Aimee JOARISTI, Costa Rica / meet the artist

aimee portada

Siempre me ha interesado el juego de planos, las profundidades y la superposición de realidades. En mi adolescencia, lo representé figurativamente, a través de un tablero de ajedrez; hoy, el mismo tema y sus dobleces, reaparece en el mismo mundo de intereses creados, y el tablero de ajedrez vuelve, plano sobre plano, utilizando juegos de luz y sombra.”


Aimée Joaristi

  1. Eres española, costarricense y cubana. En qué orden? Cómo influye cada orígen a tu trabajo?

Si el orden de los factores no afecta el producto, soy exactamente eso, una mezcla, nacida en Cuba, de padres cubanos, acabo de regresar de mi “Cocodrilo verde”, como se conoce a mi isla y tuve las experiencias más enriquecedoras, desde el reconocimiento de las casas de mi abuelo y abuela, olvidadas en la infancia, hasta la piel erizada por los olores, sabores y recuerdos subterráneos, además de excelentes proyectos para mi trabajo artístico, conociendo y conviviendo con gente maravillosa, como Elvia Rosa Castro, LA curadora de La Habana.

España me sumergió en su cultura y pasión desde la primera infancia, a donde llegué con tres años y es mi mayor referente. La vivo en mis venas, siento su historia porque se convirtió en la mía. Varios proyectos de arquitectura y artes visuales allá, me mantienen yendo y viniendo.

De Costa Rica recibo la influencia ya en la adolescencia, a donde y descubro el amor, casándome posteriormente con el hombre que conocí casi llegando y que aún es mi compañero, y lo ha sido en mi fusión con la naturaleza, que en este país me sumerge en la felicidad.

Por eso mi obra es fractal, porque soy –como todos lo somos- una suma de fragmentos ricos en experiencias diversas. Ese es el motivo por el que considero que mi obra es multicultural, un reflejo de todo lo que me ha convertido en quien soy hoy día.

  1. Cuando se habla de España se menciona mucho a Tápies en tu obra. Si hablamos de Cuba o Costa Rica ¿qué artistas admiras o están presentes en tu obra? 

En Cuba, Wilfredo Lamb

En Costa Rica, Max Jiménez

En España, los de mi infancia, Tàpies, Dali, Miro, Picasso y muchos más…obviamente los Informalistas ganan la partida, con ver mi trabajo lo sabes.

Quién soy, sino un rio sin lecho. 

Quién soy, sino un trecho sin guía. 

Quién soy, sino un latido sin eco.”

Aimée Joaristi

  1. Arquitecta, diseñadora de interiores, pintora, filósofa, escritora… en tu último trabajo nos invitas a viajar por tu obra preguntándonos quiénes somos, pero dinos… quién es Aimée Joaristi? 

El espejo miente, por complaciente. No quiero alardear ni describirme. Prefiero que mis relaciones humanas, mi trabajo visual, mi trabajo de interiorismo y mis textos, me describan.

  1. Dicen que el arte expresa el pensamiento filosófico imperante.Tu arte no nos habla solamente de estética y belleza, es puramente expresivo. ¿qué verdades podemos encontrar en el?

Tu verdad, la del otro y la del de más allá. El arte es un reflejo de quién lo ve, porque quien le juzga se está viendo a sí mismo y su concepción del mundo. Ser capaz de remover consciencias y provocar reflexiones, es mi ambición.

  1. Durante muchos años te hemos visto, a través del collage y otras técnicas, deconstruir tu obra. “Silencios y gritos” parece una serie constructiva, ¿qué ha cambiado en Aimée en su último trabajo?

He construido el flujo y reflujo de mi Universo, mi agujero negro, que como tal, es capaz de tragárselo todo y hacerme sentir plena, aunque parezca que alardeo.

  1. Y por último, en qué paredes sueñas ver colgada tu obra?

¡Ojala, en las de ARTANDSHOP!

Las paredes que sueño, son las de quienes dialoguen con mi obra.

Me pediste que me tomara el tiempo que necesitara para responder a tus preguntas, pero el tiempo es algo que no entiendo, no creo que la vida se de en un contexto mensurable, por lo que te contesto rápidamente, y te añado, que las paredes pueden ser también online o en un libro que muestre mi obra, como el que prepara mi curadora Marcela Valdeavellano con Pe&A, casa editorial mexicana especializada, que mostrará en sus paredes de papel mis “Silencios y Gritos”, algunos de los cuales acompañan tu entrevista. Este libro contará también con textos de curadores de primera línea de Costa Rica, Cuba, España y Guatemala y con una muestra en México.

¡Gracias María, por tu atención!

María Galera, artandshop, mayo 2015

John CURRIN b.1962

 

Currin

John Currin‘s ambitious paintings seduce, repel, surprise, and puzzle. His masterful technique is achieved through the scrutiny and emulation of thompositional devices, graphic rhythms and refined surfaces of sixteenth and seventeenth century Northern European painting, while his eroticized subjects exist at odds with the popular dialogue and politics of contemporary art. With inspirations as diverse as Old Master portraits, pin-ups, pornography, and B-movies, Currin paints ideational yet challengingly perverse images of women, from lusty nymphs and dour matrons to more ethereal feminine prototypes. Consistent throughout his oeuvre is his search for the point at which the beautiful and the grotesque are held in perfect balance.

Gagosian Gallery.

 

Sarah DUETH b.1974

If eyes are the windows to the soul, artist Sarah Dueth is one of our more unsettling glassblowers. In her voluminous “Girls” series, Dueth paints children whose bodies melt outward from glazed, haunted, world-weary eyes. Her elegant, eerie paintings—nearly 50 of them in total—are equal parts Gustav Klimt and Tim Burton, full of stark, imposing figures anchored by spectral glares. Their faces are raw glimpses into the unease of childhood, the discomfort of growing pains and the embarrassing memories that shape us even as adults. One painting is appropriately called “Strange Little Girls.” Daunting in scale and scope, her large body of work is an enormous spit in the face to the idea that nostalgia is a comforting, safe, friendly place. “It’s no secret that the Girl series isn’t a happy, jolly series,” says Dueth. “Everybody goes through something in life. I’ve just taken that negative energy and turned it into something positive.”

Her Rutherford, New Jersey, however, cuts a warmer, more unimposing suburban figure, complete with plates of cookies, Christmas cards and a hyperkinetic terrier obsessed with the backyard’s baby opossums. But a short walk upstairs into her under-insulated, paint-spattered attic reveals stacks and stacks of these girls in masks, girls holding toys, girls ill-fit in frilly dresses. Her studio is hot in the summer, cold in the winter and “on winter days it’s almost unbearable,” she says, adding, “I have to paint in snow boots.” But paint she does, as Dueth treats creating art like a drug, like a compulsion, like her unquestioned destiny.

By Christopher R. Weingarten · January 25, 2011 · Art News, Behind the Canvas, Spotlight

Jason MARTIN b.1970

A young British artist, Mr. Martin paints by covering largish surfaces of stainless steel, aluminum and plexiglass with (usually) a single color of oil paint; he then pulls a fine, sometimes specially made comblike tool across the wet paint, creating striations that move up and down according to various intervals and rhythms.

The electric-blue glide of ”Patrol” wavers only slightly but nervously and consistently, like the results of lie-detector tests taken by the guiltless or dozens of flat-lining heart monitors. The marigold yellow surfaces of ”Cha-Cha” and ”Samba” have a lot of wave action; their wide undulations gleam, as if three or four spotlights were situated just above, or below, them. Elsewhere, as in the burgundy ”Boudoir,” the surface ripples, like a curtain. And occasionally the raking tool is lifted and the surface broken, creating dramatic fissures of fringed paint.

The artists brought to mind by Mr. Martin’s no-hands technique and glistening effects include Jackson Pollock and Robert Ryman, Alan Charlton, Bridget Riley and David Budd, an American painter whose monochrome surfaces accrue in small palette-knifed, light-deflecting strokes, as well as contemporary painters like James Hyde.

But mostly one comes away with a sense of sensational, tacky retro-chic, as suggested by titles like ”Stripsearch,” ”Harlot” and ”Slapjack” and corroborated by the slickness of the paintings themselves. The problem seems to be one of taste. Mr. Martin needs to raise his sights higher so that his paintings can transcend the gimmicky mechanics of their own making. At this point they actually do seem to have been made by machines and have the brief dazzle of a Slinky toy making its way down the stairs.

Roberta Smith, The New York Times

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Carolina ANDRADA b.1982

 “Seeing in the Woods” is a title that does not refer to María Zambrano’s clearings in the woods (nor to Martin Heidegger’s “Lichtung”) but to an open form of perception. It is a kind of perception that has been opened up or formed in the landscape of images in my own emotional memory.

Let me explain: my landscapes are not a description of a physical territory.

They are to a certain extent, as there are recognisable elements in them: a particular castle, a kind of tree, the shape of a fairy’s or a dancer’s slipper. They describe a mental territory that forms part of the feeling, traces and memory of an experience that occurs there, in the wood; and beyond that in my memory. However what these images clarify is a state of my soul.

The territory described or expressed by my pictures or the territory that simply emerges (arises or is formed) in my brushes or with my brushes, with my arms and with my body around the canvas, is a personal territory, that I don’t know myself until it appears or becomes clear. I cannot describe it because it is not a physical landscape but a universe. It is a limit that I feel and that I try to convey in and with my pigments and brushes. It is a territory that also has its references, from Poussin to Watteau, from Brueghel to Lüpertz. It is a landscape beyond what can be seen. It is a feeling mounted on my heart.

Carolina Andrada, 2010

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Martin KLINE b.1961

 

 

The ingenious use of encaustic — dry pigments mixed with molten wax — gives Martin Kline not only his painterly medium but his subject matter as well, in that the thick built-up surfaces of his panels, amazing in their accreted detail, have a materiality that is quite as sensuous as their imagery. By repeated brushing, he builds his motifs layer by layer, as in ”Mirage” (1999), whose rough, ridged, overall pattern of dirty white strokes on brown closely resembles a tree lichen, and the mural-size ”Joy!” (2002), an extremely lively surface of ebullient, deeply layered color bars stroked side by side to make an informal, almost three-dimensional grid. In a similar mode is ”Autumn Boogie Woogie” (1997), a large grid of tiny squares that salutes Mondrian but in which each paint-packed square thrusts out as a separate image.
 
More intricate is ”Leda” (2001), a square format in which repeated sweeps of the brush from the center out have created a thick, flowerlike form whose dense central mass thins as the brush strokes die out at the square’s perimeter. Mr. Kline also occasionally takes his materiality into metal, as in ”Wounded Healer,” a stainless-steel sculpture depicting a short piece of crotched tree limb from which two branches have been sawed. From the cuts ooze congealed clots of steel sap.
In giving his minimal visions so much painterly flesh, Mr. Kline is by no means adrift from currents in modern and contemporary art, but he comes across as a hedonist, too, guilty of manipulating matter for the pure pleasure of it.
 
Grace Glueck
 

 

Public Collections

The Metropolitan Museum of Art, New York, New York   |  View Image      

 
Brooklyn Museum, Brooklyn, New York   |  View Image     
 
The Cleveland Museum of Art, Cleveland, Ohio   |  View Image     
 
High Museum of Art, Atlanta, GA   |  View Image     
 
 
 
 
 
 
 

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Cai GUO-QUIANG b.1957

Cai Guo-Qiang is an artist using elements assigned to tradition who develops a contemporary work, thus demonstrating a dialogue between past and present.

Difficult to classify, his work teaches us that the important thing is not always what is said, but how it is said.

The artist offers a cryptic proposal that may be difficult for the spectator to understand, but that directly connects with the human heritage of the local communities where he stages his events.

Drawing from eastern philosophical references he applies western methodology; we could say that he conceives and develops his events for specific communities, and in their production he takes into account site-specific elements relating to that community, with the result that his events cannot be exported or transposed.  An example of this we find in the exhibition Unlucky Year: Unrealized Projects from 2003-2004 (Washington DC, 2004)  for the Smithsonian Institution, an exhibition that brought together several projects that never materialized due to the absence of the necessary factors for their execution.

The artist conceives his art as work-in-progress and consequently the non-execution of the project does not signify failure. His objective is the process and not the final result.

Cai Guo-Qiang works with traditional Chinese materials such as gunpowder, demonstrating that this and similar elements such as fire or light, are consubstantial to all cultures. Thus, through local elements he achieves a global proposal.

He manages to make himself understood in the West through the specific details of an eastern community. Generating discourse.

He borrows from the West themes, resources, elements and methodologies that are assembled into his central discourse, from which emerges a very well-rounded and sophisticated work.

Likewise he retrieves elements of his oriental culture and achieves a universal work in the largest sense of the word, allowing both East and West to appreciate as its own the vocabulary used by the artist.

Apart from employing ever-present themes in the history of art used in all epochs and by all cultures that reflect the existentialist concerns of humankind, he resorts to contemporary subject matter that documents its space-time context, subject-matter belonging to a concrete moment such as, for example, globalised terrorism, non-existent in artistic creation until relatively recently.

A work that reflects this is: Black Rainbow: Explosion Project for Valencia,2005, in which the artist pays tribute to the victims of March 11. On this occasion, Cai Guo-Qiang uses the theme of terrorism as a storyline by inserting it into his vertebral discourse and in doing so places his work in a specific social context.

In similar vein he uses fashion as a pretext: Dragon: Explosion on Issey Miyake, Cartier Foundation, Paris, 1998 or architecture Caressing Zaha with Vodka, Rovaniemi, Finland, 2004 or the film Tonight So Lovely,Rotterdam, 2004.

Cai Guo-Qiang presents new ways of envisaging exhibitions in the institutions where he presents his projects; his events provoke a change in the notion of the museum (from acquisition to use). He breaks conventional limits and stretches them by displaying his events in urban centres (the Beijing Olympics).

A key aspect of the work of Cai Guo-Qiang is that his works are only consumed at a given moment. Predetermined, generally short and collective in form. This lends his work a unique air of celebration that defines him as a social unifying force of small and large communities.

Besides, his work has an important ritual and ceremonial component that requires active participation from the local community, both in its production and its reception.

Two points assist in understanding the work of this artist in relation to society:1. Aspecific production for the different scenarios where it will take place and 2. The product of a dialogue between its discursive elements and the values of the cultural community in which each project is developed.

In terms of production Cai Guo-Qiang involves the different strands of the community for the development of his work, using resources to a maximum and thus satisfying his Socialist values which he inherited from his education in China and connecting with the specific features of the local community, offering an empathy with society and at the same time providing feedback to the event itself.

As a result of involving the different communities in the production Cai Guo-Qiang sees to it that the spectator identifies with the work, making him feel part of the project, and in this way guaranteeing a successful reception of his endeavours.

In terms of reception, Cai Guo-Qiang devises his work according to the expectations of the local community.

He appropriates the image of a show and changes its meaning, and is capable of presenting the image of a political attack in Irak as in Inopportune: Stage One,North Adams, Massachussets, 2004, divesting it of political messages and negative connotations. 

With Transient Rainbow, Nueva York, 2002, He transformed an explosive event into something beautiful at a moment when North American society had been the victim of a terrible attack. In this case he used gunpowder as a curative element for the people ofNew York by applying the oriental meaning of the philosophy of this element, which is known inChina as the medicine of fire.

For him communities, both those involved in the production and the local communities that act as his public, are intrinsic elements shaping his artistic discourse, constituting a tool, just as oil is for a painter or iron or stone can be for a sculptor.

María Galera, artandshop, 2011

Lyle STARR b.1962

Lyle Starr takes 2-D design to sumptuous extremes. With meticulous care, he paints fields of overlapping silhouettes: flat, seemingly translucent shadows of animals, human figures, cartoon characters, cars and trucks, plants and bugs. Where these shapes overlap, colors mix and you have the kaleidoscopic illusion of disembodied transparencies layered in an indeterminately shifty and luminous space.

Color schemes vary from canvas to canvas: the irregular patterning of mossy greens, woody browns and grays in ”Woodpile” resembles military camouflage. ”Songbook” ranges from powder blue to medium deep purple, producing a watery effect. And lushest of all is ”Parade,” in which the shapes of many goofy cartoon figures are realized in a full tropical spectrum of color.

When you get close to Mr. Starr’s pictures, the spacey translucency turns to a sensuous opacity. The thick, richly colored acrylic paint is sanded to a matte porosity that seems almost to sparkle in places. There is a certain retro quality to Mr. Starr’s pictures — a knowing marriage of Pop and 60’s-style abstraction — and an element of Surrealism, but mainly it is the perfect wedding of the optical and the tactile that makes them so appealing.

Ken Johnson, New York Times

His drawings and paintings are in the permanent collection of the MoMA; the Guggenheim Museum; and the Glenstone Museum in Potomac, MD.

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