Director: Catalina Restrepo Leong贸mez
General coordinator: Jorge Carrera Necoechea
Translation: F谩tima Rateb
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Editorial
artworks is not based on the simplicity or complexity of the artistic proposals, media or forms. I think the important quality
I have always believed that Art is a
goes beyond these parameters and has to
messenger of deep opinions and motivates
do with a critical, intelligent, and sensitive
critical thoughts about our daily reality.
human communication channel. This is
I am convinced that these ideas, not always
why the aim of Living Art Room is not
presented in a simple language, deserve
making the visitors notice the personal
to be understood by the general public
tastes and likes of our team, but showing
and must be at everyone’s reach,
a variety of proposals and artistic profiles
regardless of how involved someone is
that can be seen by many people that work
in the "scene" - composed of professionals
with visual arts. The process I follow to
and experts. This is the main reason why
select artists to be part of Living Art
I decided to create a different way of
Room is not based on decisions made by
promoting contemporary art, a platform
curator committees or juries. Everything
/ community called Living Art Room.
starts in a way that I personally visualize as organic. It is an invitation, made by me
As a contemporary art promoter I am or any of the artists in Living Art Room. interested in showing that the value of Everyone’s participation generates a 4
feeling of belonging, what I consider
curator that I invite. Though I appreciate
essential in this process. Beyond trying
career paths, it is not a decisive aspect in
to make a curatorial project through the
my selection. With Living Art Room not
selection of artists, and trying to link all
only do I want to create a space where
the members with some arbitrary criterion,
even the more expert of artists can feed
we attempt to find artists with coherent
on young proposals, but also where
proposals that show quality in production
emerging artists can have a forum they
and conception of their work. Once we
can share with well-known artists. This
have this, we create searching tools and
kind of forum generates a common benefit
metadata information that associate
thanks to the sum of experiences, exchange
different proposals using diverse criteria,
and feedback.
such as: technique, concepts, nationality, etc. I am interested in sensing the potential of proposals coming from every artist and
Catalina Restrepo Leong贸mez Living Art Room's Director and founder
www.LivingArtRoom.com
Contents LARgallery Juan Antonio Sรกnchez Rull
New Artist Portafolios Antonio Ibarra An exploration of the ordinary
Javier Areรกn An exile and several family business Jorge Carrera Community and technology 6
Interviews Montage to Unite an Isolated Circus A Celebration of the Best and the Worst of Human Nature
Artist portafolios update
Alejandra Baltazares Social networks
Jiro Suzuki
Lorena Moreno
LARgallery Juan Antonio Sรกnchez Rull
The beach, 1995-2009
Juan Antonio Sanchez Rull presents a selection of photographs of three of his more important series; The beach, Darwin House, and his more recent work Las Vegas at LAR gallery. Here we present some comments about the series the artist is now exhibiting: 8
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Darwin House, 2008-2009
Even though these three series seem very different from each other, there are common concepts like that of bizarre people, the captured and the captors, the ones that have fun and those who get bored. In my work I present a theatre of illusion and show the beauty in dirt, desolation and boredom.
“All the freaky people make the beauty of the world�
Darwin House, 2008-2009
With With this project (Darwin House) I explored the desolation and the lost soul of the wild. All the feelings in these images evaporate; the primitive belief of the native people from the coasts of the blackest Africa, frightened by the camera, thinking their soul could be 10
“that is the reason w exclusively a human attit snatched away. They are a document of a soulless and spiritless reality. The monkeys have been put in this mental a jail - sanitarium where they suffer, while
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Darwin House 2008-2009
why monkeys take on tude: the nonchalance” scratching the little they still have of their nature; the zoo – boutique: “Darwin House”.
The zoos, where people go to see animals and observe them are indeed representations of the impossibility of such meetings, which we see is something that has become absolutely marginal. It is the artificial space they inhabit.
Darwin House, 2008-2009
In all cases, the environment is illusory and that is why monkeys take on exclusively a human attitude: nonchalance. The artificial behavior of animals in captivity can help us 12
understand, accept and conquer the stress that living in consumer societies supposes..
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The beach, 1995-2009
About "The Beach" series: With this series I was trying to capture the tragic dimension of boredom inside the theatre of the beach illusion. I was also trying to find the defenselessness and the vulnerability in nudity. About
technical decisions, I think the black and white format helps me reach a timeless atmosphere that I was looking for in this project.
The beach, 1995-2009
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The beach, 1995-2009
The beach, 1995-2009
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About "Las Vegas" series: "Las Vegas is a place where everything is about the promise of luxury and voluptuousness in the seduction of the culture of dirt. All images in general, neither speak about
nostalgia, nor judge, nor suggest a critique of our times. It is a matter of reading the surface as it is, like feeling the ruggedness of a Braille text while skimming one’s fingers over it."
Las Vegas, 2010 18
Las Vegas, 2010
Las Vegas, 2010
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Virtual Tour of the exhibition: www.livingartroom.com/LARgallery2 For further information or make an appointment to visit the exhibition write to: catalina@livingartroom.com or call Catalina in Mexico City on: 0445516528988 To see the complete portfolio go to: www.livingartroom.com/juanantonio_sanchezrull
Antonio Ibarra An Exploration of the Ordinary
Green car, 2005 22
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New artist portfolio
Antonio Ibarra´s photographic images depict a particular view of the ordinary. For instance, some of his images consist of straight pictures of walls in different cities that appear to be of no interest, but despite this acquire his distinctive aesthetic and poetic values through both his sensibility and technique. Antonio does not work from static series of photographs so he typically shows his work as individual pieces that acquire unusual readings when they are put together. The photographic work of Antonio Ibarra is slightly different from his
drawings. With the camera, he considers and speculates his surroundings, finding aesthetic values in the commonplace and framing specific situations, places and moments of his life. On the other hand, the drawing medium for him is a way to channel a series of impulsive and obsessive hand movements with which he plays with the orientation, intensity and direction of whatever tool he may use to trace on paper, until he creates a cluster of lines that result in identifiable forms. For him, drawing constitutes the best virtual construction site to work on.
Plants sale, 2008 24
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Cans 2, 2007
Mexican police, 2006 26
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The Coca Cola headquarters, 2007
Hudson river, 2008 28
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Flames, 2009
Cecilia Suarez’s dream, 2009
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Inflection point, 2009
Javier Are谩n An Exile and Several Family Business
El avi贸n, 2008 32
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New artist portfolio
Javier Areรกn's work has a very strong autobiographical power and relates to family tales that have been transmitted to him in a nostalgic way. For example, when the Spanish Civil War started, his grandfather was one of the few soldiers who remained loyal to the Republic. Later, and after a strong bombardment in Barcelona, his grandfather decided to remain fighting, while his grandmother left Spain with their three children and stayed in Algeria where her sister lived.
When the war was over, his grandfather crossed the Pyrenees by foot, like many other thousands of defeated Republicans, and ended up confined to a French c o n c e n t r a t i o n c a m p . L a t e r, h i s grandmother contacted certain influential acquaintances and got him transferred to Algeria. There, the family was brought back together and some of the most difficult years of the postwar period passed. The story ends when the family takes the last ship with exiles to Mexico from Casablanca, Morocco.
His series called Exile, 2006, consists of abstract paintings, where the artist shows, not in a narrative way, groups of anthropomorphic figures with not very much detail in their faces and extremities. These appear languid, naked and frontally in rows.
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In some cases the set of silhouettes turns into an installation constructed with panels that generate the illusion of crowds; but the individuals who shape them transmit a great loneliness, sadness and loss of identity.
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Another painting series, titled Family Issues, 2007, shows images inspired by photographs where his grandparents, parents and uncles appear when they were young. He did not personally know some of the relatives who appear in those pictures, but he knows them thanks to stories he has been told. Once again the lack of detail is present in the faces, a very important gesture in his painting that symbolizes memories that lose clarity with time.
The house, 2008
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Green shoes, 2008
El pier, 2007
Family portrait, 2007 38
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El rifle, 2008
Jorge Carrera Community and Technology Strongly influenced by Open Source - Internet users sharing knowledge with others for free-, Jorge shows us a world that works in parallel, where true communities seek a common benefit.
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New artist portfolio
Jorge Carrera is very interested in technology and multimedia. Despite having completed his university studies in arts, the technical knowledge that he applies in his work has been acquired in a self-taught way, fed by Internet communities and forums; which fundamentally determines his artistic proposal. His projects are mainly interventions in public space; sound art (often supported with visual images), and interdisciplinary installations. As complex as his pieces may be, the artist develops them from the most primary stages, starting with a certain craftsmanship, and taking them to hi-tech results. For example, his project called Fungus, 2008, is an installation produced with circuits that the artist produced from cutting sheets of copper and engraving them with acid in order to make the connections. 42
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The pieces consisted in creating cylinders with light sequences activated by sensors that determined the number of persons surrounding the device. The aim was to evoke the liberation of spores that certain fungi produce to attract their food.
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www.citoplasma.com.mx
Montage to Unite an Isolated Circus
Alfadir Interview with Luna 46
www.livingartroom.com/alfadir_luna LAR:
Alfadir:
How did the Montage to Unite an Isolated Circus project that you presented in the MUCA Roma arise?
The general idea of the project, besides relating to resident organizations, is to build a structure of social networks with the aim to promote survival, through creating a situation of risk; it is a show of skills and risk.
Alfadir: The Museum invited me to generate a project that would involve the neighborhood. After having researched about the district’s history, I found that the Romita land was bought by the businessman Walter Orrín, shareholder of the Compañía de los Terrenos de la Calzada de Chapultepec, S.A. and owner of the then famous Orrín circus. People say that the streets were named after those cities and states that this circus visited during its tours. This made me think about working with social organizations as a way to legitimize actions. The project Montage to Unite an Isolated Circus is a coordination effort with social organizations that seek to legitimize actions that without considering themselves as a crime provoke the marginalization of the people that constitute them. LAR: How do these two ideas merge: the circus and the squatters?
LAR: How many pieces or projects shaped Montage to Unite an Isolated Circus? Alfadir: The project´s metaphor requires to be developed in situ. The project up to now has developed in four performances: juggling, taking place at the Rio de Janeiro square and whose register was shown at the museum, along with the Orrín circus model and a poster announcing the performances. The other three shows were tightrope, hoop and clown which took place during the same function, named Spread, and which were shown on a field in 90 Merida Street. Another performance was presented at the museum as a carnivalesque act consisting of a tarot reading – which resulted in a building in construction located on 105 Merida Street; each presentation is an installation with a specific commentary.
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www.livingartroom.com/alfadir_luna LAR: In this festival action two of the squatters read cards to some attendees, who before this wrote a wish on a brick. Was it a coincidence that these same persons could read the tarot? Or was this part of the project born from this encounter? Alfadir: It was a coincidence, though it is common to find people with this skill if they are inside a social group that lives in constant anxiety to know their future. So, in a meeting with these neighbors, I proposed this project and they told me who could do the tarot readings. LAR: Several interpretations can emerge from writing wishes on bricks and using the latter to build houses for people in these squatter organizations. This evokes a poetic feeling, and I believe that this is one of the most important points. Nevertheless, I would like to know how you came about considering it and what results you were looking for. Alfadir: This piece was a carnivalesque act, in other words not considered to be part of circus performances, but a collateral act to the show.
Before this one, there was another one - the first one was juggling at Rio de Janeiro square, around the David fountain. These people came about near circuses. The tarot reading was a preamble to the Spread function. As a symbolic way of predicting the future of neighbors (members of the resident organizations), bricks with wishes written on them were gathered. On December 1st, 2009 I installed at the MUCA Roma a table with hundreds of bricks. Those bricks were borrowed from the construction located in 105 Merida Street. The visitors wrote their wish on a brick, and then, placed them in the middle of the table and got their cards read by two neighbors (a man and a woman) members of the organization, who were at the table. At the end of the session little brick towers formed. Also, the images on the cards came from daily scenes/actions of these neighbors. After the card-reading performance at the MUCA Roma, the bricks were used in the construction. So in the end, the wishes made by those visitors became part of the life of others as part of the infrastructure. The work is about an assembly on assemblies.
LAR: Is there any anecdote or story that has been generated from this piece? Alfadir: None in particular, apart from getting many extremely interesting esoteric offers, but of respect. I prefer not tell. (Laughs) I just got you hooked, didn’t I? Well, I can just tell you that I have learnt a lot from those magical images. LAR: Do you build your projects starting from the concept and then develop them according to the social context where they are carried out; or on the contrary, do you first recognize the social context and seek an artistic media and then consolidate the projects?
and your work; do you agree that the public to which your work is directed, is not necessarily immersed or a connoisseur of the arts and therefore the language you use has to be different? How do you handle this? Alfadir: I believe that the general description of a piece, and of my work in general, is enough to establish its scope. The same happens with language; its sense can differ very much from one person to another. It has to do with the project itself, where a central idea or a series of ideas can be diversified. LAR:
Well, I believe that we all have ideas which constantly surround us. Nevertheless, I believe that I first identify where I want the piece to be and from there I choose the media and technique I am going to use. Then I can choose where I want it to be and then, the thinking, visual and plastic processes appear.
Is it difficult to manage the balance between the interpretations and the language you decide to use for spectators in each of your projects? Is it hard to make people whom you work with understand that what you do is an art project; and people who know about the arts recognize your work as an artistic and not social project?
LAR:
Alfadir:
AAnd speaking in general about your projects
I believe it is a question of concentration, to balance all possible interpretations coming
Alfadir:
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www.livingartroom.com/alfadir_luna from a specific language. Focusing on defining it as one thing or another can be tricky, since we know that an artistic project can also be a social one, and vice versa.
LAR At the end of every project I suppose you go over what came out well, what came out
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badly, and what came out very well and that you were not expecting. What do you think was the best successful thing you got from this project? What was the major profit or learning you got from it? Alfadir: Well, this project still goes on, but up to now
.
I have learned more about urban ways of life
A Celeb and the Nature
La diosa del arte, 2009 52
www.livingartroom.com/carlos_perezbucio
bration of the Best e Worst of Human CARLOS PÉREZ BUCIO LAR: Can you identify when you started drawing? How did you become a newspaper cartoonist? CPB: At the age of six I realized I could draw better than my class-mates. I used to draw cartoons of T.V. characters. I really liked Hannah Barbera ones and also Marvel comics, but I mostly enjoyed Naranjo’s drawings, a political cartoonist. At that age I was very much surprised that only a few ink strokes could portray a person with shadows and volumes. More than becoming a painter, as a child I wanted to be able to draw as well as that gentleman. Then as a teenager I started to practice more often and tried to find my own style. I signed up for a workshop conducted by Helguera (La Jornada’s cartoonist) and during those years I really thought I would end up being a cartoonist. So as soon as I could, I approached
the Excélsior newspaper cultural supplement, El Búho, which was directed by the writer René Avilés, who gave me my first break. I showed up with some caricatures of famous people and presto: I got my first assignment.
Carnitas, 2007
Golpeado, 2008
LAR: What is your relationship with France? We can see people and characters in your paintings. Do the latter come completely from your imagination or do they have features of people you know and that you then distort in the images you create? CPB: I lived six years in France. Not because of a scholarship, or an artistic residence, but a love story. My daughter was born there. I spent my first year as an undocumented resident, though it was not very difficult to subsequently normalize my status. I had to renew my resident permit yearly and I hated it. Being a Saint-Denis resident, I had to lineup with all the thirdworld misery, literally. After coexisting, day after day, with multiculturalism and diversity, even saints can lose their patience. I no longer buy humanist tolerance speeches. Because I lived very close to the ghettos I know that the peaceful coexistence of people with different languages and cultures in one space is impossible. I like to say: that explains why I became a
Marxist-Lepenist. If Jean-Marie Le Pen were Mexican, he would support Juarez and even Zapata. So: Long live Le Pen, long live Juarez, and long live me. Since it’s so difficult to find such people, my friend Jairo Calixto Albarrán, of the Milenio newspaper, asked me to write articles about life in the ghettos, something nobody had ever attempted before. Existing reporters and journalists tend to write insipid things about foe example such and such café in SaintGermain where the surrealists used to gather, or Sartre and Beauvoir and shit like that. No. I am interested in the filthy side of life. So it’s normal for my painting to be consequently filthy too. That’s why my characters turn out to be jokers, like in “Racaille”, a piece alluding directly to my experience in France but which is by no means exclusive to anecdotes (autobiographical notes should not restrain the universal vocation of a good piece of art). I have no trouble at all going from an academic drawing to a satirical one. In one
“Autobiographical notes should not restrain the universal vocation of a good piece of art” 54
www.livingartroom.com/carlos_perezbucio painting you can find glimpses of reality through a real, recognizable character and at the same time fantasy nightmarish characters, many of which are constructed from friends’ traits.
Racaille, 2008
LAR: We know that you destroy several paintings before declaring one finished. Are the paintings you tear, first versions of the same image? In other words: when you start painting are you seeking an image, or is every attempt a different image that happens not to convince you, leading to destruction and a fresh start? CPB: I don’t make sketches, nor do I take notes on the streets. The image is born in my head and I can spend several days composing it mentally until it’s perfect. I then draw it directly on the surface, with no previous studies or sketches and the results tend to be almost identical to what I had imagined. The problem is that many images disappoint me once finished. Or they even
bore when it comes to working on them. Hence, the urge to destroy becomes unstoppable. I think that if a painting does not marvel me, it is not worthy of other people seeing it. So I butcher it and start something else, a new piece, as different as possible as the one I failed. Neurotic episodes can also take over, where I destroy pieces that I liked but for some reason were never exhibited or never stepped out of my studio. LAR:In order to better understand your work, is it necessary to see how you conceive caricatures? Clearly, it is not simply the mocking of physical features. What components do you think a c a r t o o n / c a r i c a t u re h a s t o h a v e ? CPB: All great artists have made caricatures, that is, exaggeration and monstrosity. This is the way it should be understood, caricature in all its vast possibilities, they way José Clemente Orozco, Otto Dix and Georges Grosz did it. Caricatures are not mere political comments in a newspaper. Some of the best caricaturists, like Daumier or Grandville, were complete artists. Leonardo practiced caricaturesque distortions, just as Bosco did. In the 20th century, comics and the T.V. culture have contributed to enrich pictorial languages used by artists whose work is close to caricatures and cartoons, for example the lowbrow movement. I feel very close to them but do not ascribe myself to that aesthetic. I draw cartoons and
La primera cristofan铆a-composici贸n con personajes, 2005
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www.livingartroom.com/carlos_perezbucio distortions because “realistic representation” is not enough for me. LAR: You have an impressive management of different techniques. Which ones are more interesting to you? And how did you get to them? Almost all techniques interest me and I master almost all of them, except one: oil, which is a pity because it is the pictorial technique par excellence. Nobody teaches technique and I am not sure if recent art graduates have received any technical training. I suspect not: nowadays a lack of skills is considered more of a virtue than a flaw. Why bother to become skilled when “spontaneity” and “freshness” have replaced virtuosity? The ENAP taught me to build mental masturbations, but never to paint. I don’t regret it. I bought my first acrylics to try out, around that time. I found it very easy to master the technique and so I still use acrylics today. Pastels are another story. It’s a very popular technique, like a hobby for ladies, but I took it as a challenge because I always found bad pastel artwork very annoying when history of art has seen chalk masters like Quentin Latour or Rosalba Carriera. So I told myself, “Carlitos, if you’re going to do it, do it like they did”. Also, because I find myself in the low-tech of
things, my interests lie in all that counterweighs new technologies. From that standpoint, I’m a reactionary. LAR: Who appears in your paintings? When someone inspires you so much that one way or another you want them to be part of your compositions? CPB: For the last couple of years I have been including real people in my work. When there exist people with such powerful symbolic charge, like Jean-Marie Le Pen, Napoleon or the one and only Gabriel Orozco, there is no need to distort or caricaturize them. On the contrary, if they lose that “immediate recognition” Gordo, 2008 then the meaning of the work is also lost. What’s the point of drawing against the "gabrielorozquization" of taste, if the protagonist is not recognizable? Without technique becoming an obsession, the academic drawer must overshadow the satyrical one. My friends also appear in my work. Their physical features help me construct new characters, monsters interacting with real characters, like the drawing with Hugo Chávez, or monsters starring in their own scenes, like “Piercings for idiots”. I have always asked permission
to those in mi work, except when I deal with public figures. Since I don’t know Hugo Chávez or the Kuri brothers, I simply get photos of them wherever I can. That’s what almost everybody does. It’s different with friends. I have the feeling that many of them are waiting to appear in one of my pictures. It flatters them and they really hold out for it. They know I won’t paint them smelling roses or in graceful positions. They have been warned. I am filthy and as characters of my pictures, they will automatically become filthy. No, nobody has taken offence. On the contrary, it is a privilege to be in carlitos world. If they appear in my work, be it Juan Pérez or José Kuri, it’s for a reason. Parody is also a homage, even though at first sight it seems like stepping over the line. LAR: Are there any limits to the content of your creations? Or do you sometimes censor yourself (just a little) depending on the relationship you have with the person in your work, e.g. if it is someone you love and might somehow hurt them with one of your paintings? CPB: I don’t like dicks nor do I like cheap vulgarities. There are very phallic painters who put penises here and there and everywhere. I prefer to paint open and slimy vaginas, but only when necessary, like in “La Gran Vida”, a beautiful image about 58
Mariguanos, 2004
pleasures (although it doesn’t seem it, I painted it with bucolic scenes of 19th century French painters in mind). I don’t think my work can be harmful, on the contrary. If friends appear in my painting with guts spilling out, they know that being in it is a sign of affection. That’s why I say that those who serve as models for my work are important people: be it because of a symbolic
www.livingartroom.com/carlos_perezbucio you to make something even more garish?
L’endogamie, 2007
importance when dealing with public figures, or because of emotional importance when dealing with friends. The nastier the paintings are, the more at ease we feel with each other. LAR: Has the rejection of your work from various people made you feel frustrated in some cases? Or does this, on the contrary, feed the spirit of your work and encourage
CPB:It’s not very nice to send work to biennial exhibitions or competitions and find out that one has not been selected. Rejection is certainly frustrating, but it only lasts the time it takes to read the results. Rather than frustrating, it’s exasperating. Exasperating because exhibitions are a sign of the standardization of taste, where painting, the good drawing and virtuosity are becoming increasingly rare. Because the elite, who are supposed to pull up the taste of people, are increasingly ignorant and mix perfume and fashion with art. I feel quite far from real frustration because I have also won prizes and received scholarships. And you are right, after every disappointment I want to paint even crazier images. Do you know what is really frustrating? That artists talk like soccer players. Even Cuauhtémoc Blanco has better grammar than any artist in the Júmex Collection. LAR: How do you think your work has been evolving? What interests you more now and what have you stopped doing in your paintings? CPB: I’ve always been interested in the same things. It’s just that I am better at them now: guts; food; poop; sex; politics;
religion. I am increasingly concerned with the concrete aspects of painting such as composition, color and figure. As there is no doubt I am a good drawer, it seems as though I’m home free. However, every painting is a struggle and works differently than the previous one, despite it being the same technique, and hence is constant learning. I used to be very afraid of having my work labeled as illustration. I took it as something derogatory. Now I no longer try to hide that I once was a cartoonist, illustrator and even a musician at weddings with the superb Sibaris group, affiliated to the Sindicato Único de Trabajadores de la Música (a trade union for musicians). In fact, I like it to be noticeable. I hold many more resources than anybody who limits themselves to be purists in painting. It’s funny, but when I went to the editorial department of the Canard Enchainé in Paris to look for work, the editor told me my work was very pictorial. So it’s been a while since I stopped giving importance to labels. Those who really know about painting are able to decipher and truly understand my work. They don’t pigeonhole me. There’s also a problem with the public: people, young people are getting used to not seeing paintings. And the new generation of painters is increasingly bland and produces a sterile painting which is very “artistically” correct.
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Alejandra Baltazar Artist portafolio update Her portfolio is now available also in french
She presents a new series: Portrait of the Urquiza sisters, 2009
Presenting a preview of the project she is producing with the support of FONCA as winner of the Young Creators prize.
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res
www.livingartroom.com/alejandra_baltazares
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www.livingartroom.com/jiro_suzuki
Jiro Suzuki Artist portafolio update
New pieces in the drowing section: -Nubegraf铆a , 2008 -Volante, 2009 -Adentro hay algo, Saturaci贸n I y II, 2005
New series: Is the grass always greener on the other side of the fence?, 2009
Regardless of where we are, two constants always exist in a landscape: the sky and the earth. This division of space changes its characteristics according to latitude and the time of the day. However, despite its multiple appearances, we are always "delimited" by these. Parting from there, I began to look for people who, for various reasons, had to move far from their birthplaces. I asked them to photograph a place where they felt a sense of “home” within the landscape of their new residence. From this group of photographs I built a common sky and earth. This was the birth of the project name, which I took directly from the popular saying “The grass is always greener on the other side”. This idea questions how different (and greener) a landscape can be somewhere else. In reality, this perception falls back on an issue of appearance.
Lorena Artist portafolio
www.livingartroom.com/lorena_moreno
Moreno update
Cielo
Suelo
Social Networks The "Social Networks" section is new to Living Art Room. This space is used visit our profiles from different social networks on the web and it allows them to join these if they so wish. The main purpose of creating this section is to use all the possible tools that the Internet offers nowadays to be in touch with more people around the world. Living Art Room’s platform promotes artists (and also curators), establishing links in international contexts. With this new application we can connect with more people virtually. Though personal contact is one of the most important aspects for Living Art Room, the use of and participation in social networks in the Internet strengthens these relations, achieving this way a greater involvement for all those part of our project. .
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