Imagining Spaces: Constructions in Color and Text
Curated by Alexandra Schoolman

Henrique Faria Fine Art is pleased to present Imagining Spaces: Constructions in Color and Text, a group exhibition focused on the formal and thematic elements of color and text in Latin American art of the last sixty years. The exhibition framework is based on the premise that color and text are two major building blocks of creative expression, and can therefore be seen as architectural components of a given composition. 

Participating Artists: 

Regina Aprijaskis (Bordeaux, 1921- Lima, 2013) began her training in the arts under the tutelage of Camilo Blas at the Escuela Nacional de Bellas Artes in Lima, Peru, where she learned techniques of realism and figuration and painted Andean scenes, nudes and still lifes. Her formative trips to New York City in the 1950s and 60s introduced her to abstract expressionist painting and allowed her to study with Theodoros Stamos at the Art Students League. Aprijaskis had her first solo exhibition at the Instituto de Arte Contemporáneo in Lima in 1968, which featured her first works of geometric abstraction. However, when the military dictatorship was instated that same year Aprijaskis stopped painting in order to work with her husband in a factory and would not return to painting for another 27 years. In 1995 Aprijaskis’ work was presented at the Sala Luis Miró Quesada Garland in the Centro Cultural in Miraflores, her first exhibition following her hiatus. She would continue making and exhibiting work until her death. Her work has been exhibited in individual and collective shows internationally and acquired by both public and private collections.

Emilia Azcárate (Caracas, 1964) studied Fine Arts at the Central Saint Martins School of Art in London in the eighties. She participated in La Llama International Artists Workshop in Venezuela and in the CCA7 artist-in-residency program in Trinidad. She won the first National Prize for Visual Arts Arturo Michelena in 1999 and in 2006 she was awarded the Cisneros Fontanals Foundation Grant Program (CIFO). Azcárate has had individual exhibitions in Distrito 4 Gallery, Madrid; Faría+Fabregas Gallery and Periférico Caracas, Caracas; Casa de America, Madrid; Caribbean Contemporary Arts 7, Port of Spain; Alejandro Otero Museum and Sala Mendoza, Caracas. She has also participated in numerous group exhibitions and biennials, in institutions such as the Museo Nacional de Bellas Artes, Havana; Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; Americas Society, New York; Museo de Arte Moderno Cuenca, Ecuador; São Paulo Biennale; Prague Biennale and the Havana Biennial. Her work is represented in various collections including the Sayago and Pardon Collection, Los Angeles; Cisneros Fontanals (CIFO) Collection, Miami; Colección Patricia Phelps de Cisneros, New York; Museo Alejandro Otero, Caracas; Banco Mercantil Collection, Caracas; Berezdivin Collection, Puerto Rico; Museo de Arte Contemporáneo, Caracas; Banesco Foundation Collection, Caracas; Bank of Spain Collection and Coca Cola Foundation, Madrid. She lives and works in Madrid.

Waldo Balart (Banes, 1931) studied economics and political science at Santo Tomás de Villanueva University in Havana, Cuba. As an amateur painter, he worked days as an accountant until 1959 when he decided to leave Cuba and relocate to New York City. While in New York, he studied art at MoMA’s Art School from 1959 to 1962. During his years in the city, he became friends with artists from the New York School and Pop art movements, acting in some of Andy Warhol’s films. Balart held his first show in 1961 at the RJ Gallery. In 1964, he was included in the mythical Bonino gallery show Magnet. In 1968, he showed at the Iris Clert Gallery in Paris. He also participated in the First Bienal de Grabado in San Juan, Puerto Rico. He moved from New York to Madrid in 1970. In 1972, he had an exhibition at the Museum of Contemporary Art in Madrid. He has had some 50 solo exhibitions and over 100 group shows. Aside from being an artist, Waldo Balart has also published books and essays. Some of his publications include The Practice of Concrete Art: The European Society’s Path Toward Knowledge (2011) and a collection of essays that were published throughout Europe known as Essays About Art (1993). Balart has traveled all across Europe throughout his lifetime. He currently lives and works in Madrid.

Luis Benedit (Buenos Aires, 1937-2012) graduated from the Universidad Nacional of Buenos Aires in 1963, receiving a degree in architecture. In 1967 he was awarded a scholarship by the Italian government to study landscape painting in Rome. Through the 1970s he realized art-science happenings and produced unique artificial habitats for animals and plants. He was the first Latin American artist to be exhibited in the space, Projects, of the Museum of Modern Art, NY in 1972. It was also during the 1970s where his works became incorporated in the conceptual movements tied to environmentalism. In 1978 he began to develop the theme of nature, which has persisted throughout his later career. He lived and worked in Buenos Aires until his death in 2012.

Paulo Bruscky (Recife, 1949) received his BA in journalism at the Universidade Católica de Pernambuco, Recife, Brazil in 1978. Bruscky has had solo exhibitions at Espao Cultural Sérgio Porto, Rio de Janeiro (2003); Galeria Iberê Camargo, Centro Cultural Usina do Gasmetro, Porto Alegre, Brazil (2005); Galeria Pierre Verger, Salvador, Brazil (2005); Museu de Arte Contempornea da Universidade de São Paulo (2007); Galeria Cilindro, Campina Grande, Brazil (2008); Museu de Arte da Pampulha, Belo Horizonte, Brazil (2010); Centro Cultural dos Correios, Recife (2011); Instituto Tomie Ohtake, São Paulo (2012); and Amparo 60, Recife; the Bronx Museum of the Arts, New York; and Plataforma Bogotá (all 2013). His work has also appeared in the group exhibitions Panorama dos panoramas, Museu de Arte Moderna de São Paulo (2008); Contidonocontido, Museu de Arte Moderna Aloísio Magalhes, Recife (2010); Ordem e progresso: vontade construtiva na arte brasileira, Museu de Arte Moderna de São Paulo (2011); Perder la forma humana, Museo Nacional Centro de Arte Reina Sofia, Madrid (2012); In Cloud Country, Harewood House, Leeds, UK (2013); Mitologias por procurao, Museu de Arte Moderna de São Paulo (2013); andsua saúde, Museu Nacional Honestino Guimares, Brasília (2014). Involved with the international mail-art movement and participating in Fluxus exhibitions around the world, he received the Guggenheim Fellowship in 1981, publishing the Air Art Proposal of Composition of Colored Clouds in the Sky of New York (1982) ad in the Village Voice. Bruscky lives and works in Recife.

Delia Cancela (Buenos Aires, 1940) studied at Escuela Nacional de Bellas Artes and participated in Instituto Torcuato Di Tella (ITDT) in the 1960s. In 1965, together with her partner Pablo Mesejean, she held her first exhibition Love and Life in Galería Lirolay. After living in Paris during 1967 thanks to a French Government scholarship, Delia and Pablo took part in Experiencias 68 and held the Ropa con Riesgo fashion show at ITDT. At the end of the decade they left Buenos Aires to settle first in New York and finally in London in 1970. She has participated in numerous exhibitions such La Consagración de la Primavera (2010) at Fundación Osde and Arte de contradicciones (Art of Contradictions). Pop, realism and politics. Brazil – Argentina 1960 (2012) at Fundación Proa. The Victoria and Albert Museum has pieces by Delia Cancela and Pablo Mesejean in its collection. She presented her retrospective at Centro Cultural Parque de España in Rosario (2000) curated by María José Herrera. Delia has been presented several awards, such as the Directorio award for her career, granted by the National Endowment for the Arts (2004), and she was designated an outstanding personality of culture by the City of Buenos Aires Legislature (2013). 

Emilio Chapela (Mexico City, 1978) graduated from the Communication Sciences program at the Universidad Iberoamericana in 2002. He received a diploma in Photography and New Media at the Centro de la Imagen in Mexico City in 2001. He has been the recipient of several grants from the Fondo Nacional para la Cultura y las Artes (FONCA) including: Coinversiones Culturales (2008) and Jóvenes Creadores in two different occasions (2004-2005) and (2013-2014). Chapela was the artist in residence at the International Studio and Curatorial Program in New York in 2007 and at Linnienstrasse 40 in Berlin in 2012. He was presented with the Emerging Artist Award at PULSE Miami Art Fair in 2008 and the Tequila Centenario award in the same year. In November 2014, Chapela, with the support of a grant from the Fundación Jumex published Die K. F. Gödel Bibliothek, a book about an artistic project that explores the creative possibilities of books and libraries. His work has been featured in solo exhibitions at the Museo Carrillo Gil, Mexico City (2015); Sala de Arte Público Siqueiros, Mexico City (2013); Galería 11x7, Buenos Aires (2012); Linnienstrasse 40, Berlin (2012); Casa Maauad, Mexico City and Henrique Faria Fine Art, New York (2011); and Saw Gallery, Ottawa (2011). He has participated in acclaimed group exhibitions at Foto Colectania, Barcelona (2013); the Museo de Arte Moderno, Casa del Lago and Centro de la Imagen, Mexico City (2012); the Kunstraum and NGKB, Berlin (2012); the Museum of Contemporary Art, Toronto (2011); Pace Gallery, New York (2011); the Museum of Fine Arts, Houston (2010); Houston Photo Fest Biennial (2010); and the Bass Museum, Miami (2010). His work has been acquired by the following institutions and collections: Colección Jumex, Mexico City; Museum of Fine Arts, Houston; FEMSA, Monterrey; and Sayago & Pardon, Tustin, California.

Eduardo Costa (Buenos Aires, 1940) Costa's work is represented in the collections of The Museum of Modern Art, New York; The Metropolitan Museum, New York; Museu de Arte Moderna, Río de Janeiro; Museo de Arte Moderno, Buenos Aires; Museo Nacional de BellasArtes, Buenos Aires; Jumex Collection, Mexico DF; Colección Banco Mercantil, Caracas, and other institutional collections. His work has been exhibited at The New Museum, New York; The Victoria and Albert Museum, London; Museo Centro de Arte Reina Sofía, Madrid; The List Art Center, Boston; Malba, Buenos Aires; The Miami Art Museum and the Museu de Arte Moderna, Sao Paulo.

Jaime Davidovich (Buenos Aires, 1936) was educated at the National College in Buenos Aires, Argentina; the University of Uruguay; and the School of Visual Arts in New York. Under the auspices of E.A.T. (Experiments in Art and Technology), he carried out a collection of works in which he replaced canvases with adhesive tapes. His experiments with tapes originated the project Tape as Art/Art on Tape, in which Davidovich proposed to confront the experiences produced by these two heterogenic mediums. His foray into video work enabled him not only to exhibit in some of the most important cultural spaces in the United States, but also to receive grants from The National Endowment for the Arts and The New York State Council on the Arts, among others. In 1976, together with other artists, he founded Cable Soho and served as its first program director. One year later, he became a founding member of the Artists Television Network (ATN), an institution aimed at promoting television artists and their work, where he served as the director between 1977 and 1983. Davidovich has widely exhibited at museums and galleries in the US and internationally at institutions including the American Museum of the Moving Image, New York; MUMOK, Vienna; MoMA, New York; Artium, Vitoria-Gasteiz, Spain; The J. Paul Getty Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; The Whitney Museum of American Art, New York; Museum of Modern Art, Buenos Aires; the Bronx Museum of the Arts, New York; among others. He has received grants from the NEA Visual Arts Fellowship, the Creative Artists Public Service Program, the New York State Council of the Arts, and the Lower Manhattan Cultural Council. Davidovich lives and works in New York City.

Diana de Solares (Ciudad de Guatemala, 1952) studied architecture in the Universidad de San Carlos de Guatemala, and later economy in the Universidad Francisco Marroquín. She also studied independently with Juan de Dios González and Daniel Schafer. In 1996 she won the Glifo de Oro prize at the X Bienal de Arte Paiz, Guatemala City. She also received a grant from the Rockefeller Foundation, Bellagio Center, Italy. Her works comprise mainly of sculptures, where she intends to make “provisional drawings in space.” She works primarily with objects and materials found in domestic environments and construction sites. Recent solo shows include The Corrections, The 9.99 Gallery, Guatemala City (2014); Proyect Room – PRESENTS 2: Alma Ruiz presents Diana de Solares, Josée Bienvenue Gallery, New York City (2014) En Tránsito, Sol del Río Arte Contemporáneo, Guatemala City (2013); and Prótesis, Piegatto Arte, Guatemala City (2013). Recent group shows include Dirty Geometry, Mana Contemporary, Miami (2014); The Eyes of the Skin, Bienal de Arte Paiz, Guatemala City (2014); Length x Width x Height, The 9.99 Gallery, Guatemala City (2014); Y… ¿entonces?, The 9.99 Gallery, Guatemala (2013); and Existir en un estado de peligrosa distracción, Bienal de Arte Paiz, Guatemala City (2010). She currently lives and works in Guatemala City and Antigua.

Guillermo Deisler (Santiago de Chile, 1940 - Halle, 1995) studied in the Escuela de Artes Aplicadas y Escenografía en la Escuela de la Universidad de Chile en Santiago. In 1963 he founded “Ediciones Mimbre,” printing and editing artisanal editions for more than fifty young Chilean authors. Between 1967 and 1973 he was a painting and sculpture professor and chairperson at the Sede Antofagasta de la Universidad de Chile, specializing in UNESCO courses for youth pedagogy.  Deisler Migrated to Europe in 1974 for a residency in Plovdiv Bulgaria, establishing a practice in mail arts, graphic design, set design and book illustration. His most prominent literary works includes “GRRR," Santiago, 1969; “Antología de la Poesía Visiva en el Mundo," Universidad de Chile, Antofagasta, 1971; “Le Cerveux,” Nouvelles Editions Polaires, París, 1975; “ Packaging Poetry," Plovdiv, Bulgaria; “ Make-up," Halle, 1987 and “ Unlesbar & Sprachlos," Halle, 1990. HIs work is in private and public collections including The National Library in Paris and the Deutschebücherei of Leipzig.

Mirtha Dermisache (Buenos Aires, 1940-2013) studied visual arts at the Manuel Belgrano and Prilidiano Pueyrredón National Schools of Fine Arts, respectively. In 1967 she finished her first 500-page book, afterwards continuing with the development of her graphisms, which continues to this day. Her works were published between 1970 and 1978 by the Center for Art and Communication, led by Jorge Glusberg. In the 70s her graphisms were published by Marc Dachy and Guy Schraenen in Antwerp and were also published in the magazinesFlash art, Doc(k)s, Kontext, Ephemera and Ax. Additionally, Ulises Carrión exhibited her works in the gallery Other Books and So (Amsterdam), and Roberto Altmann did the same in the Malmö Konsthall (Sweden). During this same time, she created the Workshop of Creative Actions in Buenos Aires. Starting in 2004, and together with Florent Fajole, she carried out a series of publishing devices that explore the dimensions of the installation and the printing process, highlighting different conceptual aspects of publications in the same spatial reality. Her first solo show in Buenos Aires was in the gallery The Edge. Later, she exhibited her work at the MACBA (Barcelona) and the Center Pompidou (Paris). Her work has been acquired by institutions such as Museo de Arte Moderno de Buenos Aires; Museu d’Art Contemporani de Barcelona; Museo de Arte Reina Sofía, Madrid; Centre Georges Pompidou, Paris; and the Stedelijk Museum, Amsterdam.

Anna Bella Geiger (Rio de Janeiro, 1933) studied Linguistics and Anglo-Germanic Language and Literature in Brazil, Sociology and Art History at NYU, and at The Metropolitan Museum of Art. Geiger has taken part in numerous group exhibitions such as Espai de Lectura 1: Brasil at MACBA, Barcelona in 2009; Modern Women Single Channelat MoMA PS1, New York in 2011; and Video Vintáge at the Centre Pompidou, Paris in 2012. She represented Brazil in the XXXIX Venice Biennale in 1980. Geiger has had major solo exhibitions such as On a Certain Piece of Land at Red Gate Gallery, Beijing in 2005 and Projects: Videos XXI at MoMA in 1978. Geiger received the Guggenheim Fellowship in 1982 and her work is part of important collections such as MACBA in Barcelona, The Getty in Los Angeles, Centre Georges Pompidou in Paris and MoMA in New York.

Carlos Ginzburg (b. 1946, Buenos Aires, Argentina) is a conceptual artist and theoretician. Over the course of his career, he has worked with art critics and historians including Jorge Glusberg, Germano Celant, Pierre Restany and Severo Sarduy. Ginzburg has been featured in solo shows at 3e Rue Galerie, Paris; Susan Conde Gallery, New York; Galerie Lina Davidov, Paris; and the I.C.C, Antwerp. He has participated in group shows at institutions such as Fondation Cartier, Paris; Fundación PROA, Buenos Aires; Museo Nacional Reina Sofia, Madrid; Wurttemburgischer Kunstverein, Stuttgart; the Slought Foundation, Philadelphia; Centre Georges Pompidou, Paris; PS 1, New York; Moderna Museet, Stockholm; Camden Art Centre, London; International Meeting of Arts, Pamplona; Centro de Arte y Comunicación (CAYC), Buenos Aires; and the Instituto Torcuato di Tella, Buenos Aires. His work has been acquired by the Centre Georges Pompidou, Fonds National d’Art Contemporain, and the Museo Nacional Reina Sofia, among others. Ginzburg has lived and worked in Paris since 1972.

Mercedes Elena González (Caracas, 1952) studied art at the School of the Museum of Fine Arts, Boston, Massachusetts from 1976-1980. Her work has been featured in solo exhibitions at Pelikan, Faría + Fábregas Galería, Caracas (2009); Obra Recente, Galería Valu Oria, São Paulo (2008); Bichus Invasion, Signature Art Gallery, Miami (2006); Entretejimientos, Sala Alternativa, Caracas (2001); Ascención, the Venezuelan Center Gallery, New York City (1996); and Dibujos, La Librería, Sala Mendoza, Caracas (1982 and 1977), among others. She has participated in group shows such as Ciudad Volátil, Centro Cultural Chacao, Caracas (2011); Figuración-Fabulación, Museo de Bellas Artes, Caracas (2004); Muestra 2, Sala Alternativa, Mexico City (2003); La mujer venezolana en las artes, Wang Fu Gallery, Beijing and Festival Internacional de La Pinturee, Cagnes-sur-Mer, France (1995); Salón Nacional de Jóvenes Artistas, Museo de Arte Contemporáneo Sofía Imber, Caracas (1981). González has won numerous awards for her work, including the Premio Armando Reverón, from Salón Michelena, Valencia (2002); the Gran Premio Salón Nacional de Arte Aragua, Maracay (2001); and the Bolsa de Trabajo Consejo Nacional de la Cultura (CONAC), Caracas (1976). Her work is included in both private and public collections internationally. She lives and works in Caracas.

Elizabeth Jobim (Rio de Janeiro, 1957) is a drawer painter and printmaker who studied with Anna Bella Geiger, Aluíso Carvão, and Eduardo Sued at the Museu de Arte Moderna do Rio de Janeiro. She also studied visual communication at the Pontificia Universidade Católica do Río de Janeiro. From 1988 to 1989, she took specialization courses in History of Brazilian Art and Architecture. From 1990 to 1992, she completed a master’s degree in Fine Arts at the School of Visual Arts in New York. Since 1994 she has lectured in drawing and painting at the Escola de Artes Visuals do Parque Lage in Rio de Janeiro and has been exhibiting her work since the 1980’s. Important solo shows are Desenhos e Pinturas (1998), Aberturas (2006) and Blocos (2013). As to group shows she has participated in Como vai você, Geraçao 80? (1984), 13 Femmes de Rio (1988), Arte Contemporânea Brasileria(2001), Arte e Patrimônio (2008) and Art in Brazil (2011). Her work is in collections such as MAM Rio de Janeiro, Pinacoteca de São Paulo and Dulcec and João Carlos Figueiredo Ferraz-Ribeirão Preto, among others.

Leandro Katz (Buenos Aires, 1938) studied at the University of Buenos Aires. A visual artist, writer, and filmmaker, he is known for his films and photographic installations, as well as his long-term, multi-media projects that delve into Latin American history through a combination of research, anthropology, photography, moving images and printed texts. Katz has produced books and artist’s books, and seventeen films, including Splits (1978), The Visit (1980-86), The Day You’ll Love Me (1997) and Paradox (2001). His latest books include, S(h)elf Portrait, (2008), Natural History and The Ghosts of Ñancahuazú, (2010). Recent exhibitions include Encuentros de Pamplona 72: fin de fiesta del arte experimental (Museo Reina Sofía, Madrid, 2009), Natural History (Henrique Faria Fine Art, New York, 2010), Imán-New York (Proa, Buenos Aires, 2010), 10,000 Lives (Gwangju Biennale, Gwangju, 2010). He has received grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts (USA), and the Hubert Bals Fund (Holland), among others. He lives and works in Buenos Aires.

Clemente Padín (Lascano, 1939) an experimental poet, graphic designer, mail artist, performer, video producer and networker. He holds a Licentiate degree in Hispanic Literature from the School of Humanities and Education of the Universidad de la República, Uruguay. He was director of the journal Los Huevos del Plata during the 60’s and has written eighteen books—poem collections and literary criticism. He has exhibited his work in Italy, Korea, Argentina, Uruguay, the United States, Germany, Spain, Brazil, Belgium and Japan. He was invited to the XVI São Paulo Biennial, and to the Biennials at Havana, Cuba (1984 and 2000) and at Cuenca, Ecuador (2002). He has lectured in seminars and, since 1970, has carried out a large number of performances throughout the world.

Karina Peisajovich (Buenos Aires, 1966) attended the National School of Fine Arts Prilidiano Pueyrredón and later participated in residencies such as the Guillermo Kuitca Program for Artists at Fundación Proa in Buenos Aires (1994-1995) and ART OMI in New York (1999). She also received an Argentine National Endowment for the Arts Creation Grant, and a Fulbright Commission Fellowship to participate in the International Studio & Curatorial Program (ISCP) in New York (2002). Solo shows include, Ensayo de Situación: Karina Peisajovich y Diego Bianchi, Universidad Di Tella, Buenos Aires, 2011; Karina Peisajovich, Museo Experimental El Eco, Mexico, 2010; Theories, Centro Cutural Recoleta, Buenos Aires, 2010; Influyentes e Influidos, Galería Braga Menendez Arte Contemporáneo, Buenos Aires, 2008; Domestic Landscape, Casa de América, Madrid, 2002. Group exhibitions include, Color on Color, The Patricia & Phillip Frost Art Museum and MACBA, Miami, 2011; The Constructive Elan, Alejandra Von Hartz Gallery, Miami, 2010; 7th. Mercosur Biennial: Grito e Escuta, Porto Alegre, Brazil, 2009; Illuminations, Malba-Colección Costantini, Buenos Aires, 2006; Surface Charge, VCU Anderson Gallery, Richmond, US, 2005 and Lodz Biennial, Poland, 2004. She has received the Konex Award in Visual Arts & Installation and the Fulbright Commission from ISCP International Studio and Curatorial Program, NY / Fondo Nacional de las Artes Award, Buenos Aires, Argentina.

Federico Peralta Ramos (Mar del Plata, 1939 - Buenos Aires, 1992) studied architecture at the University of Buenos Aires and later joined the firm SEPRA. He received the Premio nacional del Instituto Di Tella in 1965 and the Guggenhiem Grant in 1968. His first retrospective was held at the Museo de Arte Moderno de Buenos Aires in 2003.

Claudio Perna (Milan, 1938 - Holguín, 1977) attended the Universidad Central de Venezeula (UV) studying Archiecture, Urban Studies and Geography. He exhibited at Galeria Gamma, Caracas (1966); Once Tipos, at Sala Mendoza (1973-1981); Museo de Arte Contemporaneo of Bogota (1975); La Libreria Cruz del Sur (1979); the Vanguard Festival, New York (1988); as well as numerous outdoor public venues. His work was published in Extramuro and Letras Nuevas. His work as a filmmaker includes, Yolanda (1969) and Expe (1970). In 1981 Perna published his series of books Evolucíon on the urban geography of Caracas. His first retrospective was held at the Galería de Arte Nacional, Caracas, titled Claudio Perna, Arte Social (2004).

Alejandro Puente (La Plata, 1933–Buenos Aires, 2013) began his art studies under Héctor Cartier at the Facultad de Arte de La Plata, focusing on sight and color theory. He then joined the Grupo Sí, whose first expositions took place in 1961 in the Museo Provincial de Bellas Artes de La Plata and later in the Museo de Arte Moderno de Buenos Aires. In 1967 he received a Guggenheim Grant, with which he traveled to New York and resided there for four years. Before he left, he was part of the exposition Más allá de la geometría at the Instituto Torcuato Di Tella and in its North American version, Beyond Geometry, at the Center for Inter-American Relations in New York (1968). In 1970 he was invited to participate in Information at the Museum of Modern Art in New York. From there, he went on to exhibit in Switzerland, Germany, France, Spain, Italy, Mexico, Cuba, Japan, and China. In 1985 he was chosen to represent Argentina in the 18^th Bienal de São Paulo. He has gained many recognitions, including: First Prize at Salón Telecom Argentina (1995), First Prize at Salón Banco de la Provincia de Buenos Aires (1999), Grand Prize at Salón Nacional de Pintura (2001), Konex Award (2002), Gold Harlequin Prize, Fundación Pettoruti (2002) and the Rosario Prize, Fundación Castagnino (2003). Puente’s work has been acquired by numerous public and private collections, both in Argentina and abroad.

Luis Roldán (Cali, 1955) studied Art History at the École du Louvre (Paris), engraving at S.W. Hayter (Paris) and Architecture at Pontificia Universidad Javeriana (Bogotá, Colombia). He has exhibited extensively at institutions internationally. A selection of solo shows include: Expiación, Fundación Gilberto Alzate Avendaño, Bogotá (2014); Presión y flujo, Galería Casas Reigner, Bogotá (2014); Mechanical Ventilation. Interactions with Willys de Castro and Other Voices, Henrique Faria, New York (2013 and 2011); Transparencias, Museum of Modern Art, Medellín (2011); Continua, Sicardi Gallery, Houston (2007); Acerca de las estructuras, Museum of Contemporary Art and Design, San José, Costa Rica (2006) and Permutantes, Sala Mendoza, Caracas (2005). Selected group shows include: the First Biennial of Cartagena, 2014; the Tenth Monterrey Biennial, 2012; the 53^rd Venice Biennale, Latin America Pavilion, 2009; and Dibujos, Museum of Modern Art, Buenos Aires (2004). He has won numerous awards such as the Luis Caballero Award (Bogotá, 2001) and the National Award in Visual Arts (Colombia, 1996). His work is included in important collections such as Colección Patricia Phelps de Cisneros, Museo del Barrio and Deutsche Bank Collection, New York; FEMSA Collection, Monterrey; Cisneros Fontanals Art Foundation, Miami and the Museums of Modern Art in Buenos Aires, Bogotá and Medellín. He lives and works both in New York City and Bogotá.

Osvaldo Romberg (Buenos Aires, 1938) began using a grid to analyze the tone and saturation of various colors. His thorough taxonomies are vibrant, rainbow-like compositions whose optical effects exceed and deform the empirical structure of the grid with their uneven strokes of paint. Romberg’s deconstruction of both individual hues and those of famous historical paintings investigate the political and social conventions of looking and seeing. The works on paper from this period are infused with Romberg’s interest in art history, philosophy, linguistics, and informational systems. Romberg has exhibited and curated shows internationally. He is currently Senior Curator at the Slought Foundation in Philadelphia and has guest curated exhibitions at Mana Miami, Habeer Art and Visual Media Center, Beer Sheva; the Zaritsky Artists’ House, Tel Aviv; and the Aldrich Museum of Contemporary Art, Ridgefield. He has had individual exhibitions at institutions including the Philadelphia Museum of Art (2011); Z.K.M, Karlesruhe (2009); Centro Cultural Recoleta (2008); the Museum of Modern Art, Buenos Aires (2007); Kunst Museum, Bonn (2007); Museum of Modern Art, Saint Etienne (2005); and the Kunsthistorisches Museum, Vienna (1999). He has participated in group shows at the Fundación Proa, Buenos Aires (2011); White Box Gallery, New York (2000); the Kwangju Biennial (1997) and XLI Venice Biennial, Israel Pavilion (1995), among others. He lives and works between New York, Philadelphia, Tel Aviv and Ilha Grande, Brazil.

Ana Sacerdote (Rome, 1925) received her artistic training at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredon in Buenos Aires where she studied under the renowned Lino Enea Spilimbergo. In 1956 she became the editor of Arte Nuevo magazine together with other prominent artists Carmelo Arden Quinn and Martin Blaszko. That same year she won a grant from the French government to study in Paris. There she met Victor Vasarely and a number of other leading abstract artists. Her marriage in 1957 to a multinational business executive gave her the opportunity to travel with him all over the world, but prevented her from focusing fully on developing her career. Though she had continued to paint, in the 1970s Sacerdote became interested in video art and in 1974 she began to study computer science. From that point she has experimented with moving forms and computer-generated images. She exhibited her computer-generated drawings at Galería Lagard, Buenos Aires (1979); Galería Arthea, Buenos Aires (1984); and Alianza Francesa - Centro Fortabat, Buenos Aires (2000). In 2012 she exhibited a selection of her paintings at Pinta Art Fair in London in 2012. She lives in Buenos Aires.

Eduardo Santiere (Buenos Aires, 1962) received his degree in Computer Science from the Universidad de Buenos Aires in 1992 and his MFA from the University of Wisconsin at Madison in 2003. He’s been featured in solo shows at 11x7 Galería, Buenos Aires and Faría + Fábregas Galería, Caracas (2012); Centro Cultural Recoleta, Buenos Aires (2011); Curator’s Office, Washington D.C. (2009); Haim Chanin Fine Arts, New York City (2008); and the Wendy Cooper Gallery, Chicago (2005 and 2004), among others. Santiere has participated in group shows such as Lo contrario de la magia, MALBA, Buenos Aires (2014); Homeward Found, the Wassaic Project, New York (2013); The Sight of Sound, 60 Wall Gallery/Deutsche Bank Collection, New York City (2012); Trends in paper works, Texas State University, San Marcos, Texas (2009); Blown Away, Krannert Art Museum, Champaign, IL (2008) and Levity: Selections Spring 2007, The Drawing Center, New York City (2007). He has held various residencies worldwide, some of which were based at the Hafnarborg Museum, Iceland (2014); the Wassaic Project, New York (2013); Fundación Valparaíso, Almería, Spain (2010); Ucross Foundation, Sheridan, WY (2004); The MacDowell Colony, Peterborough, NH (2000, 1997); and Vermont Studio Center, Johnson, VT (1999, 1997). The artist lives and works in Buenos Aires, Argentina.

Horacio Zabala (Buenos Aires, 1943) obtained his architecture degree from the Universidad de Buenos Aires but gravitated towards the arts, putting on his first solo show in 1967 and publishing his first theoretical text in 1972. From 1972 to 1976, he was a member of the “Grupo de los Trece,” formed as part of the CAYC. He lived in Europe between 1976 and 1998 before returning to Buenos Aires, where he lives and works. Zabala’s work has been featured in both individual and group shows, including: Horacio Zabala. Anteproyectos (1972-1978), Fundación Alon, Buenos Aires (2007); Subversive Practices. Art under Conditions of Political Repression: 60s–80s South America/Europe, Württembergischer Kunstverein Stuttgart, (2009); Ends of the Earth - Land Art to 1974, Museum of Contemporary Art, Los Angeles (2012); and Horacio Zabala desde 1972, Museo de la Universidad Nacional de Tres de Febrero, Buenos Aires (2013). His work is represented in the collections of Museo de Arte Moderno, Buenos Aires; Tate Modern, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; University of Essex Collection of Latin American Art, Colchester; Daros Latinamerica, Zürich; Cisneros Fontanals Art Foundation (CIFO), Miami and Middlesbrough Institute of Modern Art (MIMA), Middlesbrough.