JOSE GARCIA CORDERO. OPERA NERA

Coctel de cierre y conversatorio con Jose Garcia Cordero y participacion de los artistas Mariano de Tolentino y Juan Miguel Perez. Este tomara lugar en el Museo de Arte Moderno de Santo Domingo.

Lanzamiento #NOLABEL de Mezcal Verde Amarás

De izquierda a derecha: Manuela Corji, Duran Aguirre, Jose Maria Cabral, Flavio Florencio. Hugo Vailanti, Cristina Rovira. Stefano Cavolli, Mar Martinez, Freddy Jana. Marian Gabrielle, Moises Emmanuel. Manuela Corji, Luis Quiñones Polanco, Duran Aguirre. Fernando Solano, Gustavo Peña. Cristina Hernandez, Gerard Ellis. Wayne Wheeler, Sharon Sued, Fernando Solano. Manuela Corji, Flavio Florencio, Luis Miguel Molina. Clara Solano, Luis Paredes. Mar Martinez, Stefano Cavolli. Veronica Modesto.

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Gustavo Peñam, Happy Abduction, 2021, Oil on Canvas, 68h x 78w in. (Private Collection).

Gustavo Peña titula su obra como “Happy Abduction” una obra que representa la experiencia de consumo del mezcal mediante la abducción de una persona por un platillo volador o UFO en medio de un paisaje tropical durante el atardecer. El artista describe el estilo de su obra como pop art.

El Aposento, El Tigre, 2021, Serigrafia Sobre Papel Materica Gesso, 27 x 40 in.

El Aposento, un estudio de diseño dirigido por Luis Molina, propone una etiqueta que representa, de alguna manera, parte de la cultura popular dominicana con su obra “El Tigre” la cual ilustra un felino mientras se escabulle entre los agaves florecidos representando el concepto de “el tigre” como jerga dominicana, una persona que se sale con la suya. La pieza toma referencia las antiguas ilustraciones chinas de la Fauna, ya que en esta cultura el Tigre representa a las personas que buscan aventuras y disfrutan plenamente de la vida.

Gerard Ellis, Circus Man, 2021, Acrilica Sobre Lienzo, 45 x 57 in.

Para su etiqueta “Circus Man”, Gerard Ellis toma como punto de partida un personaje de circo de los que exhiben gran fuerza y poderío, de los que se destacan entre las multitudes, su postura erguida da ese sentido de poseer una actitud positiva y de victoria ante la vida, sin miedos ni ataduras. También trata de evocar a los personajes de la lucha libre mexicana, muy arraigada a su cultura popular. La “pesa”que levanta está compuesta por dos plantas de Agave, materia prima para la elaboración del Mezcal.

Santiago YDAÑEZ Expone En La Iglesia San lorenzo úbeda

Santiago Ydañez en el proceso de montaje.

El virtuoso e irreverente artista español, nacido en Jaén, Santiago Ydañez, interviene y toma por asalto, con una exposición descomunal, la iglesia de San Lorenzo, Úbeda (Jaén), ciudad considerada patrimonio de la humanidad.
Apertura 1ro de Septiembre 2021. Hora: 21:30
Según el texto de TEORÍA DEL SANTO a cargo de Marius Christian Bomholt:

“Este ensayo lleva el título de Teoría del Santo, aunque en realidad se tendría que llamar Aclaraciones sobre la teoría del Santo, puesto que la verdadera teoría —la compleja, la sobrecogedora, la sublime— emerge, cual bruma milagrosa, de las magníficas pinturas de Santiago Ydáñez expuestas en esta muestra. El presente texto sirve únicamente como una suerte de scholium en la mejor tradición escolástica, o, si lo prefieren, como una piedra de Rosetta que traduce —intenta traducir— el lenguaje visual de las obras de Ydáñez a uno mínimamente menos misterioso y huraño, al igual que la estela helenística nos alumbró sobre los herméticos ideogramas egipcios, más próximos, para el ojo occidental, a la imagen que a la palabra.

Ser un santo duele, eso queda claro: Santiago ejemplifica ese sagrado dolor a la perfección con sus santos maltratados, algunos de ellos visiblemente heridos, otros aquejados por males invisibles, pero no por ello menos angustiantes. Todo eso no es de extrañar, en realidad, ya que las tribulaciones del santo son muchas: dolorosa la privación que escoge con la conciencia de que ella es el único camino hacia el señor; dolorosa la caridad, porque las miserias humanas son difíciles de aguantar; y dolorosa también la piedad, porque aquella fe que no molesta, la que es conveniente y lisa como un guijarro, sólo la tienen los que nunca la tuvieron de verdad. Todo eso duele, pero el santo lo asume de manera ecuánime, o eso parece. par las glorias que le aguardan más allá”.

Santiago Ydañez, Untitled 2021, San Lorenzo Ubeda

Según las palabras de los oficiales de la iglesia;

“Todo lo anterior —y tanto más— nos lo enseñan, a mi parecer, las esplendorosas pinturas de Santiago, recogidas en una muestra de belleza arrolladora y emplazadas en un entorno no menos atractivo. Una muestra que agrada a los ojos, pero que al mismo tiempo no deja de desprender un aire inquietante, de revelar un pulso sombrío y envolvente que late detrás de sus imágenes. Una muestra que satisface el ‘apetito visual’, que apacigua y gratifica el deseo estético, pero que a la vez nos deja con la certeza de que la figura del santo alberga en sí uno de los grandes misterios de la fe. Si me permiten cerrar con el siguiente juego de palabras algo forzado: los caminos del santo —ya nos lo dice Lacan— son inescrutables.”

Gustavo Peña Featured in El Caribe

“La obra de Gustavo Peña refresca no solo la mirada, sino también el pensamiento”

Gustavo Peña, Paleta 5, 2021, Oil on canvas, 60h x 72w in, 152.40h x 182.88w cm

Para leer mas sobre la critica de Gustavo Visitar este link:

Lor gallery presents: Jose Garcia Cordero with "Opera Nera"

Lyle O. Reitzel Gallery presents 'Opera Nera' by José García Cordero:

José García Cordero, Luna de la Muerte, 2014, Acrylic on linen, 69h x 214w

The contemporary art gallery, Lyle O. Reitzel, founded in 1995, celebrates its 26 years of existence, by presenting the subversive solo exhibition 'OPERA NERA' by renowned Dominican master, Jose Garcia Cordero, along with the release of the book bearing the same title, this coming Tuesday, June 22, running hours from 11:00 a.m.- 5:00 p.m. at the Torre Piantini.

"Opera Nera'' covers the period 2001-2020, and is made up of a body of 16 works, produced in acrylic on linen, revealing a Dominican socio-political history rarely addressed in images, where corruption, impunity, citizen insecurity and state crimes are developed for decades in a sort of 'normality'. Garcia uses irony as a battle tool and a transgressive double meaning that characterizes his black humor. His irreverent language; a monochromatic plastic universe, where black and white, light and shadow, are executed with a disturbing skill.

In one of the texts that appear in the book 'Opera Nera', the controversial artist leaves his poetic imprint: "Black this abandonment of all ethics. Black this future. Black the tight leash. Black the mantle that has to cover so many murders". Likewise, the writer and artist Rita Indiana "La Montra", gives her avant-garde pen, dispatching herself as follows: "Thorny parapets give the starry night excuses to do nothing in concrete hammocks in the shadow of a decree, a mangy viralata thinks that it is very tasty to knock dust and lick sack, even if it scares the armpit of his mafia paladin".  

On the other hand, the writer Soledad Alvarez offers a more optimistic point of view: "The dream of the night changes the parliament/ will defeat the nightmare".

García Cordero studied painting with the master Hernández Ortega. With a successful career of more than 40 years. He has recently been selected to be part of the book "A-Z of Caribbean Art" where he appears alongside some of the most transcendent exponents of universal Caribbean art, such as Wifredo Lam, Cruz Azaceta, Duval Carriè, José Bedia, Mario Benjamin, Freddy Rodriguez, Tania Bruguera among others. 

He has received multiple awards such as: "Medal of Merit" by the Senate of the Republic of France, "Gold Medal" in the I and III 'Biennial of the Caribbean', Museum of Modern Art, Santo Domingo, among others. He has exhibited his works in important collective and individual exhibitions in galleries, museums, art fairs such as ARCO, Madrid, KIAF, Korea, Art Miami during Art Basel, ArteBA, Buenos Aires, Argentina, Zona Maco, Mexico, FIAC, Paris, Scope New York, as well as in institutions in Europe, Asia, Latin America, the Caribbean and the United States. In 1994, he was part of "Modern and Contemporary Art of the Dominican Republic", America's Society, New York and Bass Museum of Miami Beach, Fl. 1995 exhibited in the traveling exhibition "Caribbean Visions", Smithsonian Museum, Washington D.C. 1996 selected for 'Premio Marco", Museo Arte Contemporáneo, Monterrey, Mexico. 2003 (Solo) "Human Conditions", Museum of Latin American Art, Long Beach, California.  2015 'Caribes' Cortes Collection, Museum of San Juan, Puerto Rico, among others. His works belong to the Permanent Collection of Salon Vitry-Sur Seine, France. Jesús David Alvarez/Vega Sicilia, Madrid, Spain, Angel Romero, Madrid, Spain. FRAC- Regional Fund of Contemporary Art, Martinique. Cortes Collection Foundation, Old San Juan, Puerto Rico. MoLAA-Museum of Latin American Art, Long Beach, California. Marcelo Narbona Collection, Panama. Leon Jimenes Center, Santiago, DR. Museum of Modern Art, Santo Domingo, DR. Chamber of Deputies, National Congress, SD, DR. Central Bank, DR. Ortiz Guardian Foundation, Leon, Nicaragua, Banco de Reservas Collection, Santo Domingo, Lyle O. Reitzel Collection, Samuel Conde Collection, Raul Lluberes Collection, Bonarelli Collection, among others.

José García Cordero, El Batman de Villa I, 2007

Acrylic on linen, 88h x 247w cm

Tendencias Hoy: Featuring LOR gallery

Entre estas últimas se puede citar Lyle O. Reitzel Gallery, un espacio ideal para tomar contacto con la obra de algunos de los mejores artistas dominicanos a través de exposiciones individuales y colectivas y, de paso, llevarse en las retinas todo el colorido que, por lo general, caracteriza sus creaciones.

Gustavo Peña: "Un Riesgo Necesario"

La galería Lyle O. Reitzel presenta “Un Riesgo Necesario” de Gustavo Peña.

Gustavo Peña, Big Blue Geometry 2020, oil on wood, 48x48 in

La galería de arte contemporáneo Lyle O. Reitzel, fundada en 1995, presenta la esperada exposición individual del artista dominicano, de nueva generación, Gustavo Peña, bajo el título “Un Riesgo Necesario”. La exhibición reúne en espacio y tiempo, un cuerpo de obras producidas durante el confinamiento en la era del Covid19, abarcando el período 2020-2021. Las inspiraciones se desprenden de sus nostalgias ochenteras adolescentes, e intentan convertirse en referencias de una memoria cultural generacional, marcada por íconos y gráficas de computadora. A partir de estas iconografías virtuales, el artista fusiona lenguajes abstracto-geométricos o contructivistas, integrando elementos figurativos o al revés, o todo lo contrario, obteniendo como resultado mutaciones e híbridos estilísticos, en composiciones que desde interiores, emergen visiones a paisajes o autopistas alucinantes en exteriores, con una paleta de tonalidades sobria y explosiva que conviven en sorprendente armonía. La exposición será inaugurada a nivel virtual y por invitación, el próximo 5 de abril del 2021, en el espacio de la galería(Torre Piantini.

Según las palabras del curador Omar Castillo, “indicadores. La permanencia de un sentido del humor absurdo en sus pinturas (desde sus tempranas hasta las actuales), y el derroche de dominio técnico, léase su efectiva (que no efectista) capacidad de mezclar recursos: gráficos y gestuales. Eso, combinado a que el universo digital que emana o se experimenta en la cultura de los videojuegos y los referentes inmediatos de la cultura urbana, así como su círculo de coetáneos, conviven en su pintura de una manera natural” y más adelante agrega “Puede que igualmente esa naturalidad le venga dada por el hecho justo de ser caribeño; porque en nuestro Caribe (sobre todo el Insular), los mestizajes y las apropiaciones son los procesos naturales de creolización sincrética cómo reciclante modelo collage desde el cual se han construido nuestras culturas, y por ende nuestros imaginarios”.

Como eje central de la muestra se destaca el gran políptico “Minimal Graphics”, donde impresiona el juego óptico y la destreza técnica de Peña crea un vértice entre lo real y lo real y lo imaginario. El trompe l'oeil que nos ofrece el artista sirve de invitación para reconsiderar el pie en el que estamos parados física y sensorialmente.

Gustavo Peña nace en Santo Domingo en 1979, realizó estudios de Bellas Artes,

Diseño Gráfico, Ilustración y Fotografía en la Escuela de Diseño de Altos de

Chavón (La Romana, Rep. Dominicana). Ha participado en la Bienal Centro León

Jimenes, Santiago, Rep. Dom.; “Under Construction”, William Road Gallery,

Londres; “On Common Ground,” Washington, USA; Global Caribe, Little Haiti

Cultural Center, Miami, USA y Caraïbes, Musée d’Art Contemporain (MAC) San

Juan, Puerto Rico; “Super Heavy” y “Estética Sold Out”, Lyle O. Reitzel, Santo

Domingo, Rep. Dom; Global Caraïbes, Focus sur la création contemporaine

caribéenne, Musée International des Arts Modestes, Francia; “Global Caribbean

Project”; during “Art Basel Miami Beach 09” curated by Edouard Duval Carrie,

Little Haiti Cultural Miami, USA y Borderless Generation: Contemporary Art of

Latin America, The Korea Foundation Cultural Center,Seúl, Korea.

La exposición estará abierta al público hasta el 15 de mayo del 2021.

Gustavo Peña, Desk 2 2020, oil on wood, 48x48 in

Global/Borderless Caribbean XII: Focus Miami presents Contemporary Visual Expression, Local Global, and Dèjá Vu

2020 marks the 12th anniversary of the Haitian Cultural Arts Alliance’s ongoing exhibition series, Global Caribbean/Borderless Caribbean. It is also an unusual year when the public stands more than ever to benefit from contact with the arts. Social distancing creates a challenge for Art Basel, Miami Art Week as well as all institutions and organizations devoted to the arts in general but yet it presents an opportunity to develop creative solutions. 

This year, The Haitian Cultural Arts Alliance with its long term partner, The Little Haiti Cultural Complex will celebrate this partnership by reopening, of course within the parameters dictated by this ongoing pandemic, with various exhibits focusing on their commitments to the visual arts stemming from this community, this city, and the Caribbean region. 

Since 2009, Global Caribbean / Borderless Caribbean has been included in Art Basel’s satellite programming and presented at the Little Haiti Cultural Complex’s main gallery. The first Global Caribbean project was proposed by the French Government, curated by artist Edouard Duval Carrié, and presented with the Haitian Cultural Arts Alliance. At that time, the French Government’s Institut Français had just completed a 5-year contemporary arts program focused on Africa. Deciding to do the same for the Caribbean, they reached out to Carrié. He proposed Miami as a home for this new exhibition series — in that very year, a beautiful new facility, the Little Haiti Cultural Center, now called Complex, had just been completed. For the first iteration, Global Caribbean I, Focus on the Caribbean Contemporary Landscape, Carrié wrote: “My aim with this exhibit is not just to show that these islands all have artists worthy of the appellation but more so to underline the universality of their “regional” visions. Whether they are part of well-intentioned cultural directives or they are solo acts whose productions are in defiance of all odds, I want to honor their efforts by presenting them and their works in a pristine new facility, which provides the proper environment to enhance their visuals acts”. Since then, Global Caribbean has expanded as Global Caribbean / Borderless Caribbean, featuring not only Caribbean artists of the archipelago and its surrounding landmass but also those of its diaspora. These major exhibitions included: Kingdom of this World (2011), French West Indies & Guiana (2012), Liquid Knowledge (2016), Visionary Aponte (2017).

Over the years, Global Caribbean / Borderless Caribbean has engaged with multiple countries, organizations, and institutions. Alongside annual exhibitions, we have organized seminars, workshops, and encounters between artists, curators, and researchers to facilitate contemporary cultural dialogues on the Caribbean. All of this occurs within the context of a major international art fair. Miami, as a major intersection point for the Caribbean, is a natural home for this program. Global/Borderless Caribbean has had a significant impact on Miami and the larger contemporary art community by focusing on our neighbors to the south. Many Caribbean artists were first widely seen in these exhibitions, and a conversation around the idea of “Global Caribbean” continues to develop. We have along the years invited guest curators and other academics to formulate what a cultural production from the region could consist of. The goal is to form a dialogue focused on a region whose vibrant visual production is now gaining greater visibility and still may not even see itself as a unified group of places and cultures with a common history.

We thank our many partners such as Miami-Dade County Cultural Affairs, The Knight Foundation, Cultural Services of the French Embassy in the United States amongst so many others for their generous support as well as the Little Haiti Cultural Complex whose director Ms. Sandy Dorsainvil and its cultural advisor Ms. Marie Vickles have shown constant support and dedication to this ongoing program. 

Edouard Duval Carrié 

HCAA Director 

Contemporary Visual Expression: outdoor exhibition at the Little Haiti Cultural Complex
Local Global: indoor exhibition at the Little Haiti Cultural Complex gallery
Dèjá Vu: indoor exhibition at IPC ArtSpace

For more information and images on the artists participating press the button.

José Bedia and Luis Cruz Azaceta

José García Cordero

Luis Cruz Azaceta Solo Show: "Personal Velocity in the Age of Covid"

Luis Cruz Azaceta, Vitral, 2020 Acrylic on canvas, 48h x 96w in, 121.92h x 243.84w cm

Lyle O. Reitzel Gallery presents "Luis Cruz Azaceta: Personal Velocity in the Age of Covid.

Lyle O. Reitzel Gallery celebrates its 25th anniversary with a spectacular exhibition by New Orleans-based Cuban-American master Luis Cruz Azaceta. The show is set to open, for the first time ever at LOR Gallery in a virtual manner, via Instagram live @lorgallery, Wednesday December 3rd, 2020.

The exhibition is made up of a selection curated by Reitzel of 5 unpublished pieces produced by the artist during the confinement in the 2020 quarantine, along with 6 other works at a retrospective level, which belong to the period 2007-2019, connected to each other in a natural evolution in terms of language, palette and composition within the iconography that identifies Azaceta’s universe.

In paintings such as "Pandemia 2" and "Pandemia 3" Azaceta addresses the "poetic window of the virus and its state of mutation; a cacophony of horror and beauty". He embraces the chaos it has caused and channels it through his own artistic hand, bringing us in the end a powerful exhibition both visually and philosophically. 

According to Cruz Azaceta: "In my work I always face reality, whether implementing figuration, abstraction or a combination of both, which allows me the freedom to express my ideas in relation to the situations that occur in the world, creating images to express this condition... Once the work becomes something mechanical to a certain degree in which I know what is going to happen I stop and move on to something else. I don't like to repeat myself and let the work become totally mannerist and mechanical. That's boring to me. I like to be surprised by the process, creating things I don't expect, and that's what keeps me excited and moving forward”.

Luis Cruz Azaceta, born in Havana in 1942, immigrated to the United States in 1960, settled in New York and graduated from the School of Visual Arts, beginning his 40-plus year career as an artist. Cruz Azaceta bursts into the Big Apple as one of the great pillars of Latino origin, with a proposal committed to social causes, denouncing from the vanguard the violence in the streets, the drama of AIDS, the war in Iraq and oil, the dictatorships in Latin America, and being also the first to address, in his plastic discourse, the migration crisis of Cuban rafters.

The artist has exhibited extensively nationally and internationally and has received awards from The Guggenheim Memorial Foundation, The National Endowment for the Arts, The New York Foundation for the Arts, and The Joan Mitchell Foundation. His works belong to the Permanent Collections of the Metropolitan Museum of Art, N.Y., Museum of Modern Art (MoMA), N.Y., The Whitney Museum of American Art, NY, The Museum Of Fine Arts Boston, MA. The New Orleans Museum Of Art, New Orleans, Cortes, Art Collection, Puerto Rico, Rhode Island School Of Design Museum Collection, Providence, RI. San Antonio Museum Of Art, TX, Harvard Art Museum, Cambridge, MA, Museo del Barrio, New York, The Smithsonian American Museum of Art in Washington, DC, MARCO, Museo de Arte Contemporáneo de Monterrey, Mexico, PAMM Museum, Miami, FL. 

LOR Gallery has represented Cruz Azaceta's work for over 15 years, organizing seven memorable solo exhibitions, including "Migrations, Labyrinths & Hallucinations"(2005), "No Words"(2007), "Labyrinths"(2010) "Falling Sky"(2013), "Swimming to Havana" in New York(2016) and "A Question of Color" (2018).

The exhibition will be open to the public until January 30, 2021.

Luis Cruz Azaceta, Laberintos, 2019 Acrylic on canvas 48h x 96w in, 121.92h x 243.84w cm

Luis Cruz Azaceta, Amazona Devastation, 2020 Acrylic on canvas, 48h x 96w in 121.92h x 243.84w cm

The entire exhibition can be seen here: