágenes apropiadas del mito, la religión, la música, la historia, la arqueología y la historia del arte.

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Salute (Saludo), 2009 Gerard Hanson Jamaica (West Yorkshire, UK, 1971 - ) archival inkjet and acrylic paint on canvas (impresión con inyección de tinta, acrílico sobre lienzo) 24 15/16 x 26 1/8 inches (63 x 66 cm)

A British painter of Jamaican descent, Hanson now calls the island his home, having relocated to Jamaica in 2009 and pursuing a full-time career as an artist since then. Jamaica: Home From Home is a collection of images of life in his new home, as seen from his memory, through his eyes and conveyed on canvas.

Pintor británico descendiente de jamaiquinos, Gerard Hanson ha encontrado su lugar en la isla de sus antepasados. En 2009 se mudó a Jamaica, donde desde entonces se dedica de lleno al arte. Jamaica: Home from Home es una colección de imágenes de la vida que transcurre en su nuevo hogar, tal como Hanson las ve desde su memoria, a través de sus propios ojos, para reflejarlas luego en la tela.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Three Actors (Tres actores), c. 1875 Toyohara Kunichika Japan (Kyobashi district, Japan, 1835 - Honjo, Japan, 1900) color woodcut (grabado a color) 14 x 9 1/4 inches (36 x 24 cm)

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Kunichika was one of the old-style artists of ukiyo-e, a style of Japanese woodblock printing. His name is a combination derived from the names of his two masters - Kunisada and Chikanobu.

He is known primarily as a designer of actor prints since one of his passions was Kabuki, Japanese theater. He was a regular backstage visitor where he spent hours making sketches of actors.

Kunichika fue uno de los artistas del ukiyo-e al viejo estilo, un tipo de grabado japonés. El seudónimo Kunichika surgió de la combinación de los nombres de sus dos maestros: Kunisada y Chikanobu. Se lo conoce principalmente por sus estampas de actores, ya que una de sus pasiones era el Kabuki, el teatro japonés. Solía vérselo con frecuencia tras las bambalinas, donde pasaba largas horas haciendo bocetos de los actores.

Aggregation 98-S72 (Agrupación 98-S72), 1995-2004 Kwang-Young Chun Korea (Hongchun, Kangwon, Korea, 1944 - ) mixed media with Korean mulberry paper (técnica mixta con papel coreano mulberry) 43 11/16 x 79 1/8 inches (111 x 201 cm)

Korean paper possesses an unsophisticated and sturdy character. This piece is a simple structure yet subtlety flows over the front of the screen due to embossed carving on a cubic plane. Through an awakening of sentiment that crosses beyond time, the real meaning of this work can be understood: his work leads us to a meditation on the matter of spirit in modern painting.

El papel coreano tiene un tramado macizo y rústico. Esta pieza, si bien de estructura simple, fluye sutilmente por delante de la pantalla gracias al tallado en relieve sobre un plano cúbico. El significado de la obra de Kwang-Young Chun puede entenderse al despertar el sentimiento que trasciende el tiempo: contemplarla nos lleva a meditar sobre la materia del espíritu en la pintura moderna.

IDB Cultural Center 20th Anniversary

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Volcán (Volcano), c. 1930 Dr. Atl (Gerardo Murillo) Mexico (Guadalajara, Mexico, 1875 - Mexico City, Mexico, 1964) graphite stencil on paper (fotoserigrafía sobre papel) 8 3/4 x 9 3/4 inches (22 x 25 cm)

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Dr. Atl (aka Gerardo Murillo) was a Mexican painter, printmaker, and politician. His pseudonym, which signifies ‘water’ in Náhuatl was adopted in 1902. He joined the revolutionary movement, taking an active role in its various activities, including the muralist movement, through which he was associated with Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Although he practiced portrait painting, his passion was for landscape in a variety of techniques and materials, some of them invented by him; for example, he used ‘atlcolours’, which were specialized crayons made of wax, resins and pigment with which he could obtain textures not possible with oil paint.

Dr. Atl (alias de Gerardo Murillo) fue un pintor, grabador, escritor y político mexicano. En 1902 adoptó su seudónimo, que significa “agua” en lengua náhuatl. Se sumó al movimiento revolucionario asumiendo un rol activo en sus diversas actividades, incluido el muralismo, a través del cual se vinculó a Diego Rivera, José Clemente Orozco y David Alfaro Siqueiros. Aunque también hacía retratos, lo apasionaba pintar paisajes con una gran diversidad de técnicas y materiales, algunos inventados por él; por ejemplo, usaba los Atl colours, crayones especiales elaborados con cera, resinas y pigmento, mediante los cuales obtenía texturas imposibles de lograr con óleos.

Zapata, 1932 Diego Rivera Mexico (Guanajuato, Mexico, 1886 - Mexico City, Mexico, 1957) Lithograph (85/100) (litografía 85/100) 19 3/4 x 15 inches (50 x 38 cm)

It was not until he began to study the Renaissance frescoes of Italy that Rivera found his medium. It was with a vision of the future of the fresco and with a strong belief in public art that Rivera returned to Mexico.

Using the fresco form in universities and other public buildings, Rivera was able to introduce his work into the everyday lives of the people.

Rivera concerned himself primarily with the physical process of human development and the effects of technological progress. For him, the fresco size and public accessibility were the perfect canvas on which to tackle the grand themes of the history and future of humanity.

Diego Rivera encontró el medio de expresar su arte cuando comenzó a estudiar los frescos renacentistas de Italia. Retornó a México vislumbrando un futuro para el fresco y con una fuerte creencia en el arte público. Aplicando la forma del fresco a las universidades y otros edificios públicos, Rivera logró introducir su obra en la vida cotidiana del pueblo.

Su mayor interés radicaba en el proceso físico del desarrollo humano y en los efectos del progreso tecnológico. El tamaño y la accesibilidad pública del fresco constituían para él la tela perfecta sobre la cual se podían abordar los grandes temas de la historia y del futuro de la humanidad.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Zapata, 1930 David Alfaro Siqueiros Mexico (Santa Rosalía de Camargo, Mexico, 1896 - Cuernavaca, Mexico, 1974) lithograph (7/35) (litografía 7/35) 28 3/4 x 22 7/8 inches (73 x 58 cm)

David Alfaro Siqueiros was very active in the organizing of Mexico’s labor forces, and his political activism resulted in many deportations and years in jail. It was in jail where he created most of his easel works.

He incorporated many new materials and techniques, and was the first artist to use acrylics as a painting media. The distinctive “Siqueiros three-dimensional” perspective is unmistakable. This well known lithograph pays homage to one of the quintessential symbols of the Mexican Revolution, Emiliano Zapata, who came to personify the ideals of social inclusion and economic equity among the less privileged.

David Alfaro Siqueiros militó en la organización del movimiento obrero mexicano, activismo político que le costó deportaciones y años de cárcel: la mayoría de sus trabajos de caballete los creó mientras se hallaba en prisión. En su obra incorporó muchos nuevos materiales y técnicas, y fue el primer artista en usar acrílicos como recurso para pintar. La perspectiva tridimensional de Siqueiros es su inconfundible impronta distintiva. Esta famosa litografía rinde homenaje a uno de los símbolos por antonomasia de la revolución mexicana, Emiliano Zapata, quien llegó a personificar los ideales de inclusión social y equidad económica entre los menos favorecidos.

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A Man With Courage Makes a Majority (Un hombre con coraje crea la mayoría), 1982 Rufino Tamayo Mexico (Oaxaca, Mexico, 1899 - Mexico City, Mexico, 1991) mixograph (mixografía) 32 x 24 inches (81 x 61 cm)

Rufino Tamayo believed that the advances made by European artists could be used to reinterpret local traditions, such as pre-Columbian and popular art. Like other contemporaries, he found similarities between Cubism and pre-Columbian symbolic and religious composition. Tamayo employed all these devices with great originality, enhanced by an extraordinary use of color and texture. His work carries a quintessential awareness of man as both an insignificant particle and a protagonist linked to the destiny of the universe.

Rufino Tamayo se propuso aprovechar los avances de los artistas europeos para reinterpretar las tradiciones locales, como el arte precolombino y popular. Al igual que otros contemporáneos, halló similitudes entre el cubismo y la composición precolombina, con su simbolismo y sus temas religiosos. Tamayo empleó todos estos recursos con gran originalidad, realzada por un manejo extraordinario del color y de la textura. Su obra está dotada de una conciencia arquetípica del ser humano como partícula insignificante y a la vez protagonista ligado al destino del universo.

IDB Cultural Center 20th Anniversary

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Paisaje gris (Grey Landscape), 1977 Alejandro Aróstegui Nicaragua (Bluefields, Nicaragua, 1935 - ) mixed media (técnica mixta) 31 7/8 x 47 7/8 inches (81 x 122 cm)

One of the leading Nicaraguan painters and a cultural icon, he has been exhibited and honored worldwide. He spent several years in New York and was a co-founder of the Praxis Group of young artists and intellectuals, as well as the art gallery and magazine of the same name. He introduced non-traditional elements into his painting, and reflected Nicaragua ´s turbulent decades in his work. He became director of the School of Fine Arts, University of León in 1972, and later served as director of the School of Plastic Arts in Managua.

Destacado pintor e ícono cultural nicaragüense, Alejandro Aróstegui expuso sus obras y recibió honores en todo el mundo. Pasó varios años en Nueva York, donde fue cofundador del Praxis Group, formado por jóvenes artistas e intelectuales, y también de la galería y la revista del mismo nombre. Introdujo elementos no tradicionales en sus pinturas, en las cuales reflejó las décadas turbulentas de Nicaragua. En 1972 fue nombrado director de la Escuela de Bellas Artes, en la Universidad de León, y más tarde se desempeñó como director de la Escuela de Artes Plásticas de Managua.

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Sin título (Untitled), 1967 Omar D’Leon Nicaragua (Managua, Nicaragua, 1929 - ) oil on canvas (óleo sobre tela) 28 3/4 x 36 1/2 inches (73 x 93 cm)

D’Leon is one of Nicaragua’s most important artists, and he is also a prolific and exhuberant poet. He attended the School of Fine Arts, and belonged to a group of artists that sought to express their Nicaraguan identity through a contemporary visual language. D’Leon has been in group and solo exhibitions throughout the United States, Europe and Latin America. He lives in California, and is known for works that aspire to transcend the limitations of time and space.

D’Leon es uno de los artistas más importantes de Nicaragua, además de poeta exuberante y prolífico. Asistió a la Escuela de Bellas Artes y perteneció a un grupo de creadores que bregaban por expresar su identidad nicaragüense a través de un lenguaje visual contemporáneo.

D’Leon participó en exposiciones individuales y grupales en Estados Unidos, Europa y América latina. Actualmente vive en California y se destaca por sus obras, que aspiran a trascender las limitaciones del tiempo y el espacio.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Sin título (Untitled), 1961 Armando Morales Nicaragua (Granada, Nicaragua, 1927 - Miami, FL, USA, 2011) lithograph (13/14) (litografía 13/14) 25 3/4 x 19 3/4 inches (65 x 50 cm)

Morales painted from an early age but not seriously until he began to win awards in the 1950s and his works were acquired by museums. By the 1970s he was painting lush and sensual fruits, heavy and voluptuous apples and pears that evoked the softness of human skin, from which there was the obvious transition to the painting of nudes. In 1993, he completed a portfolio of lithographs entitled The Saga of Sandino at the workshop of Artegraficas Limitadas, S.A. in Mexico City. Sandino was a Nicaraguan national hero whom Morales remembered seeing in Managua during his childhood.

Armando Morales pintaba desde su más tierna infancia, pero no lo hizo seriamente hasta que ganó sus primeros premios, en la década de 1950, y los museos comenzaron a adquirir sus obras. En los años setenta se dedicó a pintar frutas exuberantes y sensuales: pesadas y voluptuosas manzanas y peras, que evocaban la suavidad de la piel humana. Este trabajo con frutas lo fue llevando poco a poco, en una transición casi inevitable, hacia la pintura de desnudos. En 1993 completó una serie de litografías titulada La saga de Sandino, en el taller de Artegrafías Limitadas del Distrito Federal. Fue su modo de rendir homenaje al héroe nacional nicaragüense, a quien recordaba haber visto en Managua cuando era niño.

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Figurina (Figurine), 1982 Julio Zachrisson Panama (Panama City, Panama, 1930 -) ink and tempera on paper (tinta y témpera sobre papel) 39 3/8 x 27 3/16 inches (100 x 69 cm)

From 1953 to 1959 Zachrisson studied at the Fine Arts Institute in Mexico, where he had his first exhibitions, and then traveled to Europe, where he studied at the Pietro Vanucci Academy in Peruggia, Italy. In 1961 Zachrisson moved to Spain where he still lives and works. His work can be found in prestigious institutions such as the Metropolitan Museum of Modern Art in New York, the Smithsonian Institution, and the Museo de Arte Contemporáneo in Madrid, Spain. He is considered the most important Panamanian printmaker.

De 1953 a 1959, Julio Zachrisson estudió en el Instituto de Bellas Artes de México, donde realizó sus primeras exposiciones, y luego viajó a Europa para estudiar en la Academia Pietro Vanucci, en Peruggia, Italia. En 1961 se mudó a España, donde aún vive y trabaja. Su obra se exhibe en prestigiosas instituciones, como el Museo Metropolitano de Arte Moderno, en Nueva York, el Instituto Smithsonian y el Museo de Arte Contemporáneo de Madrid, España. Está considerado uno de los más importantes grabadores panameños.

IDB Cultural Center 20th Anniversary

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La curandera (The Healer), 1993 Enrique Collar Paraguay (Itauguá Guazú, Paraguay, 1964 - ) oil on canvas (óleo sobre tela) 48 1/2 x 54 inches (123 x 137 cm)

Artist Statement: “I have been painting the myths and popular legends of my country, Paraguay, as well as those of South America, for over ten years now. During this time the combination of different disciplines such as drawing, photography and cinema concepts deeply influenced my paintings. Drawing gave me the freedom to represent multiple figures in a pictorial space. Photography gave me spontaneous perception to capture their psychological momentum. Cinema concepts helped me consolidate my pictorial narrative and understand the relationship of time and space.”

Declaración del artista: “Hace más de diez años que pinto los mitos y las leyendas populares de mi país, Paraguay, y también otros de Sudamérica.

Durante este tiempo, la combinación de diferentes disciplinas, como el dibujo, la fotografía y los conceptos de la cinematografía, influyó profundamente en mis pinturas. El dibujo aportó organización y estructura a mi trabajo, así como la libertad para representar múltiples figuras en un espacio pictórico. La fotografía me brindó la percepción natural de los personajes y también me permitió captar su pulsión psicológica. Las nociones de cinematografía me ayudaron a consolidar mi narrativa pictórica y a comprender la relación entre tiempo y espacio”.

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Serie Paraguay (Paraguay Series), n/d Carlos Colombino Paraguay (Concepcion, Paraguay, 1937 - ) oil on wood (óleo sobre madera) 51 x 48 1/2 inches (130 x 123 cm)

Painter and engraver, Carlos Colombino’s training in architecture had a considerable influence on his painting style, but he is basically self-taught as an artist. After the 1950s, when he went through an initial phase that oscillated between a wildly dramatic style and one that favored formal organization, he settled on a more stable personal style in the 1960s. His most frequently used technique was xylopintura, involving the use of wood-engraving tools to cut into plywood; the layers and the end- and cross-grain absorbed dyes and paints in different ways, and an image emerged from the process.

Si bien los estudios de arquitectura ejercieron una considerable influencia en su pintura, el pintor y grabador Carlos Colombino es esencialmente autodidacta. En la década de 1950 atravesó una fase inicial que oscilaba entre una tendencia furiosamente dramática y una búsqueda de organización formal, después de la cual, ya en los años sesenta, encontró un estilo personal más estable. Su técnica predilecta ha sido la xilopintura, que consiste en tallar la matriz con los instrumentos de xilograbado y utilizarla como base para realizar la obra directamente sobre ella. El grano irregular resultante absorbe en diferente grado las tintas y pinturas, proceso en el cual va surgiendo una imagen particular.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Duino-Nueve Orrantia/92, 1992 Fernando de Szyszlo Peru (Barranco, Lima, Peru, 1925 -) oil on canvas (óleo sobre tela) 39 x 39 inches (99 x 99 cm)

Fernando de Szyszlo was a key figure in advancing abstract art in Latin America in the mid- 1950s. At age 24 he traveled to Europe where he studied the works of the masters, and absorbed the varied influences of cubism, surrealism, informalism and abstraction.

While in Paris he met Octavio Paz and Andre Breton and engaged in vigorous discussions on the international modern movement and their Latin American cultural identity. In Peru, Szyszlo became a major force for artistic renewal in his country, breaking new ground by expressing Peruvian subject matter in a non-representational style.

Fernando de Szyszlo fue una figura decisiva en el desarrollo del arte abstracto latinoamericano a mediados de la década de 1950. A los 24 años de edad viajó a Europa para estudiar la obra de los grandes maestros. Allí absorbió las influencias del cubismo, el surrealismo, el informalismo y la abstracción. Mientras estaba en París conoció a Octavio Paz y André Breton, y se planteaban enérgicas discusiones acerca del movimiento moderno internacional y la identidad cultural latinoamericana. En Perú Szyszlo pasó a ser un protagonista clave en la renovación artística de su país, al sentar nuevas bases para la expresión de temas peruanos en un estilo no representativo.

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Dos (Two), 2003 Carlos Runcie Tanaka Peru (Lima, Peru, 1958 - ) lithograph on paper (21/39) (litografía sobre papel) 19 ¾ x 27 ½ inches (50 x 70 cm)

Carlos Runcie Tanaka was born of mixed Japanese and European ancestry.

He began studying pottery at El Pingüino workshop in Lima in 1977. In 1979 he was invited by the Japanese master potter Tsukimore Masahiko to serve as his apprentice in Ogaya, and was subsequently a guest assistant to Shimaoka Tatsuzo in Mashiko. Returning to Peru in 1980, Tanaka was technical advisor for Cerámica Izcuchaca Pottery, and then studied in Florence, Italy, with a grant from the Organization of American States (OAS). Another OAS grant enabled him to study crafts design in Brazil. His installations incorporate sand, stone, water, glass, light, and other elements.

Carlos Runcie Tanaka desciende de japoneses y europeos. Se inició en las artes estudiando alfarería en el taller limeño El Pingüino, en 1977. En 1979 fue invitado por el maestro alfarero japonés Tsukimore Masahiko a desempeñarse como aprendiz en su taller de Ogaya, y más tarde fue también asistente invitado en el estudio de Shimaoka Tatsuzo, en Mashiko. A su regreso a Perú, en 1980, Tanaka fue asesor técnico de Cerámica Izcuchaca, y luego estudió en Florencia, Italia, con una beca de la Organización de los Estados Americanos (OEA). Otra beca de la OEA le permitió estudiar diseño artesanal en Brasil. Las instalaciones de Tanaka incorporan arena, piedra, agua, vidrio y luz, entre otros elementos.

IDB Cultural Center 20th Anniversary

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El Señor de la Fortaleza (The Lord of Our Strength), 1919 José Sabogal Peru (Lima, Peru, 1888 - Lima, Peru, 1956) oil on canvas (óleo sobre tela) 22 x 26 inches (56 x 66 cm)

José Sabogal is one of the precursors and most important representatives of Indigenism, an artistic style that developed in the 1920s mainly in the Andean countries as a response to the success of Mexican Muralism. From 1922 to 1925, Sabogal actually studied with Diego Rivera and José Clemente Orozco. Indigenist art was intended to return a sense of dignity to the indigenous populations, whose history had been denigrated by European colonists. As an artistic movement, however, it is more literary than conceptual.

José Sabogal es uno de los precursores y principales representantes del indigenismo, un estilo artístico desarrollado en la década de 1920, principalmente en los países andinos, como respuesta al éxito del muralismo mexicano. De 1922 a 1925, Sabogal estudió directamente con Diego Rivera y José Clemente Orozco. El arte indigenista se proponía devolverles el sentido de la dignidad a las poblaciones originarias del continente, cuya historia había sido denigrada por los colonizadores europeos. Como movimiento artístico, sin embargo, el indigenismo es más literario que conceptual.

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Lanzón (Spear), 1993 Venancio Shinki Huamán Peru (Barranca, Paramonga, Peru, 1932 - ) engraving on paper (39/60) (grabado sobre papel) 24 x 21 inches (61 x 53 cm)

Shinki Huamán was born to a Japanese father and a Peruvian mother.

His work was inspired partly by travels through Ecuador, Mexico and Peru, but in its symbolism it also reflected his admiration for the works of Bosch, El Greco, Klee and Miró. Its subtle range of tones and textures and its undefined forms also expressed elements of his Japanese heritage.

In the 1960s Shinki Huamán began to explore further the use of tone as a means of conveying space, while figurative elements reflected the Surrealist interest in the subconscious.

Shinki Huamán nació de madre peruana y padre japonés. Su obra, inspirada en sus viajes por Ecuador, México y Perú, está dotada de un simbolismo que refleja también la admiración del autor por Bosch, El Greco, Klee y Miró. El sutil abanico de tonos y texturas que se aprecia en los trabajos de este artista, así como sus formas indefinidas, ponen de manifiesto, además, elementos de su herencia japonesa. En la década de 1960, Shinki Huamán comenzó a explorar más profundamente el uso del tono como medio de expresar el espacio, en tanto que los elementos figurativos representan su interés surrealista por el inconsciente.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Calvet Chair (Silla Calvet), 1966 Antoni Gaudí Spain (Reus, Spain, 1852 - Barcelona, Spain, 1926) oak (madera de roble) 37 x 20 ½ x 23 ¼ inches (94 x 52 x 59 cm)

The son of a coppersmith, Antoni Gaudí studied at the Escola Superior d’Arquitectura in Barcelona and designed his first major commission for the Casa Vincens in Barcelona using a Gothic Revival style that set a precedent for his future work. Over the course of his career, Gaudí developed a sensuous, curving, almost surreal design style that established him as the innovative leader of the Spanish Art Nouveau movement. With little regard for formal order, he juxtaposed unrelated systems and altered established visual order.

Hijo de un artesano del cobre, Antoni Gaudí estudió en la Escola Superior d’Arquitectura de Barcelona y realizó su encargo más importante para la Casa Vincens de esa ciudad, desplegando una renovación del gótico que sentó el precedente definitivo para su futura obra. A lo largo de su carrera, Gaudí desarrolló un estilo de diseño sensual, curvilíneo, casi surrealista, que lo eternizó como el líder más innovador del art nouveau español. Quitando importancia al orden formal, yuxtaponía sistemas desvinculados alterando la perspectiva visual.

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I Miss You (Te extraño) George Struikelblok Suriname (Paramaribo, Suriname, 1973 - ) oil and acrylic on canvas (óleo y acrílico sobre tela) 82 11/16 x 59 1/16 inches (210 x 150 cm)

Struikelblok is member of the newest generation of Surinamese painters.

With this painting he pays tribute to his father, who died when he was still a toddler and whose absence has been transformed into the ever-present feeling of a person he had no chance to know. The foggy, upside-down shadow of the figure that appears in the right section of the painting evokes whatever memory remains in the artist’s unconscious, and represents the emotions of permanent loss. In this painting, the artist makes use of abstract pictorial gestures, and combines them within a personal, expressionistic manner.

George Struikelblok, integrante de la novísima generación de pintores surinameses, rinde homenaje con esta obra a su padre, quien murió cuando él aún no había aprendido a hablar y cuya ausencia se transformó en la sensación siempre presente de esa persona que nunca se tendrá oportunidad de conocer. La sombra nebulosa e invertida de la figura que aparece en la parte derecha de la pintura evoca los recuerdos que permanecen en el inconsciente del artista, y representa, a la vez, las emociones de la pérdida irremediable. En esta pieza, Struikelblok hace uso de gestos pictóricos abstractos y los combina a su manera personal y expresionista.

IDB Cultural Center 20th Anniversary

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About Balance (Acerca de balance), 1999 Christopher Cozier Trinidad and Tobago (Port of Spain, Trinidad and Tobago, 1959 -) serigraph on paper (serigrafía sobre papel) 26 ¾ x 37¼ inches (68 x 95 cm)

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Christopher Cozier lives and works in Trinidad as a writer and an artist. His writing on Caribbean art has been published in journals in both North and South America. Cozier’s work in mixed media involves video and live performance, and installations include drawings, constructions, and appropriated objects. Cozier’s more recent shows presented a series of large mixed media drawings treating issues of migration and development.

Christopher Cozier vive en Trinidad, donde se desempeña como escritor y artista. Sus escritos sobre el arte caribeño han sido publicados en diversas revistas de América del Norte y América del Sur. Su trabajo en medios mixtos incluye video y performances en vivo, y las instalaciones abarcan dibujos, construcciones y objetos apropiados por el artista. En las muestras más recientes, Cozier presentó una serie de obras que abordan los problemas de la migración y el desarrollo.

Free South Africa (Sudáfrica libre), 1985 Keith Haring United States (Reading, PA, USA, 1958 New York, USA, 1990) lithograph on paper (15/60) (litografía sobre papel 15/60) 40 x 32 inches (101 x 81 cm)

His original approach was apparent in graffiti-inspired symbols expanded into large-scale designs of generative energy. At the height of the Punk Rock movement in the late 1970s he participated in the lively New York club scene, working with such street artists as ‘Samo’ (Jean-Michel Basquiat, b 1960). In the summer of 1980 he took up drawing, inventing intricate cartoon-style murals of mutant figures locked in hyper-physical engagement. He was a meteoric star in American art during the 1980s, and his work became a symbol of the tribal undercurrents that permeate metropolitan life.

Haring se reveló la originalidad de sus símbolos, inspirados en grafitis y ampliados a diseños en gran escala. Durante el auge del punk rock, a fines de los setenta, participó en la escena nocturna de los clubes neoyorkinos.

En esa época trabajó con artistas callejeros, como el célebre “Samo” (Jean-Michel Basquiat). En el verano de 1980 se abocó al dibujo, creando intrincados murales de figuras mutantes enzarzadas en combates híperfísicos. Fue una estrella meteórica del arte estadounidense en la década de 1980. Su obra se convirtió en símbolo de las contracorrientes tribales que habitan las metrópolis.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Emiliano Zapata and Diego Bolivar, Our Grandchildren (Emiliano Zapata y Diego Bolívar, nuestros nietos), 1997 Mauricio Lasansky United States (Buenos Aires, Argentina, 1914 Iowa City, Iowa, USA, 2012) intaglio on paper 60/70 (grabado sobre papel 60/70) 64 1/2 x 40 inches (164 x 102 cm)

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Mauricio Lasansky won a Guggenheim Fellowship to travel to the USA in 1943 and spent his time at the Metropolitan Museum in New York studying collections of contemporary and Old Master prints. Upon the renewal of his grant he worked at S. W. Hayter’s Atelier 17, devoting himself to improving his technique in intaglio printing. In 1945, he was appointed lecturer in printmaking at the University of Iowa in Iowa City, where he sought to perpetuate the tradition of the Renaissance workshop.

Mauricio Lasansky ganó en 1943 una beca Guggenheim para viajar a Estados Unidos, donde pasó largo tiempo en el Museo Metropolitano de Nueva York estudiando colecciones de maestros del grabado, tanto antiguos como contemporáneos. Cuando se le renovó la beca trabajaba en el Atelier 17, de Stanley W. Hayter, con el propósito de mejorar su técnica de grabado en intaglio.

En 1945 fue nombrado profesor de grabado en la Universidad de Iowa, donde bregó por perpetuar la tradición del taller renacentista.

Bicentennial Print (Grabado bicentenario), 1975 Roy Lichtenstein United States (New York, USA, 1923 - New York, USA, 1997) lithograph on paper (litografía sobre papel) 30 x 23 inches (76 x 58 cm)

From his studio in New York, Roy Lichtenstein created cartoon-inspired paintings that helped launch the Pop Art movement. He incorporated many late 20th century movements and addressed a number of social issues.

Although Lichtenstein’s pop paintings had popular acceptance, he began to work in a static abstract expressionist style in the mid 1960s. In the 1990s, he created large-scale abstract interiors, and worked in ceramics and enameled steel. Throughout his career, he appeared in documentary films and created posters, including Bill Clinton’s United States presidential campaign.

En su estudio de Nueva York, Roy Lichtenstein creó pinturas inspiradas en historietas que contribuyeron a lanzar el arte pop. Incorporó numerosos movimientos del siglo XX y abordó diversas cuestiones sociales. Aunque sus pinturas pop tenían gran aceptación popular, Lichtenstein comenzó a trabajar en un estilo expresionista abstracto a mediados de los años sesenta. Durante la década de 1990 produjo interiores abstractos en gran escala y trabajó con cerámica y acero esmaltado. A lo largo de su carrera también apareció en filmes documentales y creó afiches, incluido el de la campaña presidencial de Bill Clinton.

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Mother and Child (Madre e hijo), 1986 Andy Warhol United States (Pittsburgh, PA, 1928 New York, NY, 1987) screenprint on paper, AP (4/50) (grabado sobre papel, PA 4/50) 36 x 36 inches (91 x 91 cm)

Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th century art, such as the Campbell’s Soup Cans, Disasters and Marilyns. At the start of the 1970s, Warhol began publishing Interview magazine and renewed his focus on painting. Works created in this decade include Maos, Skulls, Hammer and Sickles, Torsos and Shadows and many commissioned portraits. In 1989, the Museum of Modern Art in New York had a major retrospective of his works. The Andy Warhol Museum opened in Pittsburgh, Pennsylvania, in May 1994.

Apropiándose de imágenes de la cultura popular, Andy Warhol produjo numerosas pinturas que continúan siendo íconos del siglo XX, como las latas de Sopa Campbell, los Desastres y las Marilyns. A comienzos de los setenta, Warhol comenzó a publicar la revista Interview y renovó su foco en la pintura. Entre las obras creadas durante esa década se cuentan las series Mao, Calaveras, Hoz y Martillo, así como muchos retratos por encargo. En 1989, el Museo de Arte de Nueva York realizó una importante exposición retrospectiva de sus obras. En mayo de 1994 se inauguró en Pittsburgh, Pennsylvania, el Museo Andy Warhol.

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Estancia con Ombú (Ranch with Ombú Tree), 2006 Jorge Damiani Uruguay (Nervi, Italy, 1931 - ) acrylic on canvas (acrílico sobre tela) 27 9/16 x 39 3/8 inches (70 x 100 cm)

Son of the baritone Víctor Damián, Damiani moved to Montevideo as an infant with his family. He returned to Europe to study at the Brera Academy in Milan in the 1950s, and received two Guggenheim scholarships to study in New York City. His first real exhibition was held in Montevideo in 1963. Since then his works have been included in numerous exhibitions, culminating with a retrospective in the Municipal Hall, 1991.

Hijo del barítono Víctor Damián, Jorge Damiani se estableció con su familia en Montevideo cuando era niño aún. Regresó a Europa para estudiar en la Academia Brera, en Milán, durante la década de 1950, y recibió dos becas Guggenheim para estudiar en Nueva York. Su primera exposición verdadera se realizó en Montevideo, en 1963, y desde entonces sus obras fueron incluidas en numerosas exposiciones, que culminaron en la gran retrospectiva del Salón Municipal de Montevideo, en 1991.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Idilio campero (Idyllic Countryside), c. 1935 Pedro Figari Uruguay (Montevideo, Uruguay, 1861 Montevideo, Uruguay, 1938) oil on board (óleo sobre cartón) 13 ¼ x 19 ¾ inches (34 x 50 cm)

During Figari’s youth his family spent time at a farm in what now is downtown Tres Cruces, with a shore on the bay, which was later filled and urbanized. In this almost rural area Figari had views of society that were later the subjects of his paintings: Afro-American communities, army barracks, and slums. For a time he painted mostly landscapes, often nocturnes, without human figures. Around 1919, his pictorial maturity began when he painted almost exclusively on straw colored cardboard that always appears between brushstrokes.

Durante su juventud, Pedro Figari pasó una temporada con su familia en una granja situada en el actual centro de Tres Cruces, en Montevideo, desde donde se veía la ribera sobre la bahía. Más tarde, ese paisaje desaparecería bajo los embates de la urbanización. En aquel territorio casi rural, Figari vio estampas de la sociedad que luego pasaron a ser tema de sus pinturas: comunidades afroamericanas, barracones del ejército y barriadas pobres. Durante un tiempo realizó principalmente paisajes, a menudo nocturnos, sin figuras humanas. Su madurez pictórica comenzó hacia 1919, en una etapa en la que pintaba casi exclusivamente óleos sobre cartón, cuyo característico color amarillento por momentos asoma entre las pinceladas.

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Códices Americanos, Serie de la Paz (American Manuscripts, Peace Series), 2003 Raquel Orzuj Uruguay (Montevideo, Uruguay, 1939 - ) ink and wax on handmade paper (tinta y cera sobre papel hecho a mano) 37 x 28 inches (94 x 71 cm)

Raquel Orzuj is an artist, painter, engraver, sketcher, and cartoonist. She has worked as an art analyst and researcher, teacher, and magazine editor specializing in art and cartoons. She trained at the National School of Fine Arts, Teacher Training Institute, and the prestigious Torres Garcia Studio.

She has received 23 international prizes and been invited to show her work in many exhibitions around the world.

Raquel Orzuj es pintora, grabadora, dibujante e historietista. Trabajó como analista e investigadora del arte, maestra y editora de revistas especializadas en arte e historietas. Se formó en la Escuela Nacional de Bellas Artes, el Instituto de Profesores Artigas y el prestigioso estudio Torres García. Ha recibido veintitrés premios internacionales y fue invitada a exhibir sus obras en exposiciones de todo el mundo.

IDB Cultural Center 20th Anniversary

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Indoamérica, sol y tierra (Indo-America, Sun and Earth), 1938 Joaquín Torres-García Uruguay (Montevideo, Uruguay, 1874 Montevideo, Uruguay, 1949) graphite on paper (grafito sobre papel) 7 ¾ x 5 3/8 inches (20 x 14 cm)

At age seventeen, Torres-García’s family emigrated back to Catalunya, Spain where he began to study painting, and even worked with Gaudi on the cathedrals of Sagrada Familia and Palma de Mallorca. In 1904 he published an article in the Universitat Catalana magazine that stated art must never copy reality, revealing his idealized concept of art. In 1910 he organized the Uruguayan pavilion at the World’s Fair, and eventually returned to his native country.

Cuando la familia de Torres García decidió partir de regreso a Cataluña, España, el joven Joaquín tenía diecisiete años de edad.

Allí comenzó a estudiar pintura y llegó a trabajar con Gaudí en las catedrales de la Sagrada Familia y de Palma de Mallorca. En 1904, Torres García publicó un artículo en la revista de la Universitat Catalane, en el que subrayaba su concepción idealista, según la cual el arte nunca debía copiar a la realidad. En 1910 organizó el Pabellón Uruguayo en la Feria Mundial de Bruselas. Unas décadas más tarde regresó a Montevideo para establecerse definitivamente en su tierra natal, donde fundó su célebre estudio.

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Inducción cromática (Chromatic Induction), 1978 Carlos Cruz-Diez Venezuela (Venezuela, Caracas, 1923 - ) ink printed on silk (tinta impresa sobre seda) 28 ½ x 31 ½ inches (72 x 80 cm)

Carlos Cruz-Diez is known internationally for his experiments with Op and Kinetic Art, which he has developed since the 1950s. Traditionally, Kinetic Art includes moving elements. In Cruz-Diez’s work the movement is an optical illusion, produced by his sophisticated use of light and color to create virtual volumes: these move and change depending on the position of the viewer. As the viewer passes the work, previously invisible colors and geometric forms emerge and the whole composition appears to vibrate.

Carlos Cruz-Diez adquirió fama internacional por sus experimentos con arte óptico (op art) y cinético, que fue desarrollando desde la década de 1950. El arte cinético, como su nombre lo indica, incluye tradicionalmente elementos móviles. Sin embargo, en las obras de Cruz-Diez el movimiento es una ilusión óptica, producida por un sofisticado uso de la luz y del color, cuyo propósito es la creación de volúmenes virtuales que se mueven y cambian según la posición del espectador. A medida que éste recorre la obra, surgen colores y formas geométricas que eran invisibles: la composición entera parece vibrar.

IDBCultural CulturalCenter Center 20th 20th Anniversary Anniversary IDB

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Muros signos (Wall Signs), 1961 Humberto Jaimes Sánchez Venezuela (San Cristóbal, Venezuela, 1930 Caracas, Venezuela, 2003) oil on canvas (óleo sobre tela) 29 ½ x 27 ½ inches (75 x 70 cm)

As a Venezuelan abstract artist in the 1960s, Jaimes Sánchez was influenced by Spanish Informalism, which led him to join the “Informalistas” group between 1960 and 1962. In 1961 he began printmaking, joining the group of engravers “El Taller” in 1962.

In the same year he won the National Prize for Painting at the Venezuelan Salón Oficial. This painting by Jaimes Sánchez belongs to a period in which textural effects took precedence over color in the artist’s interest.

Como artista abstracto venezolano de los años sesenta, Jaimes Sánchez, que recibió influencias del informalismo español, integró el grupo de “informalistas” entre 1960 y 1962. En 1961 comenzó a hacer grabados, y al año siguiente se sumó al grupo de grabadores “El Taller”. En ese mismo año, 1962, ganó el Premio Nacional de Pintura en el Salón Oficial Anual de Arte Venezolano. Esta pintura de Jaimes Sánchez pertenece a un período en el cual los efectos texturales cobraron precedencia sobre los colores en el interés del artista.

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Sin título (Untitled), c. 1990 Jesús Rafael Soto Venezuela (Ciudad Bolivar, 1923 - Paris, France, 2005) serigraphy on paper (41/99) (serigrafía sobre papel 41/99) 22 x 39 ¾ inches (56 x 101 cm)

Soto’s abstract paintings were composed of serialized and geometric forms that suggested effects of motion. In a series of works incorporating real and apparent, Soto favored industrial and modern synthetic materials such as perspex, nylon, steel, thin metal rods and industrial paint. In the early 1960s he explored the textures of found objects, including old wood, discarded and rusty wire, and unraveled rope. His kinetic works created oppositions between static and dynamic elements so as to invite the spectator’s active participation, both visually and intellectually.

Las pinturas abstractas de Jesús Rafael Soto se componen de formas serializadas y geométricas que sugieren efectos de movimiento. En sus trabajos, que incorporan lo real y lo aparente, Soto dio preferencia a los materiales sintéticos modernos, como el acrílico, el nailon, el acero, finas varillas metálicas y la pintura industrial. A principios de los años sesenta, el artista exploró las texturas de objetos que recuperaba de los desechos, como trozos de madera vieja, alambres oxidados y cuerdas deshilachadas. Sus obras cinéticas exhiben contraposiciones entre elementos estáticos y dinámicos, invitando al espectador a participar activamente con la mirada y también con el intelecto.

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Highlights from Idb Cultural Center Activities Actividades sobresalientes del Centro Cultural del BID

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

ARGENTINA 2/96 What a time it was...Life and Culture in Buenos Aries, 1880-1920

9/92 Santa Fe Guitar Quartet

4/94 Panel on Democracy in Argentina, producer Aida Bortnik, journalists Santiago Kovadloff and Juan Carlos Martini

1995 Lihuen Antú Association

5/08 On with the Show! A Celebration of the 100th Anniversary and Restoration of the Teatro Colón

2/97 Camerata Bariloche, string orchestra

7/96 Architect Rodolfo Machado, Design in Public Places Today

1995 Errante Puppet Theater

6/06 Alberto Rojo, singer, songwriter, guitarist

5/99 Novelist Tomás Eloy Martínez, Latin America: History and Fiction

1995 City Museum of Tandil

5/00 Historian María Susana Azzi, book presentation, Le Grand Tango: The Life and Music of Astor Piazzolla

1996 Aranguren Training Institute

4/01 Filmmaker Eliseo Subiela, panel discussion, Film Production and Marketing in Latin America, with Gael García Bernal

1997 Center for Theatrical Research

4/02 Anthropologist Néstor García Canclini, 1999 Department of Culture, Neuquén Culture Industries and the Development Crisis in Latin American Development 6/04 Writer Marcos Aguinis, Convictions That Sabotage Progress

2000 Municipality of La Paz, Entre Ríos

2/07 Film premiere, Kamchatka, with director 2000 Amanecer Grupo Casa Marcelo Pinyero 2/10 Novelist Mempo Giardinelli, dialogue with Fernando Operé

2001 Saga Theater Research Movement

11/10 Film premiere, León Gieco´s Mundo Alas, with performance by Gieco

2001 Criminal Policy and Penitentiary Affairs Department

8/11 Film premiere, Awka Liwen, Rebellion at Dawn, with director Mariano Aiello

2002 Ship of Dreams

4/12 Film premiere, El Dedo, DC FilmFest

2002 Cultural Activities Association 2003 Itinerant Cultural Company 2004 San Telmo Civil Association 2004 Cervantes National Theater 2005 Sta. Rosa Agricultural Research Association, Salta 2005 Casa de la Siberia, National University of Rosario 2006 Buenos Aires Civic Association 2006 Argentinean Library for the Blind 2007 Catalinas Theater Group 2007 Municipal Commission of Cusi Cusi 2008 Pueyrredón Historical Museum 2008 Universidad Nacional de Comahue 2008 Instituto Qheshwa Jujuymanta 2008 Colonia San José Historical Museum 2009 Arts and Crafts Traditional Folk Museum 2010 Nampelkan Civil Society 2011 Centro Foro y Estudios Culturales Argentinos

A ustria 12/02 Eggner Trio, classical

10/03 Ars Electronia Museum Director, Gerfried Stocker

1/06 Jehi Bahk & Paul Gulda Duo, violin and piano, Mozart anniversary IDB Cultural Center 20th Anniversary

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

B ahamas 6/00 On the Edge of Time: Contemporary Art from the Bahamas

9/03 Joann Deveaux-Callender, soprano

6/00 Professor Ian Gregory Strachan, Columbus’ Ghost: Tourism, Art and National Identity in the Bahamas

1996 National Gallery of Art

7/00 Cultural historian Patricia Meicholas, Talkin’ Ol’ Story: A Brief Survey of the Oral Tradition of the Bahamas

1998 National Song and Art Competition

4/10 Cultural historian Dr. Nicolette Bethel, What Price Culture? The Challenge of Cultural Development in the Caribbean

2000 Department of Archives

2001 Bahamas National Youth Orchestra 2004 National Gallery of Art of Bahamas 2005 Ringplay Productions Theater Co. 2007 St. Matthew´s Youth Ministries 2008 The Hub, Nassau 2009 Boys Choir of Bahamas 2010 Bahamas Writers Summer Institute

B arbados 5/99 Parallel Realities: Five Pioneering Artists from Barbados

6/03 Arturo Tappin, saxophone and jazz quartet

12/96 Poet Kamau Brathwaite

1996 Barbados Museum and Historical Society 1997 Barbados National Youth Orchestra 2000 National Cultural Foundation 2001 Barbados Dance Theater 2003 Barbados Crafts Council 2003 Seeing Art 2004 Association of Private Child-Care Operators 2005 Israel Lovell Foundation 2008 National Cultural Foundation Library 2011 Pinelands Creative Workshops-PCW

B elgium 9/99 Kolacny Piano Duo

7/06 Cornell University professor Bruno Bosteels, Borges, Politics and Ethics

9/02 Andy Palacio and the Garífuna All-Star Band, punta rock

11/93 US archeologist Peter Dunham, The Lost Cities of the Maya Mountains

1997 Belize National Museum

12/06 Chico Ramos and Friends

9/94 Novelist Zee Edgell, Belize: A Literary Perspective

1998 Ambergris Museum

B elize 8/02 The Art of Belize: Then and Now

2000 Indigenous Training Institute 2001 Society for Promotion of Eco-Cultural Tourism and the Environment 2001 Pantempters Steel Orchestra 2002 House of Culture, Cayo 2002 Banquitas House of Culture 2002 Image Factory Art Foundation 2003 Belize Arts Council 2003 House of Culture, Benque Viejo

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2004 Price Centre for Peace and Development 2005 Dramatic Force International 2006 Association for the Protection of the MesoAmerican Barrier Reef 2007 Yo Creek Cultural Dance Group 2008 National Kriol Council 2009 Placencia Peninsula Arts Association 2011 Cácálenel Car Sa Nima (Riverfish Protectors), Toledo

B olivia 11/96 Between the Past and the Present: Nationalist Tendencies in Bolivian Art, 1925-1950

10/01 Piraí Vaca, guitar

4/96 Historian Juan Albarracin-Jordan, 1996 IDB/CASVA scholar, Images of the Pre-Columbian Past in 20th Century Bolivian History

1996 BHN Foundation

8/04 Folk Art in Bolivia: Celebration of Everyday Life

9/04 Juan Lázaro Méndolas, indigenous flute

11/04 Indigenous leader, Dr. Waskar Ari, Aymara Participation in Bolivian Politics and Current Democracy

1997 Eduardo Laredo National Institute

2/12 Willy Clauré, guitar, cueca

3/06 Novelist Edmundo Paz-Soldán, In Evo Morales’ Bolivia

2000 Municipal Government of La Paz

4/07 Novelist Juan de Recacoechea and English translator Adrian Althoff book presentation, American Visa, with excerpts from the film

2001 Arca-Ira Foundation

12/07 Film premiere, Los Andes No Creen en Dios, with director Antonio Eguino

2001 National Festival of Marionette Theater

6/12 Novelist Rodrigo Hasbún, Recent Trends in Latin American Literature

2002 Artewasi 2002 Office of Cultural Heritage 2002 Volunteers in Action 2003 Advenir Association 2003 SCIENTIA Consultoria Cientifica 2004 Association for the Arts and Culture 2004 Luz Universal Integral Programs 2004 Episcopal Commission of Education 2005 Tomás Katari Technical Institute 2006 Andean Cultural Center 2007 National Museum of Ethnography and Folklore 2008 Reyes Folk and Archaeological Museum 2008 Ayllus de Tinguipaya, Potosí 2009 Imagen Foundation 2010 Philharmonic Music Society- Santa Cruz Youth Symphony 2011 Metamorfosis

B razil 7/97 Brazilian Sculpture from 1920 to 1990 (collaborative)

5/96 Camerata Antiqua de Curitiba, chamber orchestra and chorus

9/96 Sociologist Roberto DaMatta, Understanding Messianism in Brazil: Notes from a Social Anthropologist

1998 Ministry of Culture and Recreation

4/00 Athletes of Brazil (collaborative)

6/97 Daniel Wolff and Thiago de Mello, guitar and percussion

11/99 Novelist Nélida Piñon, The Female Memory in the Narrative

2002 Public Library of Fortaleza

2/06 A Beautiful Horizon- The Arts of Minas Gerais

2/98 Quinteto D'Elas, chamber ensemble

10/03 Minister of Culture Gilberto Gil, Brazilian Culture: Creativity and Development

2003 Ceará Public Library

4/00 Fabio Zanon, classical guitar, Brazil quincentennial

4/05 Filmmaker Tizuka Yamasaki, Japanese Immigration to Brazil in the 20th Century

2004 Waku’mä Artistic and Cultural Productions

IDB Cultural Center 20th Anniversary

77

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

4/00 Tania Lisboa and Miriam Braga, cello and guitar, Brazil quincentennial

9/05 Film premiere, My Uncle Killed a Guy, Latin American Film Festival

2004 Ministry of Evangelization and Social Assistance

11/00 ANIMA, classical/folk ensemble

5/06 Film premiere, This is Bossa Nova, DC FilmFest

2004 National Center of Studies and Projects

2/02 Sao Paulo String Quartet, chamber ensemble

10/09 Film premiere, Veronica, Latin American Film Festival

2005 Union of Show Business Artists and Technicians

7/02 Marcos Valle & Os Cariocas, bossa nova pioneers

2005 Economic Development Agency of Campo Grande

2/05 Gilberto Gil, tropicalia star, inauguration of EVI Conference Center

2006 Joaquim Nabuco Foundation

5/06 Vinicius Cantuaria, and band

2006 Center for Employment of Native and Indigenous People

1/08 Brazilian Guitar Quartet, classical

2006 Novos Curupiras Ecological Action Group 2007 Artisans Association of the Leonidas Marques Municipality 2007 GEMA Brazil Cultural Association 2008 Regional Museum, Sao Joao del Rei, Minas Gerais 2008 Arte Tropeira, Sao Paulo 2008 Brazilian Federation of Dance, Brasilia 2009 Chico Rei Afro-Brazilian Cultural Center 2009 Nova Uniao dos Pequenos Productors, Vaca Community 2010 José Lazzarini Foundation 2010 Roots in Movement Institute 2010 Acre Youth Network in Action 2011 Casa de Barro Açoes Culturais 2011 Terra Viva Institute , Bahia

CANADA 12/00 Masterpieces of Canadian Inuit Sculpture

2/06 Dale Kavanagh, guitar

2/11 Canadian Impressions

7/97 Architect Douglas Cardinal, Architecture as a Living Process 2/01 Roch Carrier, National Librarian of Canada, Multi-culturalism: Bringing the Rainbow into the House 3/01 Ethnobotanist/explorer Wade Davis, The Light at the Edge of the World 2/05 Derrick de Kerckhove, Director of Univ.

Toronto McLuhan Program, Electricity and Culture in Developing Countries 9/09 Film screening, The Saddest Music in the World 10/09 Film screening, Mon oncle Antoine 3/11 Film premiere, Earth Keepers, with filmmaker Mikael Rioux, DC Environmental Film Festival

C hile 2/01 Tribute to Chile, Violeta Parra, 1917-1967: Tapestries and Oil Paintings

78

10/94 Ensemble Bartok, contemporary

3/93 Novelist José Donoso, Houses, Voices and Languages in Latin America

1995 University of Valparaíso

11/95 Verónica Villarroel, soprano

9/99 Art historian Leopoldo Castedo, Cultural Foundations of Latin American Integration

1996 Tiempos Nuevos Foundation

Art in Society: The Power of Culture

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

6/96 Angel Parra, folksinger

1/01 Statesman Gabriel Valdés, Globalization, Politics, and Ethics

1998 El Canelo de Nos Corporation

3/01 Violeta Sinfónica, with Isabel Parra and family

5/01 Novelist Jorge Edwards, The Novel and Society in Latin America

1999 Mackenna Children’s Hospital

5/08 Cecilia Echenique and Eduardo Peralta, folk duo

11/03 Novelist Albert Fuguet, book presentation, Movies of My Life

1999 Museum of San Francisco de la Alameda

2/04 Writer Ariel Dorfman, book presentation, Desert Memories: Journeys in the Chilean North

2000 Amor en el Sur Films

6/06 Poetry recital by Pablo Neruda recording played at the IDB 40 years after he came to Washington (CD Reproduction)

2000 Writers Society of Chile

4/12 Film premiere, MadWomen, with director María Elena Wood and heir/archivist Doris Atkinson, a documentary on the private life of Gabriela Mistral

2001 Facetas Theater Group

2002 Lo Barnechea Cultural Corporation 2003 CreArte Corporation 2003 CultivArte 2004 Municipality of Valparaíso 2004 Manuel Rojas Cultural Center 2005 Esperpentia de Batuco Cultural Group 2005 Cultural Corp. of Peñaflor 2006 Municipality of Punta Arenas 2006 Balmaceda Cultural Corporation 2007 Private Corporation for Promotion of Science and Technology 2007 Municipality of San Juan de la Costa 2007 Mapuche Council of Cerro Navia, Santiago 2008 Torres del Payne National Park 2008 Trañi Trañi Education Center 2009 Achen Cultural Network 2010 Escenalborde Cultural Center 2011 CIHDE. Centro de Investigaciones del Hombre en el Desierto, Arica and Parinacota

C hina 1/10 Xiapei Xu, pianist

C olombia 10/93 Colombia: Land of El Dorado

1/94 Mauricio Mejía, piano

4/93 Historian Germán Arciniegas, How the History of America Began

1996 José María Delgado Foundation

9/98 Points of Departure in Contemporary Colombian Art

4/95 Grupo Ballestrinque, choir

4/98 Novelist Albalucía Angel, Out of Silence

1996 Academy of Music in Puerto Gaitán

11/97 Adrian Chamorro and Blanca Uribe, violin and piano

7/04 Writer William Ospina , Hölderlin and the U’was – A Reflection on Nature, Culture and Development

1996 El Contrabajo Cultural Foundation

9/98 Música Ficta, colonial ensemble

10/04 Writer Darío Ruiz Gómez, The Difficulty of Telling the Truth

1997 University of Antioquia

2/09 Grupo Bahía Ensemble, folk-jazz

1998 Museum of Antioquia 10/08 Roundtable discussion on Bogotá: The Proud Revival of a City, IDB President Moreno, Carolina Barco (Colombian ambassador), Jaime Castro (former Mayor of Bogotá), and Gerard Martin

IDB Cultural Center 20th Anniversary

79

EXHIBITIONS

CONCERTS 6/12 Champeta pioneer Charles King and the Intelligents at Artomatic

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

1/08 Film premiere, Apocalipsur, with director Javier Mejía

1999 International Cinema Corporation

12/08 Film premiere, Paradise Travel, with producer Alex Pereira

1999 Las Palmeras Cultural Center in Cartagena

4/10 Film premiere, Blood and Rain, with director Jorge Navas

2000 Revista Promoteo Corporación de Arte y Poesía

4/10 Film premiere, Wind Journeys, with director Ciro Guerra, DC FilmFest

2000 Escuela Superior de Artes Arango

5/11 Writer Laura Restrepo, The Lack of Memory in Latin America That Causes History to Repeat Itself, and book presentation No Place for Heroes

2001 Universidad Nacional, urban music program

2001 Cartagena Museum of Modern Art 2002 National Museum of Colombia 2002 Latin Corner Theater 2002 El Refugio Foundation 2003 Popular Theater Network Association 2003 San Vicente Secretariat of Culture 2004 Fund for the Promotion of Culture 2004 Bucaramanga Modern Art Museum 2004 Friends of the Art Collection of the Bank of the Republic 2005 Social Foundation Banacol 2005 Sto. Domingo de Guzmán Cultural and Social Foundation 2006 Kootirrawa Foundation 2006 Integrity and Transparency Foundation of the Atlantic 2006 Peace, Love, and Library Youth Organization 2007 PazcaArte Cultural Environmental Corporation 2007 Aurelio Mosquera Caicedo Foundation 2008 Metals workshop, Cartagena 2008 Pueblo de Totoró indigenous rituals 2009 Universidad Pedagógica y Tecnológica 2010 Business Development Corporation of Northern Santander- PROEMPRESAS 2011 Fundación La Tortuga Triste, Cauca

C osta R ica 6/93 Journey to Modernism: Costa Rican Painting and Sculpture from 1864 to 1959

1/11 Pablo Esquivel debut, piano

5/07 Young Costa Rican Artists: Nine Proposals

11/00 Statesman Oscar Arias, Nobel laureate, Values, Leadership, Development and the IDB

1994 Pax Natura exhibit

12/03 Smithsonian Museum Director Cristián Samper, The Cultural Ecology of the Americas

1997 National Theater 1999 Ministry of Culture, Youth, and Sports, Heredia Adult Choir 2000 Dirección General de Cultura 2001 Costa Rican Museum of Art 2002 Action Plan on Indigenous Reserves 2003 Ministry of Culture, Youth, and Sports, Creative Hands Program 2004 Municipal Music School of Aserrí

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Art in Society: The Power of Culture

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2005 Kus Kura Civil Company 2005 Nuestras Voces Communication Center 2006 Association for the Preservation of Flora and Wildlife 2006 Ministry of Culture, Youth and Sports 2007 Vecino Education Center 2008 Institute of Community Education 2009 Bríbipa Kaneplo Association 2010 AMUBIS Cultural Association 2011 Desamparados Municipality, Culture and Tourism Unit

C roatia 2/05 Robert Belinic, classical guitar 2/09 Pianist Srdjan Caldarovic and violinist Ivan Novinc

D enmark 10/02 Opera composer Poul Ruders with guitarist David Starobin

D ominican R epublic 10/97 Mystery and Mysticism in Dominican Art

10/97 Antonio Rincón, violin

10/97 French art historian/curator Marianne de Tolentino, From Expression to Expressionism in Dominican Art

2001 Cibao Philharmonic Foundation

9/08 Inside and Out: Trends in the Arts of the Dominican Republic

5/11 Laurie Rubin, mezzo soprano

6/00 Novelist Julia Alvarez, book presentation, In the Name of Salomé

2002 LA and Carib Assoc Cultural Agents

6/06 Film premiere, Feast of the Goat, with Isabella Rossellini and director Luis Llosa

2002 Secretariat of State for Culture 2003 Santo Domingo Autonomous University 2003 Don Bosco Children´s Center 2005 Atlántica Foundation 2007 Community Development Society of Gualey 2008 Dominican Institute for Integral Development 2009 Dominican Institute of Comprehensive Development IDDI 2010 Moon School Theater Foundation

E cuador 10/94 17th and 18th Century Sculpture in Quito

7/04 Trio Colonial, popular music

10/94 Art historian and curator Magdalena Gallegos de Donoso, The Development of Sculpture in the Quito School

1996 Central University art competition

11/07 Alex Alvear, 12 piece band, with singer Marta Gómez, folk rock

3/97 Poet Raúl Pérez Torres, Brief Notes on Ecuadorian and U.S. Literature

1997 Pichincha College of Journalism

7/12 Film premiere, Pescador

1998 Coastal Association of Archaeology and Anthropology Alumni 2000 Cultural and Ecological Research Center 2001 El Espacio Arts Center 2001 Benjamín Carrión Center for Ecuadorian Culture 2002 Christian Youth Association 2003 Pichincha Foundation IDB Cultural Center 20th Anniversary

81

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2003 National Dance Company 2004 Quito Historic Center Corporation 2004 Cactus Azul Scenic Art Foundation 2005 Ecological Defense Foundation 2005 MARKA Institute of History and Andean Anthropology 2006 Municipality of Ibarra 2006 IX Cuenca International Biennial of Painting 2007 City Eco-Management Consortium 2007 Ibero-American Virtual Unity Foundation 2008 Ashé Cultural Foundation 2009 Sinchi Sacha Foundation 2010 Corporation for Human Development- National Cultural Network- RIN

E l S alvador 9/00 Two Visions of El Salvador: Modern Art and Folk Art

10/00 Poet Miguel Huezo Mixco, The Construction of Cultural Identity in El Salvador as Seen Through its Literature

1994 Art exhibition at COF

6/11 Archaeologist Dr. Fabio Esteban Amador, 1997 Museum of Words and Images Cultural Identity in El Salvador: Olmec, Maya, Toltec, Pipil?

1998 CELARTE 2000 CONCULTURA - National Museum of Anthropology 2001 ProArte Association 2001 Museum of Modern Art Association 2002 El Salvador Poets Foundation 2002 Universidad Centroamericana Film Club 2003 El Salvador Technological University 2003 Radio program on cultural journalism 2004 Ciudad Delgado Museum 2004 Tiempos Nuevos Theater 2005 AP-ARTE Association for the Arts 2005 RAIS- Institute for the Rescue of Ancient Anthropology 2006 Association for the Organization and Education of Entrepreneurial Women of El Salvador 2007 National Foundation for Development, FUNDE 2008 Art Museum of El Salvador 2008 ACCIES Indigenous Communities 2009 Cultural Restoration of Suchitoto 2010 Izalco Indigenous Community Foundation 2011 Opera El Salvador Association

F inland 11/94 Jan-Erik Gustafsson, classical cello

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

1/95 Jean-Efflam Bavouzet, classical piano

3/99 Architectural historian Isabelle Gournay, The Transformation of Paris in the Second Empire

DEVELOPMENT GRANTS

F rance 2/99 L'Estampe en France: 34 Young Printmakers 9/99 Contemporary French Printmaking, traveling exhibition to Rio de Janeiro, Brazil

G ermany 10/96 Duo Sonare, classical guitar duo 2/07 Jacques Thibaud Trio with the Poulenc Trio

G uatemala 10/98 A Legacy of Gods: Textiles and Woodcarvings from Guatemala

3/94 Luis Girón May and Consuelo Medinilla, baritone and piano

10/93 Indigenous leader Rigoberta Menchú, Nobel laureate, The International Year of Indigenous Peoples

1999 New World Archaeological Foundation

2/07 Guatemala – Past and Future

11/05 Millennium Ensemble, Baroque chamber music

2/07 Minister of Culture Manuel Salazar, Mayan Cosmovision

2000 Center for Development Studies

3/07 Cuarteto Contemporáneo de Guatemala

2/07 Petén expert Eduardo Cofiño, Petén: Problems and Opportunities

2001 Association to Promote Lenten Traditions

7/09 Film premiere, Gasolina

2002 Music and Youth Foundation 2002 Ixchel Museum of Textiles 2003 Yun Qax Civil Association 2003 Green Alliance Association 2003 Neurological Institute 2005 Espacio Blanco Theater Group 2005 Association for Integral Development of Civil Society 2006 Adrían Inés Chávez Center for Mayan Studies 2006 Social Development Office of the Municipality of Guatemala 2007 Civil Society for the Development of Housing, SODEVIP 2007 Committee for the Improvement of the Temple 2008 Museum of Ancient Texts, Antigua 2008 Gabina Foundation 2009 Defensores de la Naturaleza Foundation 2010 Fourth World Movement 2010 Ministry of Sports and Culture of Guatemala: Office of the Director General of the Arts 2011 Mejoramiento Habitacional de GuatemalaAssociation MejorHa

G uyana 6/06 The Arts of Guyana: A Multicultural Caribbean Adventure

8/03 Slingshot and the Tropical Waves

11/98 Novelist Fred D'Aguiar, Made in Guyana

1996 University of Guyana, Latin American Resource Project

8/00 Statesman Sir Shridath Ramphal, Is 2000 a Time for Celebration? The Caribbean Looks at Globalization

1999 Ministry of Culture, Youth and Sports, museum training course

IDB Cultural Center 20th Anniversary

83

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS 7/06 Professor Rupert Roopnaraine, The Culture of Politics and the Politics of Culture: Martin Carter and Stanley Greaves

DEVELOPMENT GRANTS 2001 Ministry of Culture

2002 Harmony Project 2002 Guyana Women Artists Association 2003 Varqa Foundation 2004 Ninth Region Indigenous Development Association 2004 Dayspring Guidance Center 2005 Conservation International 2006 The Arts Forum, Inc. 2007 Guyana Teachers Union 2008 GuyberNet Training Center 2009 Guyana Women Artists Association 2010 Mainstay Village Council 2011 Merundoi Incorporated

H aiti 5/04 Vive Haiti! Contemporary Art of the Haitian Diaspora

7/01 Emeline Michel, singer/songwriter and her band

12/95 Novelist Edwidge Danticat, Haiti: A Bi-Cultural Experience

2000 AfricAmerica Foundation

6/12 Discover Haiti, arts and crafts marketed by Donna Karan’s Urban Zen.

5/02 Amos Coulanges, guitarist/ composer

2/08 US writer Madison Smartt Bell, book presentation, Toussaint Louverture- A Biography

2001 College St. Pierre Museum

5/04 Beethova Obas, popular singer/ songwriter and his band

5/10 Magali Comeau Denis, Rebuilding Haiti Through Its Culture

2001 Culture Creation Foundation 2002 Pyepoudre Cultural Center 2004 Foundation and Institute for Women Entrepeneures 2005 National School for the Arts 2005 Haitian National Pantheon Museum 2006 Compagnie NIFE Theater and Visual Arts Company 2006 Association for Dance and Theater- ASDATH 2007 Organization for Southern Renewal of Haiti 2007 Cooperative for the Rehabilitation of the Environment 2008 ADANO Artists Association 2008 ARCADE Cultural Association 2009 Haitian Fine Arts and Crafts 2009 Socio-cultural center in Gombo

H onduras 6/01 Honduras: Ancient and Modern Trails

84

9/01 Honduras Ensemble, chamber ensemble

Art in Society: The Power of Culture

2/95 US archaeologist James Brady, La Cueva del Río Talgua: The Cave of the Glowing Skulls

1994 Youth Orchestra of Tegucigalpa

5/97 Poet Roberto Sosa, Poetry and Society: Those Who Come Wrapped in a Blanket

1997 Floral Games of San Marcos

6/01 Anthropologist and museum director Olga Joya, Copan: Past and Present, with Harvard’s William Fash and Japan’s Seiiche Nakamura

2000 Casa de la Cultura de Santa Rosa de CopánCultural Cinema

1/02 Novelist Julio Escoto, Downtown Paradise: Reflections on Identity in Central America

2000 Ministry of Culture, Art and Sports

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS 10/04 US anthropologist Robert J. Sharer, Recent Discoveries in Copán

DEVELOPMENT GRANTS 2001 Arte Acción Association 2001 Office for Distance Education by Radio 2002 Ministry of Culture 2002 Honduras Theater Laboratory 2003 Oyuela Women in Arts Association 2003 Cultural Committee of Camayagua 2004 Arts Society 2004 Bellota and Alcitrión Foundation 2005 Alliance Francaise in Tela 2005 Association of Professionals of Sangrelaya 2006 PaísPoesible Writers Association 2006 Palito Verde Triniteca Cultural Association 2007 Honduran Institute of Anthropology and History 2008 Museum of Man, Honduras 2008 Juticalpa Cultural Society 2009 Libre Expresión Association 2010 Association of the Etnia Lenca Communities, Sierra de La Paz 2010 Mi Tierra Catracha Association 2011 Ayuda en Acción Honduras

I srael 1/95 Timeless Beauty: Ancient Perfume and Cosmetic Containers

5/02 Gavriel Lipkind, classical cellist

1/95 Art historian/curator Michal DayagiMendels, Timeless Beauty: Ancient Perfume and Cosmetic Containers

10/04 Wosner/Fiterstein/Segev Trio, classical 6/08 Avishai Cohen Jazz Trio 10/08 Classical guitarists Liat Cohen and Luiz de Aquino 11/09 Gal Nyska, classical cello 6/12 Alon Goldstein, classical piano

I taly 2/03 DigITALYart

10/95 Giuseppe Scotese, modern piano

2/03 Art critic Maria Grazia Mattei, Art & New Media in Italy

8/11 Latin American Artists of Italian Descent

1/99 Quarteto Bernini, classical strings

2/03 Artist Fabrizio Plessi on his work in DigItaly Art exhibition, and film

12/01 Ensemble Aurora, Baroque ensemble with Enrico Gatti

2/03 Artist Celestino Soddu, on his work in DigItaly Art exhibition, gallery talk 2/03 Artist Adriano Abbado, on his work in the DigItaly Art exhibition, gallery talk 10/11 Bologna opera director Nicola Sani, Mutual Influences Between Latin America and Italy in 20th Century Music 11/11 Film screening, John Turturro’s tribute to the music of Naples, Passione

IDB Cultural Center 20th Anniversary

85

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

J amaica 12/97 Three Moments in Jamaican Art

1/98 Monty Alexander, jazz piano

5/11 Contemporary Jamaican Artists

6/05 Novelist Patricia Powell, Chinese Immigration to Jamaica in the 19th Century

2000 Edna Manley College

9/11 Artist, poet, curator Edward Lucie-Smith on Jamaican Art- The Problem of Multiple Identities

2002 National Library of Jamaica

2002 Mighty Gully Youth Project 2002 Jamaica Archive & Records Dept 2003 Area Youth Foundation 2005 New Way Educational and Community Services 2006 Western Society for the Upliftment of Children 2007 University of Technology, Center for the Arts 2007 Northern Caribbean University Resource Center 2008 NEPT Environmental Trust 2009 Youth Reaching Youth 2010 Charles Town Maroon Coummunity Council 2011 The Peoples Museum, Museums of History and Ethnography, Institute of Jamaica

J apan 5/95 Treasures of Japanese Art: Selections from the Permanent Collection of the Tokyo Fuji Art Museum

9/94 Kyoko Saito, soprano

2/05 Nikkei Latin American Artists of the 20th Century

11/95 Tarumi Violinists

3/95 US art historian/curator Ann Yonemura, Art in Context: Aesthetics, Environment, and Function in the Arts of Japan

K orea 7/09 Hahn-Bin, violinist

6/05 Linguist Young-Key Kim-Renaud, Creative Women of Korea, 15th-20th Century

5/03 Dreaming Mexico - Painting and Folk Art from Oaxaca

11/96 Cuarteto Latinoamericano, strings

9/93 Novelist José Emilio Pacheco, History and Literature in Mexico

1996 Competition for young painters

3/10 Mexico 2010: A Vision of the XXI Century

3/06 Jorge Reyes, composer and keyboardist, with Ariane Pellicer and Nok Niuk dancers

9/95 Poet Homero Aridjis, Approaching the End of the Millennium

1998 National Anthropology and History Institute

10/06 Marimba group, Na’Rimba children’s concert, Duke Ellington Jazz Festival

8/97 Opera composer Daniel Catán, Composing Opera: A Backstage Visit to the Composer’s Workshop

1999 Queretaro State Council for Arts and CultureChildren’s Gallery

8/07 La Catrina Quartet, classical

3/99 Novelist Carmen Boullosa, The Son and the Father in Don Quixote

2000 Instituto Nacional de Antropología INAH

10/99 Novelist Carlos Fuentes, Latin America at the Threshold of the New Millennium

2001 National Office for Folk Culture Research and Promotion

9/05 Film premiere, festivbercine.ron, Latin American Film Festival

2002 Popular Culture Unit, Campeche

9/06 Film premiere, To the Other Side, Latin American Film Festival

2002 Tabasco School of Craft Design

7/08 Artist Diego Rosales, The Personality of Diego Rivera

2003 Metropolitan Autonomous University

9/08 Film premiere, Sleep Dealer, with director Alex Rivera, Latin American Film Festival

2004 Theater for the Deaf

M e x ico

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

5/09 Writer Jorge Volpi, Latin America: A Hologram

2004 Vientos Culturales Civil Assocation

3/10 Film premiere, Alamar, DC Environmental Film Festival

2005 Integral Promotion of Youth Community Services

6/10 Film screening, Nazarín

2005 Colibrí: Education, Culture and New Technologies Association

6/10 Film screening, Enamorada

2006 Cultural Management Association in Quintana Roo 2007 Ixtlioyollotl Education Center 2007 Communicators Network of Boca de Polen 2008 Alianza Sierra Madre 2008 Mexican Radio Networks 2008 Association for Families with Special Needs 2009 Zanhe Xbab Sa Non-Profit Organization 2009 Joven es Yucatán Non-Profit Organization 2010 Center for the Development of the Arts and Sciences 2010 Street Theater Program- IAP 2010 Theater Group “tras-torno” and Puppets “trastornillo” 2011 Consejo Ecoregional Sierra Tarahumara Civil Association

N etherlands 3/00 Gwyneth Wentink, harp

1/03 Urban planner Ron van Oers, UNESCO’s Program in Latin America

8/04 Donald Vega, jazz piano

6/97 Poet Claribel Alegría

1997 Three Worlds Foundation

10/06 Nicaraguan Folk Ballet performed folk dances and El Gueguense

5/99 Novelist Sergio Ramírez, True Lies about Literary Creation

1999 Casa de los Tres Mundos Chorus

6/07 Fabrettino Children´s Choir

11/02 Novelist/poet Gioconda Belli, book presentation, The Country Under My Skin

2000 Nicaraguan Institute of Culture

N icaragua 5/96 Of Earth and Fire: Pre-Columbian and Contemporary Pottery from Nicaragua

2001 Foundation for Unity and Reconstruction on Atlantic Coast 2001 Center for Research on Latin America: Reader’s Circle 2001 Center for Environmental and Health Education 2002 Concepción City Hall, Masaya 2002 Museum of Anthropology, Nueva Guinea 2002 Nicaraguan Institute of Culture 2003 Corpus Christi Foundation 2003 Christian Center for Peace, Matagalpa 2003 Charity Foundation, León 2004 Cultural Patrimony Office of the Nicaraguan Institute of Culture 2004 Padre Fabretto Family Association 2005 Association of Rural Cooperation in Africa and Latin America

IDB Cultural Center 20th Anniversary

87

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2005 Nicaraguan Center for Promotion of Youth and Infants 2005 Communications Research Center 2006 Batahola Norte Cultural Center 2007 Casa de los tres Mundos Foundation 2008 Nicaraguan Forum for Culture 2008 New Era Foundation 2009 Caribbean Coast University URACCAN 2011 School of Music and Technology of Bluefields

N orway 12/99 Norwegian Alternatives: Decorative and Applied Arts

12/99 Arve Tellefsen & Havard Gimse, violin and piano 12/00 Hakon Austbo, piano

P anama 12/95 Crossing Panama: A History of the Isthmus as Seen through Its Art

8/93 Panama Folkloric Dance Group

11/03 A Century of Painting in Panama

9/98 Journalist Gloria Guardia, Aspects of Creation in the Central American Novel

1999 Feminine Voices Book

11/03 Art historian Monica Kupfer, Breaking Barriers: Panamanian Art since 1990

1999 El Renacer Rehab Center 2000 National Cultural Institute 2001 School of Fine Arts, University of Panama 2002 Aguilera House of Culture Foundation 2002 Panama City Hall 2003 Inter-Oceanic Canal Museum 2003 Natá Foundation 2003 Shin Matsu Foundation 2004 Museum of Contemporary Art 2004 Matices Foundation 2005 Afro-Panamanian Society for Cultural Development 2005 Center for Art and Culture, Ministry of Education 2006 Besiko Cultural and Crafts Organization 2007 Cultural Tourism at University of Santa María La Antigua 2008 CONAMUIP Indigenous Women 2010 Program for Advancement and Social Development – PRODESO 2011 Ngöbe Women Association ASMUNG

P araguay 4/94 Other Sensibilities: Recent Developments in the Art of Paraguay

8/98 Nancy and Daniel Luzko, piano

3/94 Novelist Renée Ferrer and actress Ana María Imizcoz, Contemporary Paraguayan Narrative

1996 Film and Visual Archive Foundation

9/05 At the Gates of Paradise: Art of the Guaraní of Paraguay

5/99 Ismael Ledesma, harp

3/94 Art historian Annick Sanjurjo Casciero, Paraguay and Its Plastic Arts

1998 Harlequin Foundation Theater

6/99 Berta Rojas, guitar

11/05 Canadian art historian Gauvin Alexander Bailey, Guaraní Sculpture and the Jesuit Legacy in Paraguay

1998 Center for Theatrical Research and Dissemination

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12/05 César Cataldo, harp

1999 Asunción Philharmonic Orchestra

3/08 Lizza Bogado, folksinger

2000 Institute for Development of a Harmonic Personality- IDAP

Art in Society: The Power of Culture

EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2001 Paraguay/Japan Center Youth Orchestra 2002 Cabildo Foundation 2002 ICOM, Paraguay 2003 National University of Pilar 2003 Ita Cora CODITA Commission 2003 Tobatí Art School 2004 Melodía Cultural Center 2004 San Juan Bautista School 2005 Desde el Norte Organization 2005 Expresión Art Space Center 2006 Station A Cultural Center 2006 Rural Studies and Popular Culture Society 2007 Municipality of Villarrica del Espíritu Santo 2008 Tierra Nuestra Music Competition 2008 Carapegua Foundation 2009 Tierra Sin Mal Intercultural Project 2010 He Che Valle Organization for Art and Culture 2011 Asunción Foundation, Pirebebuy, Cordillera

P eru 11/92 Peru: A Legend in Silver

10/00 Juan José Chuquisengo, piano

6/94 Archaeologists Ramiro Matos and Anita Cook, Nasca Culture and the Nasca Lines of Peru

1999 City of Lima Metropolitan Center for Theater Arts

2/04 Tradition and Entrepreneurship: Popular Arts and Crafts from Peru

11/00 Llacta Puka Soncco, folk trio

6/95 Anthropologist Walter Alva, The Royal Tombs of Sipán

2000 Pisaq Community Museum

6/04 Tradition and Entrepreneurship: Popular Arts and Crafts from Peru traveled to Rome, Italy

7/10 Female Voices Choir of the Pontifical Catholic University of Peru

9/00 Writer Mario Vargas Llosa, Culture and Freedom in a World Without Frontiers

2001 Tuky Art Group Regional Dance Competition

5/15/2012 20th Anniversary of the Cultural Center, with encore performance by Juan José Chuquisengo

11/01 Writer Mario Vargas Llosa, book presentation, The Feast of the Goat

2001 Julio Ramón Ribeyro Association for Culture: Musical Heritage

4/04 Philosopher Salomón Lerner, The Essential Role of Ethics in the Development of Latin America

2002 Pacasmayo House of Culture

4/04 Poet Antonio Cisneros, with Marie Arana, poetry reading and discussion

2002 Amazon Festival, Madre de Dios

7/05 Writers Daniel Alarcón, Eduardo González-Viaña, and Marie Arana, Peruvian Writers in the US - Writing While Living in the Bridge of Cultures

2003 Center for Urban and Rural Development CEPDUR

4/08 Museum director Natalia Majluf, Public or Private - Cultural Institutions in Latin America, the Case of the Museo de Arte de Lima

2003 Torre School of Fine Arts

6/09 Writer Santiago Roncagliolo, False Memories of Latin America

2003 Chapel of San Pedro Restoration 2004 Artistas Aficionados Association 2004 Tarpusunchis Association 2004 Institute for the Conservation of Monuments and their Environment 2004 Yurimaguas Cultural Foundation-Theater Group 2005 Costumbres Corporation 2005 Solidarity Association of Emerging Countries 2006 Art Museum of San Marcos University IDB Cultural Center 20th Anniversary

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2006 Riva Aguero Institute 2007 National Museum of Archaeology, Anthropology and History 2007 Señor de la Exaltación Church of Tamburco 2008 Cusco Center for Regional Studies 2008 Center for Human Development Initiatives 2008 Ate-Vitarte Education Institution 2009 Parakultural Art and Science Project 2009 Peruvian Amazon Research Institute IIAP 2010 Advanced Pedagogical Institute- Art Museum of Lima MALI 2010 JazzJaus Civic Association 2011 Asociación Educativa Cultural Perú Siglo XXI and Museo de Sitio de Pachacamac

P ortugal 1/04 Gerardo Ribeiro, violin

10/00 Novelist José Saramago, Nobel laureate, book presentation, All the Names

10/04 Cristina Branco, fado singer and band

5/12 Film premiere, José and Pilar

S lovenia 12/03 Katice, female folk ensemble

S pain 8/93 Picasso: Suite Vollard

5/98 Musica Aperta Washington Orchestra, homage to García Lorca with conductor Angel Gil-Ordóñez, soprano Nancy Fabiola Herrera

2/97 Design in XX Century Barcelona: 10/99 EntreQuatre, guitar quartet From Gaudí to the Olympics 11/00 Choir of the Prince of Asturias Foundation

9/93 Prado Museum Director Felipe Vicente Garín, The Last Voyage of Guernica

4/94 Playwright Alfonso Sastre, The Future of Drama 4/97 Architect Juli Capella, Catalonian Design: Between Reason and Rapture 6/99 Novelist Arturo Pérez Reverte, book presentation, The Fencing Master 10/03 Philosopher Fernando Savater, Education and Citizenship in the Global Era 1/05 US translator Edith Grossman, book presentation, Don Quixote, on book´s 400th anniversary 5/05 Novelist Antonio Muñoz Molina, Cervantes and the Art of Storytelling 5/06 Panel discussion, Contemporary Spanish Literature, with writers: Camilo José Cela Conde, José Corredor Matheos, Eugenio Fuentes, Andrés Ibañez, Carlos Marzal, Rosa Montero, José Ovejero Lafarga, and Horacio Vázquez-Rial 4/08 Film premiere, The Contestant, DC FilmFest 1/10 Novelist Unai Elorriaga, book presentation, Plants Don´t Drink Coffee 2/10 Novelist Fernando Operé, dialogue with Mempo Giardinelli

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CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

S uriname 6/98 In Search of Memory: 17 Contemporary Artists from Suriname

8/98 Novelist Cynthia McLeod, The Extraordinary Life of Elisabeth Samson in 18th Century Suriname

1999 Stichting Surinaams Museum

2000 Nola Hatterman Institute 2001 Suriname Public Music School 2001 Wi Oso Foundation 2002 Tooka Foundation 2002 CARICOM Youth Ambassadors 2003 Pro-Development Foundation 2003 CRABASI Foundation 2003 ICMEN Foundation 2004 Federation of Private Social Institutions 2004 Film Foundation of Suriname 2005 Manasse Act Foundation 2005 Stichting Projekten Protestants Christelijk Onderwijs 2006 Federation of Visual Artists 2007 Suriname Guitarinstenkring Foundation 2007 Suriname Foundation for the Arts Education 2008 Powakka Socio-Economic Development Foundation 2011 Tembe Art Studio Foundation

S weden 9/01 Strictly Swedish: Contemporary Design in Sweden

3/00 Esborn Svensson Trio, jazz

11/01 US design historian Judith Gura, Modern Design in Sweden

S witzerland 6/03 Daniel Schnyder Trio, jazz

T rinidad & T obago 5/02 A Challenging Endeavour: The Arts of Trinidad & Tobago

7/00 Caribbean Art Jazz Ensemble

1/98 Novelist Earl Lovelace, Welcoming Each Other: Cultural Transformation of the Caribbean in the 21st Century

1996 Youth Celebrating the Future

5/06 Trinidad and Tobago Defense Force Steel Orchestra

5/01 Hedy Fry, Canadian Secretary of State for Multiculturalism, Beyond Tolerance: Two Journeys

2000 Caribbean Contemporary

7/11 Jeanine De Bique, soprano

10/01 V.S. Naipaul, Nobel laureate, book presentation, Half a Life, C-Span coverage

2001 Studio 66 Art Support Community

2/11 Film premiere, Mas Man, with filmmaker Dalton Narine

2002 Key Academy of Music 2003 ATELIER project 2003 University of West Indies 2004 Association of Responsible Persons 2004 Roxborough Police Youth Club in Tobago 2005 Busy Corner Sports and Cultural Club 2006 National Drama Association of Trinidad and Tobago 2007 Greenlight Network

IDB Cultural Center 20th Anniversary

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS 2007 University of West Indies MusicNova 2008 Pan in Schools Council 2009 Birdsong Steel Orchestra 2010 T&T Assos Retired Persons TTARP 2011 The Artist Coalition of Trinidad and Tobago

U nited K ingdom 7/99 National Isis String Orchestra

8/01 Economist Rosemary Thorp, The Past as Future

10/02 Catrin Finch, harp

4/07 Historian Felipe Fernández-Armesto, Amerigo and America?

10/08 Martin Taylor, jazz guitar

11/07 Historian Sir John H. Elliott, Contrasting Empires: Britain and Spain in America

9/96 Expeditions:150 Years of Smithsonian Research in Latin America

3/95 Christopheren Nomura, baritone

8/94 New York City Ballet dancer Edward Villella, Dance: From Folk to Classical

3/00 New Orleans: A Creative Odyssey

12/95 Manchester String Quartet, chamber

1/96 University of Chicago theologian Bernard McGinn, The Meanings of the Millennium

U nited S tates

2/08 Extended Boundary: Latin Amer- 12/96 Amadeus Trio, chamber ican and Caribbean Artists in Miami

5/98 Journalist Roberto Suro, How Latino Immigration is Transforming America

12/97 Opus III Trio, chamber

11/00 Translator Eliot Weinberger, Anonymous Sources: Translators and Translation

10/98 QuinTango, ensemble

6/02 Novelist Oscar Hijuelos, book presentation, A Simple Habana Melody

4/03 Curtis Roads, digital music

8/02 Conductor J. Reilly Lewis, What’s So Special About Bach?

12/04 Gospel singer Myrna Summers and the Reid Temple AME Choir

9/07 National Museum of Women in the Arts: Legacies of Women in the Performing Arts, Diahann Carroll, Jane Curtain, Della Reese, Loretta Swit, Julie Taymor

5/05 Washington National Opera Gala with Placido Domingo

2/10 Dr. Mari Carmen Ramírez, Elevating the Profile of Latin American Art

5/06 Washington Opera Young Artists Amanda Squitieri and Erin Elizabeth Smith, Women’s Life and Love

4/12 MSNBC commentator Chris Matthews, book presentation, Jack Kennedy: Elusive Hero

5/07 Duke Ellington School of the Arts Jazz Orchestra 8/08 José Conde and Ola Fresca, salsa and Afro-Cubano

U ruguay 9/92 Currents: Teachings of Torres García

10/93 Dahd Sfeir, actress

2/97 Theater director César Campodónico, and actor Héctor Guido, The History of Teatro El Galpón

1994 Youth Symphony Orchestra

9/95 Figari's Montevideo, 1861-1938

4/94 Nibya Mariño, piano, at the OAS

5/02 Actress China Zorrilla, one-women show, Había una vez...

1994 Blanes Municipal Museum

3/12 Contemporary Uruguayan Artists: A Uruguayan Presence in the About Change Exhibition

2/96 Camerata Punta del Este, at the OAS

5/03 Architect Rafael Viñoly, A Sense for Public Space:Architecture in a Time of Compulsive Consumption

1995 Coro Profundis

11/97 Nives Dearmas, harpsichord

1/12 Film screening, Gigante

1996 Atlántida High School Choir

1/05 Enrique Graf, piano with violinist Lee Chin-Siow

3/12 Film screening, Whisky

1996 Torres García Foundation

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EXHIBITIONS

CONCERTS 11/08 Atípica Tango Band, part of Uruguay Youth Orchestra tour

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

3/12 Film premiere, A Useful Life, DC Environ- 1997 Serafin J. García Cultural Center mental Film Festival 1998 Torres García Museum 1999 National Youth Orchestra System 2000 Polizón Theater 2001 Uruguayan Artists and Sculptors Association 2002 Museum of American Art Foundation 2002 Quinteto Barullero 2003 Uruguayan Film Library 2004 Association of Rural Women in Uruguay 2004 Art Critics Association of Uruguay 2005 Cultural Historic Institute and Museum of Fine Arts 2005 University of the Republic, Dept of Archaeology 2006 Cultural Department of Municipality of Salto 2006 La Bodega Youth Center 2007 Papagayo Azul Association 2008 Del Carmen Museum and Archive 2008 Valdense de Colonia Church 2009 Joaquín Torres García Foundation 2010 La Paz Community Center 2011 Club Social Velásquez, Rocha

V enezuela 9/99 Leading Figures in Venezuelan Painting of the 19th Century

11/95 140-member National Youth Symphony Orchestra, at the Kennedy Center, and IDB atrium

9/98 Novelist Salvador Garmendia, A Country, A Decade

2001 Venezuela Children’s Choir

4/99 Caracas Clarinet Quartet with Paquito D’Rivera

12/05 Foreign Policy magazine editor Moisés Naím, book presentation, Illicit

2001 Traditions and Crafts of Venezuela Exhibition

1/02 Irene Farrera and Venezuela Viva

10/06 Film premiere, Maroa, Latin American Film Festival

2002 Friends of Colonial Art

4/09 Conductor Gustavo Dudamel with Brass Ensemble of Venezuela Youth Orchestra

6/09 Film premiere, El Enemigo

2003 Venezuela Civil Association

8/09 Film premiere, El Tinte de la Fama

2003 Castillo House of Culture 2004 Panelín Puppetry Theater Civil Association of Joaquín 2004 National Cultural Patrimony Institute of Venezuela 2005 Sabana Larga Civil Association 2005 Consetours Foundation 2006 La Salle Foundation 2007 Colibrí Theater Association 2008 El Convite Rural Center, Mérida 2009 Foundation for the Promotion of Education FUNDAFE 2010 The Toy Shop Foundation 2011 Artes del Fuego Venezuelan Association AVAF

IDB Cultural Center 20th Anniversary

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EXHIBITIONS

CONCERTS

LECTURES – FILMS – SPECIAL EVENTS

DEVELOPMENT GRANTS

I nter - A merican 1/94 Graphics from Latin America: Selections from the IDB Art Collection

1/97 Washington Opera, Meet the Artists of El Gato Montés

9/96 US literary critic Barbara Mujica, Latin American Women at Work: Myths and Realities

1994 Marta Traba Book Launch

8/94 Latin American Artists in Washington Collections

2/98 Washington Opera, Meet the Artists of Doña Francisquita

4/98 Puerto Rican novelist Rosario Ferré, book presentation, Eccentric Neighborhoods

5/94 Environmental Film Festival in Washington DC

6/95 Painting, Drawing and Sculpture from Latin America: Selections from the IDB Art Collection

11/02 Network for New Music, contemporary Latin American composers

12/98 Puerto Rican writer Esmeralda Santiago, with Joie Davidow, PBS host Ray Suárez, NPR´s Mandalit del Barco, book presentation, Las Christmas: Favorite Latino Authors Share Their Holiday Memories

1995 Films of the Americas Festival in Jerusalem, complement to Annual Meeting

3/99 Emerging Painting of Latin 1/03 Washington Opera Young ArtAmerica and the Caribbean, collabora- ists, Songs of Puccini tive

2/02 Discussion panel, Film Industry in Latin America from a Feminine Perspective, with Laura Pacheco, Gabriela Calvache, Galia Giménez, and María del Carmen De Lara

1995 CASVA scholar Daniel Schavelzon

1/02 Paradox and Coexistence - Latin American Artists, 1980-2000

6/04 Latin Jazz All Stars, salsa on the sidewalk, Fete de la Musique

2/05 Seminar on Culture and Development, 1995 CASVA scholar Alberto Cipiniuk inauguration of EVI Conference Center, with IDB President Enrique V. Iglesias, Gilberto Gil, María Consuelo Araujo, Néstor García Canclini

12/02 First Latin American and Caribbean Video Art Competition and Exhibition

2/06 Washington Opera Young Artists, performance of Hansel and Gretel.

3/05 Essay competition launch with IDB Gender in Equity Unit: Ten Years After BeijingProgress I Have Seen

1996 CASVA scholar Sonia Lombardo Ruiz

8/03 Our Voices, Our Images - Hispanic Heritage in Washington DC

10/06 Paquito D’Rivera and Friends, including Na’Rimba, Roy Hargrove and Roberta Gamberini, Duke Ellington Jazz Festival

9/05 Panel discussion on Filmmaking, with Vera Fogwill, Matias Ovalle, Felix Germán, Gabriel Traversari, Rafael Kohan, Sergio Galliani, Luis Balibrera, Esteban Ramírez; moderated

by Lydia Bendersky, Latin American Film Festival

1997 CASVA scholars Ricardo Morales Gamarra, Natalia Majluf

12/04 II Inter-American Biennial of Video Art

11/07 Post-Classical Ensemble, with Embassy of Spain

9/06 Symposium on Sustaining Culture/ Sustainable Culture, with Barbara Hoffman, Elias Mújica, Wend Wendland, Charles Di Leva, Alvaro Soto, Francisco Javier López Morales and Trevor Carmichael

1998 CASVA scholar Felipe Cárdenas-Arroyo

12/06 III Inter-American Biennial of Video Art, and traveling exhibition to 16 countries

10/08 Paquito D’Rivera and Turtle Island Quartet, Duke Ellington Jazz Festival

7/07 Film premiere, Ladrón que roba a ladrón, with Colombian actor Miguel Varoni

2000 American Association of Museums

11/07 Artful Diplomacy: Art as Latin America’s Ambassador in Washington, DC

3/09 Jazz pianist Omar Sosa Quintet

4/09 Film premiere, Celia the Queen, DC FilmFest

2001 Kennedy Center ArteAmerica Festival

6/08 Far from Home, The Migration Experience in Latin America and the Caribbean

12/09 Symposium on Research Along the Inka Road, with the National Museum of the American Indian

2001 Latin American Film Festival, Washington DC

12/08 IV Inter-American Biennial of Video Art

9/10 IDB Seminar on Culture and Development, with regional ministers of culture

2002 Latin American Film Festival, Washington DC

3/09 50 Years, 50 Works, Outstanding Artworks from Latin America and the Caribbean

10/11 Film industry experts Mauricio Reyna (Colombia) and Hugo Villa (Mexico), Film Industry as a Tool for Integration and Development in Latin America

2003 Museum of the Americas Foundation

5/10 Expressions of the Americas, Selections from the IDB Art Collection 6/10 An Equal Start, Numeracy Education in Latin America and the Caribbean 12/10 Arte America, collection travels to Santiago, Chile 12/10 V Inter-American Biennial of Video Art 11/11 New Visions, acquisitions during 2008-2011

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2004 CASVA scholar Pablo Escalante González

Elba Agusti Cultural Development Program Debra Corrie IDB Art Collection Soledad Guerra Exhibitions Program Anne Vena Inter-American Concert, Lecture and Film Series Jimmy Alegría Intern, MBA, Pontificia Universidad Católica del Perú

EXHIBITION COMMITTEE Cultural Center Staff PUBLICATION COMMITTEE Anne Vena, English editor; Lilia Mosconi, Spanish translator; Rolando Trozzi, Spanish editor; Soledad Guerra, catalogue production; cover design and layout, IDB/GST Design Unit; and Gregory R. Staley, photography.

ACKNOWLEDGMENTS The IDB Cultural Center wishes to acknowledge and thank our thousands of partners and visitors for their contributions over these past twenty years, and we look forward to even greater synergy between culture and development in the 21st century.

Editor’s note: The majority of the interpretive texts accompanying the artworks were written by former IDB curator Felix Angel for Cultural Center exhibitions. Other texts were summarized from artists’ webpages, Cultural Center archives, and catalogues.

Inter-American Development Bank Cultural Center Gallery 1300 New York Avenue, NW Washington, DC Tel. 202 623 3774 Fax 202 623 3192 e-mail IDBCC@iadb.org iadb.org/cultural

August 1 – September 28, 2012 Monday – Friday 11 am to 6 pm

IDB Cultural Center 20th Anniversary 1992-2012 Twenty Years in the Service of Culture and Development The IDB Cultural Center was established in 1992 to contribute to social development, showcase the artistic expressions of the IDB member countries, and bring understanding between Latin America and the Caribbean and the rest of the world.

Its programs are: Cultural Development Grants; Art Exhibitions; the Inter-American Concert, Lecture and Film Series; and the IDB Art Collection. Over the past 20 years, 509 cultural development grants resulted in 60,000 direct beneficiaries; 489 concerts, lectures and films were attended by 96,000 visitors, 83 exhibitions attracted 130,000 guests, 1,722 works in the IDB Art Collection were shown in 17 traveling exhibitions to 78,000 visitors; 180 publications were produced, and some 8,500 press items were written about its activities.

In 2010 the IDB Cultural Center received the Washington, DC Mayor’s Award for Visionary Leadership in the Arts.