"Pablo Atchugarry, Material & Ethereal" Catalogue

倀 䄀䈀䰀 伀 䄀吀 䌀䠀唀䜀䄀刀刀夀

䴀䄀吀 䔀 刀 䤀 䄀䰀

☀ 䔀 吀 䠀䔀 刀 䔀 䄀䰀

PABLO ATCHUGARRY MATERIAL & ETHEREAL First print run of 1500 catalogues September 2016 London, UK Texts by Till-Holger Borchert Translations by Caleidos Translations S. L. Graphic design by Arch. Alessio Gilardi Photography by Daniele Cortese Nicolas and Lorena Vidal Aurelio Amendola (pp. 128 - 141) Printed by Campisi S.r.l.

PABLO ATCHUGARRY MATERIAL & ETHEREAL OCTOBER 6TH - 29TH 2016

CONTENTS 7

MATERIAL & ETHEREAL, BETWEEN HISTORY AND PRESENT

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THE STUDIO

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PLATES

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MONUMENTAL SCULPTURES

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BIOGRAPHY & EXHIBITION HISTORY

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MATERIAL & ETHEREAL BETWEEN HISTORY AND PRESENT

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MATERIAL & ETHEREAL, BETWEEN HISTORY AND PRESENT Pablo Atchugarry’s current sculptures are both pleasant and pleasing. Because of their highly refined aesthetical appearance they blend perfectly into any environment – that being a gallery, a natural resort or a city. Even if not intentionally so, they thereby add – as it would seem at first sight – a highly decorative quality to the space surrounding them. Being of an entirely non-figurative character, they are neither confronting nor disturbing, nor do his works provoke. For many critics of contemporary art, used to conceptualism, this makes Atchugarry and his work somewhat suspicious. But at the same time, Pablo Atchugarry’s sculptures are eminently paradoxical and could be perceived as subliminally confusing: his sculptures are – on the one hand – made out of precious marble to which they owe – on the other hand – their seemingly weightless and almost immaterial appearance. The intrinsic physical nature of his sculptures contrasts fundamentally with their expressive metaphysical qualities that one might associate with bio-morphological structures or, to use a somewhat simpler metaphor, with frozen thoughts and petrified inspiration. Whatever the associations are that they evoke, surface and form of Atchugarry’s sculpted works are not only obviously in complete denial of their actual material existence, but intentionally transcend beyond their materiality, or – it would seem – even beyond the laws of gravity. Although being carved out of large stone-blocks, Atchugarry’s works are fragile, soft, airy, liquid, floating, cascading, textile, cellular, organic – in short they appear to be everything but solemmn, heavy, crystalline, static or non-organic. In ever changing variations of what we perhaps should consider as Atchugarry’s continuous quest for an approximation of the perfect shape, the archetypical figure, or the ideal form – in that sense his working method seems surprisingly reminiscent of Paul Cézanne

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réalisations – the artist is competing in his works with nature itself. This competition is not of an exclusively mimetic character, since the artist attempts to surpass nature itself with his creations and to overcome the physical restrictions imposed by nature by means of his own art. Such a competitive attitude is not – and never really has been – uncommon among artists. It is not at all a sign of artistic hybris when painters and sculptures were and are creating their own “artistic universe”. In fact, such an attitude reaches well beyond nineteenth century conception about l’art pour l’art (art for art’s sake) and the hermetic creations of Klee, Tinguely, Miró, Calder and so forth. It draws on ideas that are deeply rooted in the world and thoughts of artists of the antiquity which – if we are to believe the anecdotes compiled by Pliny the Younger about, for example, Zeuxis and Parrhasios – were remarkable in consciously rivalling with fellow artists, with different artistic genres (such as literature, painting, sculpture), as well as with nature itself. This meant, no doubt, to add a fundamentally self-referential quality to their work, which, in turn, provided an artistic challenge to the great artists and writers of the Renaissance. In fact, the motif of the paragone – as this often rhetorical competition was referred to in humanistic Quattro and Cinquecento prose – became one of the thriving forces of artistic innovation: Manetti explicitly used the term paragone when he recorded the famous competition between Lorenzo Ghiberti and Filippo Brunelleschi for the commission of the bronze reliefs of the doors of the Baptistery of Florence, and Vasari’s accounts of the lives and works of the most famous painters, sculptors and architects – Le Vite – repeatedly evoke metaphors of artistic rivalry and competitive mimesis when speaking, for example, of Leonardo (who in his writings often referred to the concept of the paragone), Bandinelli or Michelangelo. In

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this perspective, the ambivalent attitude of Atchugarry towards nature, material and immaterial form that manifests itself in the inherent paradoxical character of his works entails in fact also a deeply humble attitude towards the great sculptors of the past, which are a source of unconditioned admiration and forceful inspiration to the South-American born artist. In more than one way, Atchugarry is deeply rooted in the traditions and history of European sculpture. The choice of material bears a tremendous significance for the works of Pablo Atchugarry, and it even is of equal importance to their form. For several decades now, Atchugarry almost exclusively uses marble for his creations; it is not just any marble, but marble of extraordinary pictorial quality. More often than not, he works with the exclusive white marble from the quarries of Carrara, near the Tuscan town of Pisa. This very choice carries important implications, since the marble from Carrara – more than marble from anywhere else in the world – entails far-reaching connotations for any sculptor and historian alike. The marble from Carrara was the preferred material used by the most eminent sculptors from antiquity to modern times for their greatest accomplishments: from antique monuments and sarcophagi to Nicola, Giovanni and Andrea Pisano, Arnolfo di Cambio, Jacopo della Quercia, to Donatello, Michelozzo, Verrocchio, Francesco Laurana, to Michelangelo, to Bandinelli, to Gianlorenzo Bernini, to Pierre Puget and to Antonio Canova – a history of European sculpture could be rather sufficiently written by taking into consideration only examples of works made from marble of Carrara. Like a modern painter who decides to paint a triptych would instantly have to face the vast cultural connotations borne by his decision – his work being instantly placed into a referential framework of liturgical altarpieces from ancient times – Atchugarry’s prefe-

rence for Carrara marble chains his creations to the very history of European sculpture. This material creates an irrevocable bond with history that itself is part of the artistic intention. Born a South-American, Pablo Atchugarry is taking pride in the strong ties that exist between his work and the important cultural links with the great tradition of Western sculpture – in both a severe, respectful and somewhat naïve manner that is often found with contemporary artists who grew up outside of Europe or the United States. Atchugarry’s interest in the European sculptural tradition is especially obvious in some of his works from the early 1980’s, at the time when he had recently discovered the marble from the quarries of Carrara as medium for his newly found artistic vocation, when he subsequently almost entirely abandoned painting, and when he decided to move to Lecco at Lake Como in Italy. Under the compelling impression of no other than Michelangelo he sculpted, from 1982 to 1983, a monumental Pietà out of a single block of Carrara marble of 12 tons weight. His Pietà, today in Lecco, must be interpreted as a humble homage to Michelangelo, whose early masterly Pietà in Rome’s Saint Peter of 1499-1500 – made of Carrara marble – clearly was Atchugarry’s point of departure. He translated the ingenious artistic language of the famous Renaissance Master into his own idiom that he had brought with him from South America and that combined formal post-constructivist elements with spiritually charged elements derived from his interest in ancient “primitive” civilizations of the Americas. The same can be said about Atchugarry’s equally impressive and monumental Redemptoris Mater, finished in 1987. The sculptor was inspired by another one of Michelangelo’s masterpieces, namely the uncompleted Rondanini Pietà (Milan, Castello Sforzesco). It was his remarkable artistic sensitivity and conviction that allowed

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Atchugarry to convincingly create his own interpretation of the unfinished masterpiece from which the great Renaissance master, in the last weeks of his life in 1564 had “hacked away the marble till nothing but a skeleton survived” (John Pope-Hennessy). Atchugarry’s unconditional admiration for Michelangelo and his own spiritual experience enabled him, however, to recreate a work of convincing and entirely credible pathos (in the sense of Michelangelo’s sculpture possess a highly pathetical quality) while carefully avoiding the pitfall of producing kitsch visà-vis the utterly tragic moments of the dying Michelangelo.

Atchugarry found a similarly complex balance between pathos and kitsch in some of the more abstract sculptures that he was starting to produce from about the same period on. At that time, he had not yet completely abandoned the habit to title his work, and his sculptures of the period – although increasingly abstract in shape – bore highly symbolic titles like La Lumière, Anima, Liberi nell’universo – titles which both alluded to specific elements of the abstractions reminiscent to other forms as well as to their fundamentally spiritual and metaphysical character.

These sculptures, too, seem to convey Atchugarry’s artistic reaction to an overwhelming experience of Old Master sculpture that he was confronted with after his move to Italy. Although this response might have been far less conscious than in the case of Michelangelo and certainly was paired by equally strong influences of both “primitive art” and modernist sculptures – by, for example, Constantin Brancusi –, it is obvious that at least one particular aspect of his work from this period (and later on) touched upon one of the most fundamental issues of traditional European sculpture, namely the issue of light. No other than Leonardo da Vinci had, while elaborating in his theoretical writings on the topic of the paragone between pictura

(painting) and sculptura (sculpture), attempted to outline fundamental differences between both artistic media and thereby had coined the observation that painting is lit from the inside, while sculpture is lit from the outside.

Hardly nowhere can this statement be better verified than in Bruges, where two uncontested masterpieces of two of the greatest artists of mankind – Jan van Eyck’s Madonna of Joris van der Paele and Michelangelo’s Madonna and Child – can be compared within a distance of a few hundred meters. While Van Eyck’s panel possesses an intrinsic glow based on the reflectivity of his paint, Michelangelo’s sculpture – the only sculpture of the artists that left Italy during Michelangelo’s lifetime – fundamentally changes its appearance during the course of the day, depending on the position of the sun. But neither Van Eyck nor Michelangelo (nor, for that matter, Leonardo himself) integrated the fundamental difference of light in painting or sculpture into their artistic conception. The first realization of the full potential of this dissimilarity for means of artistic expression was left to later generations, in particular to Caravaggio and Bernini. The first was instrumental in exploring the dramaturgical possibilities of light in the media in painting, the second was of similar importance for the theatrical use of light in the medium of sculpture. Gianlorenzo Bernini’s famous Ecstasy of Saint Teresa in the Cornaro Chapel of Sta. Maria della Vittoria in Rome is conceived with a clear idea about the light situation in mind, and the changing of light during the day is an integral part of this masterpiece’s artistic intention. Less explicitly, but not necessarily in a less fundamental way than in responding to Michelangelo’s work, Pablo Atchugarry’s abstract sculpture seem to owe much to Bernini. The receding cascades of varying depth and the network of stereometrical patterns create a dynamic labyrinth of shades that, together with the

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highly polished surfaces create a structure of reflection and absorption of light that parallels the flowing textures of Bernini’s figures. And also the use of the coloured marble of Portugal, which Atchugarry uses alternatively, seems reminiscent of the more colourful creations of great Baroque genius. Even Atchugarry’s most abstract works have a remarkable affinity to baroque sculpture, underlining once again the artist’s deep involvement with tradition.

At least one last aspect deserves our attention when addressing Atchugarry’s work and its close ties to the tradition of Western sculpture, and that is his craftsmanship.

Atchugarry’s perfection in execution and his mastery of the material witness his technical abilities that enable him to realize his artistic visions: these criteria, however, play a secondary role in today’s prevailing discourse of contemporary art, if they play a role at all. Concept, originality and invention triumph today above adequate technical knowledge, mastery and ability to shape artistic visions.

For Atchugarry, on the other hand, technical mastery and craftsmanship remain preconditions of his artful expression.

The physical efforts it takes to shape large blocks of marble are the labours of actually creating form from imagination. The artistic vision of Atchugarry is uncompromising in that sense that only the perfect technical execution can be considered an adequate approximation of the ultimate idea.

Like his admired sculptors from the past, Atchugarry is both a craftsman and an artist – someone who uses his own hands for his work, someone who is willing to sacrifice a great deal of his own physical power and strength in the process of creative creation. He combines a great sensibility for plasticity and three-dimensionality that allows him to apply his preparatory drawings immediately on the marble blocks in his atelier in Lecco. The intellectual pro-

cess of invention – of an emotion, expression or pure form – is instantly shaped in an inner vision of a three-dimensional object and is directly transferred onto the material that will become the medium of his creation. Like the medieval masons of the Gothic cathedrals, whose preparatory drawings are often found drawn or incised in stone, Atchugarry can afford to omit intermediary stages – sets of preparatory drawings on paper in which the final shape is conceived by numerous subsequent drawings. Since the vision he is about to create is in his mind, these preparatory drawings are no more than highly idiosyncratic guidelines or rough indications for activating memory. It would be virtually impossible for any assistant to produce a work adequate to Atchugarry’s artistic imagination from those preparatory drawings on stone. Sure enough, his atelier in Lecco resembles the workshop of an Old Master since he has assistants to help him. But the participation of his assistants – all of them are, like in older times, members of his family – is restricted to the non-artistic aspect of his lobour like the preparation of the blocks, the maintenance of the artist’s tools. The process of creation and realization is the exclusive work of the artist/sculptor/craftsman Pablo Atchugarry.

[From T.-H. Borchert, Between material and immaterial, amidst history and the present - some remarks on the sculptures of Pablo Atchugarry, in A journey between matter and light. Pablo Atchugarry, exhibition catalogue, Groeninge Museum + Forum plus, Bruges 2006]

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THE STUDIO

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PLATES

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UNTITLED - 2015 STATUARY CARRARA MARBLE 72 x 10.6 x 10.6 in (183 x 27 x 27 cm)

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UNTITLED - 2016 PINK PORTUGAL MARBLE 13.4 x 13 x 6.5 in (34 x 33 x 16.5 cm)

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UNTITLED - 2016 BRONZE WITH AUTOMOTIVE PAINT, ED. OF 8 + 1 AP 20.1 x 6.5 x 5.7 in (51 x 16.5 x 14.5 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 11.8 x 7.9 x 5.9 in (30.5 x 20 x 15 cm)

UNTITLED - 2016 STATUARY CARRARA MARBLE 21.9 x 7.9 x 4.3 in (55.5 x 20 x 11 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 16.9 x 7.9 x 5.5 in (43 x 20 x 14 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 11.8 x 15.4 x 7.7 in (30 x 39 x 19.5 cm)

UNTITLED - 2016 BRONZE WITH AUTOMOTIVE PAINT, ED. OF 8 + 1 AP 14.6 x 7.7 x 2.8 in (37 x 19.5 x 7 cm)

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UNTITLED - 2016 CARRARA MARBLE 29.7 x 15.7 x 9.6 in (75.5 x 40 x 24.5 cm)

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UNTITLED - 2016 POLISHED STAINLESS STEEL 48 x 18.9 x 11.8 in (122 x 48 x 30 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 16.9 x 7.7 x 7.3 in (43 x 19.5 x 18.5 cm)

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UNTITLED - 2016 PINK PORTUGAL MARBLE 44.1 x 18.5 x 10.2 in (112 x 47 x 26 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 40.2 x 12.2 x 8.3 in (102 x 31 x 21 cm)

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UNTITLED - 2016 BRONZE WITH BLACK PATINA, ED. OF 8 + 1 AP 14.6 x 7.7 x 2.8 in (37 x 19.5 x 7 cm)

UNTITLED - 2014 BRONZE WITH AUTOMOTIVE PAINT, ED. OF 8 + 1 AP 58.3 x 16.5 x 15 in (148 x 42 x 38 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 19.7 x 7.1 x 3.9 in (50 x 18 x 10 cm)

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UNTITLED - 2016 BLACK BELGIAN MARBLE 29.5 x 6.3 x 3.9 in (75 x 16 x 10 cm)

UNTITLED - 2016 GREY BARDIGLIO MARBLE 25.6 x 8.3 x 6.5 in (65 x 21 x 16.5 cm)

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UNTITLED - 2016 PINK PORTUGAL MARBLE 19.7 x 12 x 8.3 in (50 x 30.5 x 21 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 11.6 x 6.9 x 6.7 in (29.5 x 17.5 x 17 cm)

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UNTITLED - 2016 STATUARY CARRARA MARBLE 23.3 x 4.3 x 4.3 in (59 x 11 x 11 cm)

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UNTITLED - 2016 BLACK BELGIAN MARBLE 15.9 x 9.8 x 5.1 in (40.5 x 25 x 13 cm)

UNTITLED - 2016 STATUARY CARRARA MARBLE 18.5 x 8.1 x 5.5 in (47 x 20.5 x 14 cm)

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MONUMENTAL SCULPTURES

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EUSKADI - 2016 STATUARY CARRARA MARBLE 98.8 x 18.1 x 11.8 in (251 x 46 x 30 cm)

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CARIATIDE - 2006 BRONZE WITH GREEN PATINA 90.9 x 25.6 x 23.2 in (231 x 65 x 59 cm)

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LIFE AFTER LIFE - 2015 OLIVE WOOD 212.6 x ø 47.2 in (540 x ø 120 cm)

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VIA CRUCIS - 2014/15 STATUARY CARRARA MARBLE 50.8 x 31.5 x 7.9 in (129 x 80 x 20 cm)

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MOVEMENT IN THE WORLD - 2014 STATUARY CARRARA MARBLE 328.7 in (835 cm)

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NEST OF DREAMS - 2013 COR-TEN METAL ALLOY 460..6 in (1170 cm)

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LIGHT OF SOUTH - 2013 STATUARY CARRARA MARBLE 159.4 x 60.6 x 32.3 in (405 x 154 x 82 cm)

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OLIMPIC SPIRIT I POLISHED STAINLESS STEEL 230.3 x ø 86.6 in (585 x ø 220 cm)

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OLIMPIC SPIRIT II POLISHED STAINLESS STEEL 200.8 x ø 86.6 in (510 x ø 220 cm)

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COSMIC EMBRANCE - 2005/11 STATUARY CARRARA MARBLE 338.6 x 62.6 x 57.5 in (860 x 159 x 146 cm)

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LIGHT AND ENERGY OF PUNTA DEL ESTE - 2009 STATUARY CARRARA MARBLE 196.9 in (500 cm)

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LIGHT OF THE SOUTH - 2008 STATUARY CARRARA MARBLE 141.7 x 97.4 x 27.6 in (360 x 95 x 70 cm)

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UNTITLED - 2006 STATUARY CARRARA MARBLE 118.9 x 16.9 x 10.6 in (302 x 43 x 27 cm)

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IN THE WAY OF LIGHT - 2006 STATUARY CARRARA MARBLE 326.8 in (830 cm)

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DREAMING OF PEACE - 2003 STATUARY CARRARA MARBLE AND GREY BARDIGLIO MARBLE Group of eight sculptures created for the 50th Venice Biennale

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UNTITLED - 2003 STATUARY CARRARA MARBLE 108.3 x 18.9 x 16.5 in (275 x 48 x 42 cm)

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MONUMENTO ALLA CIVILTA’ E CULTURA DEL LAVORO LECCHESE - 2002 STATUARY CARRARA MARBLE 244.1 in (620 cm)

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BIOGRAPHY & EXHIBITION HISTORY

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BIOGRAPHY Pablo Atchugarry was born in Montevideo, Uruguay, on 23 August 1954.

His parents, Maria Cristina Bonomi and Pedro Atchugarry Rizzo, passionate art enthusiasts, identified Pablo’s artistic talent and interest when he was still a child and encouraged him to pursue a career as an artist. In his earliest works, he expressed himself through painting, gradually discovering other materials such as cement, iron and wood.

In 1971, his first cement sculpture was entitled Horse; this was followed by other cement and iron sculptures includingEscriturasimbólica (1974), Estructuracósmica (1974), Metamorfosisprehistórica (1974), Maternidad (1974) and Metamorfosisfemenina (1974).

In the late 1970s, after taking part in several exhibitions in Montevideo, Buenos Aires, Puerto Alegre and Brasilia, Atchugarry made a number of trips to Europe to study and perfect his art. He travelled to Spain, France and Italy, where he mounted his first solo exhibition in Lecco in 1978. His paintings were subsequently exhibited in a variety of European cities, including Milan, Copenhagen, Paris, Chur, Bergamo and Stockholm.

After experimenting with a range of different materials, in 1979 Atchugarry discovered the extraordinary elegance of marble and he carved his first sculpture in Carrara, entitled La Lumière. His first monumental sculpture carved from Carrara marble was completed in 1982. That same year, the artist settled permanently in Lecco, working on the sculpture La Pietà, carved from a single block of marble weighing 12 tonnes. In 1987, he held his first solo sculpture exhibition in Bramantino’s Crypt in Milan, curated by Raffaele de Grada.

Late 1996 saw the installation of the sculptureSemilla de la Esperanza in the monumental sculpture park in the grounds of Uruguay’s government building.

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In 1999, the artist founded the Museo Pablo Atchugarry in Lecco to house works spanning his entire career alongside bibliographical documentation and an archive.

Twenty years after his arrival in Italy, the Province of Milan organised a retrospective of Atchugarry’s work entitled “The Infinite Evolutions of Marble” at the Palazzo Isimbardi in Milan. In the same year, he sculpted his first monumental work entitled the Obelisk of the Third Millennium, a six-metre-high Carrara marble sculpture for the Italian town of Manzano (Udine). He also won the competition to created Lecco’s Monument to theCulture and Civilisation of Work, a sculpture in white Bernini marble also six metres high and weighing in at 30 tonnes.

In 2002, Pablo Atchugarry was awarded the “Michelangelo” prize in Carrara in recognition of his career as an artist. He was also committed to a range of projects that year, including the Idealssculpture, which stands on Avenue Princesse Grace in Monaco and was created to commemorate the 50th anniversary of the coronation of Prince Rainier.

In 2003, he participated in the 50th Venice Biennale International Art Exhibition with the sculpture Soñando la paz, a work consisting of eight pieces, five in Carrara marble and three in Bardiglio della Garfagnana marble.

Also in 2003, he sculpted Ascension for the Fundació Fran Daurel in Barcelona.

In 2004, he carved Vital Energy, a Portuguese pink marble sculpture for the BellinsonCenter in Petah Tikva, Israel, and the following year the National Museum of Fine Arts in Buenos Aires staged an exhibition of his work. From June to November 2006, the Groeningemuseum in Bruges, Belgium held a major retrospective exhibition of the artist’s career, including works from international private collections; in the same year, the MuseuColeçãoBerardoin

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Portugal acquired Vital Path.

In early 2007, Atchugarry opened the Fundación Pablo Atchugarry in Manantiales, Uruguay, with the aim of providing a stimulus for the arts and creating a place for artists of all disciplines to meet in an ideal location that combines nature and art. In the same year, he completed an eight-metre-high monumental work In the Light, carved from a single 48-tonne block of marble, for the Collezione Fontana in Italy.

In 2007-2008, a retrospective exhibition dedicated to his work entitled The Plastic Space of Light was held in Brazil, accompanied by a critical text written by Luca Massimo Barbero. Initially staged at the Banco do Brasil Cultural Centre in Brasilia, the exhibition travelled to the MuBe (MuseuBrasiliero da Escultura) in São Paulo and the Museu Oscar Niemeyer in Curitiba. In 2008, the Museo Nacional de ArtesVisuales in Montevideo dedicated a retrospective exhibition to Atchugarry’s work of the preceding 15 years.

In 2009 Atchugarry created the work Luz y Energía de Punta del Este, carved from a single five-metre-high block of Carrara marble, for the hundredth anniversary of the city of Punta del Este.

In 2011, after seven years of work, he completed Cosmic Embrace, carved from a 56-tonne, 8.5-metre-high block of marble, and the same year the Hollis Taggart Galleries in New York organised a solo show, curated by Jonathan Goodman. In March 2012, the Times Square Alliance association selected Dreaming New York to be exhibited in Times Square during The Armory Show Art Fair in New York City.

In April 2014, the 8.35-metre-high Carrara marble sculpture Movement in the World was installed in the town of Kallo-Beveren, Belgium.

In late 2013, MondadoriElecta published the CatalogoGenerale della scultura, two volumes edited by Professor Carlo Pirovano cataloguing every sculpture produced by the artist between 1971 and 2013.

From July to September 2014, the MuseuBrasiliero da Escultura in São Paulo, Brazil dedicated a major retrospective to the artist’s work, entitled “A Viagem pela matéria”.

The exhibition “Eternal City, eternal marbles”, featuring 40 sculptures, was exhibited at the Museo dei Fori Imperiali - Mercati di Traiano in Rome from 22 May 2015 to 7 February 2016. The same year in June, the sculpture “Endless Evolution” was inaugurated in the sculpture park of the Perez Art Museum Miami.

Pablo Atchugarry’s works have also been exhibited at the following museums and public institutions: Museo Nacional de ArtesVisuales, Montevideo; Museo del Parco, Portofino; Museo Nacional de BellasArtes, Buenos Aires; Museo Lercaro, Bologna; Collezione della Provincia di Milano a Palazzo Isimbardi; Collezione della Provincia di Lecco; Fundació Fran Daurel, Barcelona; Groeningemuseum, Bruges; MuseuColeçãoBerardo, Lisbon; Pérez Art Museum, Miami; The Patricia & Phillip Frost Art Museum, Miami; Chrysler Museum of Art, Norfolk; Museo Brasilero da Escultura, São Paulo.

Atchugarry currently lives and works between Lecco and Manantiales, where he oversees the development of the Fundación Pablo Atchugarry and the international monumental sculpture park, as well as teaching and promoting art.

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SELECTED SOLO EXHIBITIONS 2016 Boon Gallery Knokke - Heist Hollis Taggart Galleries New York

2015 Mercati di Traiano: Musei dei Fori Imperiali Roma Expo 2015, Uruguayan Pavillion Milano Paulo Darzé galeria de arte Salvador Costantini Art Gallery Milano Art Stage Singapore Singapore 2014 Palazzo del Parco Diano Marina Bologna Fiere SH Contemporary Shanghai Museu Brasileiro da Escultura São Paulo Arte Fiera Bologna Albemarle Gallery London 2013 Fundacion Pablo Atchugarry Manantiales Hollis Taggart Galleries New York Museo MIIT Torino 2012 Albemarle Gallery London 2011 Holllis Taggart Galeries New York 2010 Albemarle Gallery London Bienvenu Gallery New Orleans 2008 Albemarle Gallery London

Museo Nacional de Artes Visuales Montevideo 2007 Museu Oscar Niemeyer Curitiba Museu Brasileiro da Escultura São Paulo

Centro Cultural Banco do Brasil Brasilia Lagorio Arte Contemporanea Brescia Frey Norris Gallery San Francisco 2006 Albemarle Gallery London Groeninge Museum Bruges

Galeria Sur Punta del Este - La Barra Gary Nader Fine Art Miami 2005 Museo Nacional de Bellas Artes Buenos Aires Park Ryu Sook Gallery Seoul Gary Nader Fine Art Miami 2004 Galeria Tejeria Loppacher Punta del Este - Uruguay Galleria Rino Costa Valenza Villa Monastero Varenna Albemarle Gallery London

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2003 Fondation Veranneman Kruishoutem

50° Biennale di Venezia - Padiglione dell’Uruguay Venezia

Fondazione Abbazia di Rosazzo Rosazzo - Udine Galleria Les Chances de l’Art Bolzano 2002 Ellequadro Documenti Genova 2001 Palazzo Isimbardi Milano Albemarle Gallery London Fondazione Il Fiore Firenze 2000 Galerie Le Point Monte Carlo 1999

Inter- American Development Bank

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1998 Ellequadro Documenti Genova Fondation Veranneman Kruishoutem Valente Arte Contemporanea Finale Ligure 1997 Centro Fatebenefratelli Valmadrera 1994 Galleria Nuova Carini Milano 1992 Galerie L’Oeil Bruxelles 1991 Galleria Carini Milano 1989

Biblioteca Civica di Lecco

Lecco

1988 Galleria Carini Milano Museo Salvini Coquio Trevisago 1983 Villa Manzoni Lecco 1982 Galeria Felix Caracas Galleria Visconti Lecco Galleria Comuale Monza 1981 Ibis Gallery Malmo Galerie L’ Art et la Paix Paris Galeria la Gruta Bogota 1979

Maison de l’ Amerique Latine

Paris

1978 Galleria Visconti Lecco Galleria La Colonna Como 1974 Galeria Lirolay Buenos Aires 1972 Subte Municipal Montevideo

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GROUP EXHIBITIONS 2016 Art Rio Rio de Janeiro Seattle Art Fair Seattle Point Art Monaco Monaco Art Cologne Koln Sp-arte São Paulo Tefaf Maastricht The Armory show New York Arte Fiera Bologna Art Stage Singapore Singapore Este Arte Punta del Este 2015 Art Basel Miami Art Miami Miami Fiac Paris Art Toronto Toronto Art Bo Bogotà Art Rio Rio de Janeiro Art International Istanbul Point Art Monaco Monaco Art Marbella Marbella Art Miami New York New York Sp-arte São Paulo Parc Lima Art Cologne Koln Mi Art Milan Art Basel Hong Kong The Armory show New York Tefaf Maastricht Arte Fiera Bologna

The Armory show New York Bianco Italia - Tornabuoni Art Paris Art Basel Hong Kong Tefaf Maastricht Arte Fiera Bologna 2012 Art Basel Miami Art Miami Miami Expo Chicago Chicago HFAF Houston Art Rio Rio de Janeiro SP Arte Sao Paulo ArteBa Buenos Aires The Armory show New York Tefaf Maastricht Arte Fiera Bologna 2011 Art Basel Miami Miami Fiac Paris ArteBa Buenos Aires SP Arte Sao Paulo Legacy Gallery Panama Tefaf Maastricht Arte Fiera Bologna 2010 Fiac Paris SP Arte Sao Paulo Tefaf Maastricht Arte Fiera Bologna

2014 Art Basel Miami 2009 Art Miami Miami Fiac Paris Fiac Paris ArteBa Buenos Aires Art Bo Bogota Arte Fiera Bologna Art Rio Rio de Janeiro Arte Ba Buenos Aires 2008 Parc Lima Arco Madrid SP Arte Sao Paulo Art Basel Hong Kong 2007 Black - Galleria Dep Art Milano Art First Bologna Mi Art Milano Arco Madrid The Armory show New York Punta del Este Tefaf Maastricht Galeria Sur Arte Fiera Bologna 2006 Hollis Taggart Galleries New York 2013 ArteFiera Bologna Art Basel Miami Art London London Art Miami Miami Gallery Bienvenu New Orleans Pinta New York FIAC Paris 2005 Expo Chicago Chicago ArteFiera Bologna Art Bo Bogota Art Basel Miami HFAF Houston Art Rio Rio de Janeiro 2004 FIA Caracas Art London

London Art South Hampton South Hampton Mi Art Milano Art Brussels Brussels Arco Madrid Arte Ba Buenos Aires Arte Fiera Bologna SP Arte Sao Paulo

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2003 Arco Madrid Artefiera Bologna 2002 Galerie Le Point Monte Carlo Tefaf Maastricht Arco Madrid Artefiera Bologna 2001 Tefaf Mastricht Arco Madrid Artefiera Bologna 2000 Xenobio Exhibition (a cura di Idehiro Ikegami) Bologna Tefaf Mastricht Arco Madrid Artefiera Bologna 1999 Orion Art Gallery Bruxelles Art Basel Basel Tefaf Mastricht Arco Madrid Artefiera Bologna 1998 Biennale di Aldo Roncaglia San Felice S. P. Scultura 98 Sondrio Castle of Bourglinster Luxembourg Artefiera Bologna 1997 Gildo Pastor Center Artefiera

Monte Carlo Bologna

1996 Palazzo Ducale Genova 1995 Ellequadro Documenti

Genova

1994 4a Biennal de Sculpture Contemporain

Passy

1992 Palazzo Crepadona 9° Salon d’ Art Contemporain

Belluno Bourg en Bresse

1991 Contemporary Art International

Milano

1990 Simposio di sculture - Castello di Nelson

Bronte

1989 IX Bienal de Arte Internacional Chile

Valparaiso

1987 Esibizione Internazionale di sculture Esibizione di Arte Sacra - San Francesco Esibizione Internazionale “Como Illustrazioni” 7a Esibizione d’ Arte Sacra - S. Sempliciano

Castellanza Como Como Milano

1984 XIX Esibizione Internazionale di Scultura 1a Esibizione di piccole sculture

Legnano Castellanza

1983 3a Esibizione d’Arte Sacra - S. Sempliciano

WWMilano

1980 Taormina concorso (1º Premio)

Taormina

1979 “Alessandro Volta“ Pittura internazionale

Como

1977 XL Salón Nacional - Premio Adquisicion International Exhibition of Applied Arts Bella Center

Montevideo Copenhagen

1976 Galeria Aramayo Montevideo Salón de Miniescultura Montevideo 1975 XVI International Salón Paris - Sud

Juvisy

1974 XXII Salón Municipal XV International Salón Paris - Sud

Montevideo Juvisy

1973 XXVI Salón Nacional de Artes Plásticas

Montevideo

1972 XXVI Salón Municipal de Artes Plásticas

Montevideo

1965 IGE Salón de Artes Plásticas para la juventud Montevideo