CLASE MAGISTRAL DE GUILLERMO CUELLO

ADVERTENCIA + NOTA DEL EQUIPO GC


ADVERTENCIA : Este Blog , dedicado al Arte, contiene imágenes de desnudos , precisamente, artísticos, estéticos (no pornográficos). Se trata de modelos y performers trabajando en acciones específicas reconocidas en el Ambiente del Arte, Nacional e Internacional . No se recomienda a personas impresionables - y en el caso de menores - queda a criterio de sus padres y/o responsables , juzgar, autorizar o no la visita al mismo, como al resto de blog asociados digitalmente con los siguientes , a saber :

http://www.guillermocuello.blogspot.com/

(y los de la Retrospectiva Digital : " Cuerpos en Interfases")


+

http://www.infoequipogc.blogspot.com/ (Blog II del EQ-GC)


+

Los blog & Links señalados en la sidebar (en particular, el dedicado a Nitsch).



MUCHAS GRACIAS POR SU ATENCION.

4.27.2009

Marion EPPINGER-HELFT

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MARION EPPINGER-HELFT

LA MIRADA y LA PALABRA DEL COLECCIONISTA
Ciclo "Entre Nosotros" 2009


En el marco del ciclo de conferencias "Entre Nosotros" ,
creado por Guillermo Cuello a fines del año 2000 ,
debidamente acompañado por los miembros
de su Equipo Docente y en continuidad con el mismo ,
se recibe en esta edición 2009 a Marion Eppinger-Helft . (*)

A lo largo de la trayectoria del Ciclo y
de nuestras propuestas artístico-pedagógicas
dedicadas a los jóvenes alumnos de los tres primeros
niveles de la cátedra de Pintura, hemos compartido
intensas experiencias de vida , de obra , con artistas ,
críticos de arte y curadores de arte actual.
( Ver a la derecha la columna - sidebar - en este mismo blog).

En esta oportunidad - gracias a las inquietudes
y gestiones de Laura Massoni -
hemos evaluado la importancia y lo relevante
de aquello que significa contar con la presencia ,
de una de las destacadas coleccionistas
de Arte Contemporáneo de Argentina,
con una trayectoria y solvencia que trasciende ya,
obviamente, nuestras fronteras.

Esta visita y clase magistral , el diálogo con Marion,
está previsto para el día :

VIERNES 8 de mayo a las 18.45 hs.

en el tercer piso de la Sede Quinquela Martín
del DAV-IUNA, en nuestros talleres habituales
de Pintura de toda esa planta del edificio.

Se ruega puntualidad.


EQUIPO GC - DAV > IUNA
PINTURA I II III
O. T. A. V.
Oficio y Técnicas de las Artes Visuales
SEDE QUINQUELA MARTIN
LA BOCA / BUENOS AIRES





(*) Marion EPPINGER-HELFT

Medica Oncohematóloga / Coleccionista
de Arte Contemporáneo / Colaboradora de la Asociación
de Amigos del Museo de Arte Moderno
MAMba / BUENOS AIRES .

ACTIVIDADES DESTACADAS EN ARTE :

1992-1996
Ex -Miembro del INTERNATIONAL COUNCIL
(MoMA) de New York

1982 - 1996
Vicepresidente de la FUNDACION SAN TELMO
ASOCIACION AMIGOS
DEL MUSEO DE ARTE MODERNO
de la Ciudad de Buenos Aires (MAMba)

1999/2001
Vocal titular

2001/2003
Tesorero

2003/2005
Tesorero

2005/2007
Vicepresidente

2007/2009
Vicepresidente

Miembro del COMITE DE SELECCION

DE GALERIAS para Arte-BA 2004-2008


ARTE FOTOGRAFICO ARGENTINO
Coleccion del museo de Arte Moderno
Con Gabriel Valansi y Marcelo Grossman ,
Comité de Selección de Obras y Curaduría
de la exposición, MAMba, 1999


COLECCION DEL MAMba 2
Fotografía
Con Gabriel Valansi y Marcelo Grossman ,
Comité de Selección de Obras y Curaduría de la exposición,
MAMba, 2004


HA DADO CURSOS Y CONFERENCIAS EN :
Arte-BA
UNIVERSIDAD DEL SALVADOR
Y OTRAS INSTITUCIONES
SOBRE COLECCIONISMO EN EL ARTE
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COORDINADORAS DEL CICLO :


Prof. Laura MASSONI
y
Lic. Adriana MARINO
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4.23.2009


ALFREDO ARREGUIN / MX-USA by G. FARES

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Alfredo Arreguín’s Portraits of Memory and Identity


One of the first questions one needs to address when writing about the Mexico-born, American artist Alfredo Arreguín is, what language to use? This question encapsulates some of the central issues of Arreguín’s works: their pluricultural references, their peculiar form of hibridity, the cultural mixes present on his canvases, and the richness that this artist brings to the American art scene. I decided to write in English, due to the inclusion of Arreguín’s works in the National Portrait Gallery's "Memory Portraits" exhibition. The choice of language does not mean, however, that I want to sidestep Arreguín’s Mexican roots, evident in some of the works selected. But it does mean that the language chosen is intended to stress Arreguín’s works as peculiarly American in the cultural references they present, in the spaces they depict, and in his style, all topics which are ultimately related to the issue of identity.

I propose Arreguín’s art blends together several diverse cultures, giving rise to something different and new as it masterfully conjugates the relationships between cultural diversity and cultural differences. These relationships that are not as peaceful as it is commonly assumed. There is a prevalent belief, especially in democratic societies, that cultural diversity is a good thing in and of itself. But the danger in this apparent universalism and acceptance of diverse cultures is that it masks ethnocentric norms and values. After all, in order to foster the coexistence of other cultures, democratic societies need to assume a privileged position from which to accommodate them. Such an assumption may sometimes be mistaken, since different cultures set among themselves an incommensurability, a non-common ground, that essentially separates them from one another. The lack of a common ground does not mean, however, that cultures cannot communicate. Cultures are not only separate, but also similar, albeit not in their content, but as signifying and symbolic activities. As such, they can be translated in order to make them understandable to outsiders. Out of the ideas of cultural diversity, difference, and translation, which deny the essentialism of a prior or originary culture, Homi Bhabha derives the notion that all cultures are continually in a process of hybridity. The importance of hybridity lays in the possibility of enabling other positions to emerge, giving rise to something different, new and perhaps unrecognizable, a new area of negotiation of meaning and representation. In our case, Arreguín’s work presents the cultural hybridity Bhabha refers to, opening up a fruitful space from where to look at the issues of cultural diversity present in his art.

In the “Preface” in Lauro Flores’ volume on Arreguín, the American poet Tess Gallagher says that “Arreguín’s patterns are taken from colonial Mexican art, Baroque church facades, decorative pre-Columbian art, animal and floral motifs of ceramic work from Tlaquepaque, but perhaps more directly from the crafts of Michoacán and Guerrero” (xx). She adds to this Mexican-related list, Islamic architecture, Indian Tantric painting, and Far Eastern images. The relationships she establishes between Arreguín’s work and those sources are a good first step to trace the images’ origins in art-historical terms. To those influences, I want to add others that, perhaps because they may seem obvious, are not readily cited. After his residence in Guerrero, Mexico, Arreguín returned to Mexico City where he saw, and I presume was deeply affected by, Diego Rivera’s murals, which Rivera had painted at the Escuela Nacional Preparatoria, in the Colegio de San Indefonso, in the 1920s. It is almost certain that at the time, in addition to Rivera’s murals, Arreguín also became familiar with Frida Kahlo’s work. To Rivera’s and Kahlo’s images present in Arreguín’s art we could also add others not based in the artist’s “ethnic” origins, such as those related to the African population living in Mexico, and represented by Arreguín as a beautiful rendition of a Madona Afro Latina (1989). In fact, Arreguín’s works are not just the result of his “blood”, his ethnic origins, or his birth place, but, and more importantly, they are closely related also to the visual arts from the United States, the country where he studied and where he developed his mature style. Undoubtedly, memories and especially “Memory Portraits” do play an important role in Arreguin’s works. His childhood and living close to Mexico’s jungles in San Luis de la Loma indeed contributed to the painter’s baroque and busy vision. But there are other “memories” present in his work, such as Abstract Expressionism, Pop and Conceptual Art, and Minimalism, and they come from America, not from América. Arreguín’s works selected for this exhibit fully represent the portraits, of course, but they also present images related to the spaces of Mexico and the border, rendered in a style that comes mainly from the United States.

In terms of style, Arreguín’s trajectory has been complex and rich. After finishing his studies at the University of Washington in 1969, he painted Emerald Island in 1970, a work that has been identified as the first American Pattern Painting. Even though at first sight, Emerald Island seems to be abstract, just about decorative patterns, under closer scrutiny it reveals shapes and figures that are almost recognizable as if they were perhaps an early antecedent of a semi-abstract portrait. The ambiguity between abstraction and figuration and the tension it creates characterizes the style of Arreguín’s mature work, providing a link to other American artists, such as Ross Bleckner and Philip Taaffe. Moreover, I perceive in his obsessive visual patterns, in his doodling with color, similarities with outsider art, Adolf Wölfli’s in particular, and with artists who, through “doodling,” create complex portraits full of meaning and emotional impact, such as Giuseppe Arcimboldo (1530-1593) or Chuck Close. In fact, some of Arreguín’s portraits of the writer Raymond Carver, such as Ray’s Ghost Fish, (1994) (Flores, 144) or Mi amigo Ray (Flores, xix) (2001), can be described as Chuck Close meets M. C. Escher’s visual transformations. In sum, Arreguín’s cultural references, spaces and style can clearly be seen in his works included in “Memory Portraits.”

Works
Since Diego Rivera and Frida Kahlo were a constant source of inspiration and visual references for Arreguín since he was in elementary school, it was only fitting that he would depict both Mexican cultural icons in his portrait series. Lauro Flores and others have extensively analyzed Kahlo’s figure in Arreguín’s art, and I will not repeat here what they have said, but I do want to call attention to the double image of Kahlo in the couple’s portrait, as if the image on the wall was Arreguín’s response to Kahlo’s own Self-Portrait as a Tehuana (Diego on My Mind) 1943 painting. While in this work Kahlo presented Rivera’s image within her own, Arreguín showcased her twice in his portrait, once as a person standing by Rivera’s side, the other as a face within the portrait, looking at both, Rivera and herself, from the privileged space of the wall. One can indeed think of Kahlo in Arreguín’s mind, even when painting Rivera.



Kahlo’s face, this time alone, is the subject of "Kahlo de Coyoacan," which includes in its title a reference to the location of her museum in the “colonia” near Mexico City. The portrait also has some of the visual themes that accompany several of Kahlo’s self portraits, such as birds and nature, but purged, as Flores notes, of tragedy and self pity. In this painting Arreguín adds to the jungle and natural references a mysterious hand, close to Frida’s ear (the child she lost? a double “portrait”? just an earring?) which contributes a touch of ambiguity and mystery to the whole piece.


Another Mexican icon is the revolutionary hero Emiliano Zapata (1879-1919). Although killed early in life, he has been a permanent presence in Mexican culture and politics, extending his appeal to the present Zapatista movement of Chiapas, where he has been presented as a quasi-religious icon. Arreguín’s portrait is part of a series he has been painting since the 1990s and which includes works such as Zapata’s Stables, from 1993. To the format of this painting, in Zapata's Messenger Arreguín adds precisely a messenger, a crow, which can be seen as a reference to Zapata’s untimely dead and also to the history of the Mexican Revolution as a whole.




Zapata is present once again in The Return to Aztlan. In this painting Arreguín has included, as he has said, “our heroes of the Independence of Mexico, Hidalgo and Morelos. Below, Hidalgo is Cesar Chavez, the leader of the Farm Workers, in the Center, Emiliano Zapata, and to his right, Dolores Huerta, also of the Farm Workers in this country. On the right is the image of La Virgen de Guadalupe, the brown Madonna that has accompanied many revolutionaries in battle” (letter to the author). As we can see, these cultural icons are not just Mexican, but form part of what some authors have called the “Gran Mexico” which, as cultural notion, refers to Mexico but also to the United States’ southern borderlands. The United Farm Workers’s movement and its historic role in forming a Chicano consciousness in the 1960s are integral part of that region and of the history of the United States as well. The Farm Workers movement’s logo, a black eagle, is present in the upper part of Arreguín’s work, while the painting’s title refers to Aztlán, the mythical homeland of the Aztecs / Mexica from where the Chicano movement took its name. With the use of the black eagle, Chávez, and Aztlán, Arreguín adds complex layers of cultural and historical references to his oeuvre, which embraces this time the hybrid culture of the borderlands and its political, social, and cultural richness.




Similar references are present in Good Harvest (Cesar Chavez, Homage), this time looking into the future, not just the past. As Arreguín said in a letter to the author, “In the painting [Good Harvest] the child on the left, with the candle signifies the future generations of Mexican-Americans or Chicano.” Besides The Return to Aztlan and Good Harvest Chavez, the little boy, the black eagle logo, the Virgen, and the butterflies are also present in a previous work, Sal Si Puedes II, from 1993, as if The Return… and Good Harvest were continuations of that painting. In these works, and throughout Arreguín’s oeuvre really, the figure of the Madonna refers not just to Catholic beliefs, but to the spiritual ingredients of the cultures and identities represented in these magnificent portraits, Mexican, Mexican-American, and American; American, that is, in a continental scale.




As presented in the works selected for the “Memory Portraits” exhibit, I believe the true identity of Arreguín’a art belongs to the hybrid space articulated by Bhabha and created, as in all cultures, through mixtures and encounters that give rise to something different, new, unrecognizable, rich, and which Arreguín has wonderfully rendered in this series of portraits.









Works Cited

Bhabha, Homi. “The Third Space: Interview with Homi Bhabha.” Rutherford, Jonathan, ed. Identity. Community, Culture, Difference. London: Lawrence & Wishart, 1990.

Flores, Lauro. Alfredo Arreguín. Patterns of Dreams and Nature / Diseños, sueños y naturaleza. Seattle: University of Washington Press / Bellevue: Bellevue Arts Museum / Zamora: El Colegio de Michoacán, A. C., 2002. Jacob Lawrence Series on American Artists.


Gustavo Fares, Ph.D.
Visual artist and critic
Professor at Lawrence University
501 East College Avenue
P.O. Box 599
Appleton, WI 54912-0599
Phone: (920) 832-6691
Fax: (920) 832-6944
faresg@lawrence.edu
http://www.lawrence.edu/fast/faresg/art






(*) N. EQ-GC :

Los críticos de arte lo han considerado uno de los mayores exponentes de la “pintura pattern”, aunque su obra conduce mucho más allá del “ molde “ , del “patrón” y del estereotipo. Se trata de mensajes con colores, sabores… es ritmo, es unión con la tierra, es identificarse con sus orígenes , conlleva un colectivo.




4.18.2009


Sandra SANSEVERINO




+ BIBLIOGRAFIA / N.I - 2009

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+ BIBLIOGRAFIA ( N I .09 )


Acerca de " La Cuestión Latinoamericana” .




RECOMENDAMOS :



AMERICA LATINA

Marca Registrada

De SERGIO MARRAS



Conversaciones con :



JORGE AMADO

CARLOS FUENTES

MARIO BENEDETTI

JUAN CARLOS ONETTI

ADOLFO BIOY CASARES

NICANOR PARRA

GUILLERMO CABRERA INFANTE

OCTAVIO PAZ

RENE DEPESTRE

AUGUSTO ROA BASTOS

JOSE DONOSO

ERNESTO SABATO

JORGE EDWARDS

ARTURO USLAR PIETRI

ROBERTO FERNANDEZ RETAMAR

MARIO VARGAS LLOSA



1ra. Ed. 8. 1992
Grupo Editorial Zeta / BUENOS AIRES.
____________________________

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4.08.2009


DINA CUSNIR


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DINA CUSNIR EN EL CCR

En la sala 7 del Centro Cultural Recoleta, Dina Cusnir expone Pinturasy Collages.

Exhibe cerca de 40 obras, realizadas entre los años 2004 y 2008.

A partir de papeles texturados y ricos en color, la artista desarrolla una poética abstracta
y constructiva.

La Exposición se inagura el miércoles 15 de abril a las 19 hs.
Y podrá ser visitada hasta el domingo 10 de mayo.


En este blog se reproduce con la autorización
de la autora :


Adagio Cantábile
Collage
27,7 x 18 cm
2006

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APUNTES - NOTAS - TEXTOS - FOTOS - VIDEOS

... y si te reíssss.... (1) 1 BLASZKO MARTIN Obra. Archivos EQ.GC (1) 1 EQUIPO GC. INI. 1999 (1) 12 DE OCTUBRE DE 2009 (1) 2 (1) A. A. EXPOSICION INDIVIDUAL DE LAURA MASSONI (1) A. M. y G. C. (1) A.A.A. 2010 (1) A.M. y G.C. MACLA DE LA PLATA (1) AAA (1) ABOT EN EL MUSEO SIVORI. 2010. (1) ABOT EN EL SIVORI 2010 (1) ABOT GLENZ . CCR. B.A. 2010 (1) ABOT GLENZ EN EL C.C.R. 2010 (1) Abot Glenz. TXT. GC. 2010. CCR. (1) ADN (1) AGRADECIMIENTO A FELIX ANGEL. (1) AGRADECIMIENTO A TODO EL T.S.O. (1) AGRADECIMIENTO AL MACLA y AL PROF. CESAR LOPEZ OSORNIO. (1) ALUMNOS DEL EQUIPO GC 2009 (2) AM POR GC TXT (1) ANDRES PIATEK. (1) Appropriation of visual culture . . . (1) ARBOLES NUEVOS (1) argentina at the smithsonian (1) ARGENTINA. BRASIL. CHILE. REC. DE KUKE. A XUL SOLAR. (1) ARGENTINA. BRASIL. PROYECTO LIGADO 09 (1) artBO 2010 rec. del Amigo Félix ängel (1) ARTE BA 2010 (1) ARTE CORPORAL. TRABAJO CON ALUMNOS. ACCIONES FIGURALES. (1) ARTE X ARTE . STAND I 80 . arteBA ' 09 (1) ARTSUR (1) AURELIO MACCHI . FRANK GEHRY. GUILLERMO CUELLO. (2) AURELIO MACCHI 1916 - 2010 (1) AURELIO MACCHI Y GUILLERMO CUELLO (1) AUSPICIA . . . EL SEÑOR (1) B. A. 2011 (1) BARRIO JOVEN CHANDON (1) BARRIO JOVEN. ARTEBA 2010 (1) BECAS (1) BICENTENARIO (1) BID 2010 (1) BID. ROMA. IILA. VIDEO. ITALIA 09 (1) BIENAL DE LYON (1) BLASKKO por PINO MONKES (1) BUENOS AIRES. SEGUNDO CUATRI DEL 2010 (1) CANCHA I (1) CARIATIDES (1) CATEDRA DE GUILLERMO CUELLO (1) CEAMC. SETIEMBRE. (1) CENTRO CULTURAL DEL SUR 2010 (1) CH. D. ORX. . FR 2010 (1) CHILE. LENTE LATINO 2011 (1) CICLO ENTRE NOSOTROS 2009 (2) CICLO ENTRE NOSOTROS 2009. COLOMBIA EN BUENOS AIRES . . . (1) CLASE MAGISTRAL 2011. SUSPENDIDA HASTA NUEVO AVISO. (1) CLASE MAGISTRAL DEL 2.10.2010 EN EL MUSEO SAAVEDRA (7) CLASES ESPECIALES 2do. CUATRI 2010. IUNA. B. A. (1) COLECTIVA DE ARTISTAS DE LA GALERIA. (1) CON EL MAESTRO MARTIN BLASZKO EN GALERIA LAURA HABER (1) CONCURSO 2011 (1) CONFERENCIA DE BRAVO Y GOMEZ (1) CONFERENCIA DE MARTÍN BLASZKO. LAURA HABER GALERIA B.A. (1) CORPORACIÓN SUR. BUENOS AIRES (1) CORTESE.IT (1) CUERPO EN INTERFAZ 2010 - 2011 (1) cultural . (1) DAGÁ en GALERÍA PALATINA. FOTO G. C. (1) DAMIAN RILO. TRABAJOS DE EX ALUMNOS DEL EQ.GC (3) DATA ESCULTURA PROYECTO S.A.C. BLOG (1) DE ADRIAN DORADO 2009 (1) DEBIL DUREZA II (1) DEMASIADAS PREGUNTAS (1) DETALLE DE UN VICTORICA. PROYECTO S.A.C. BLOG 2009 . NIVEL III . (1) DIALOGO GRABADO POR ELSA ESPELETA ENTRE AM y GC (1) ECOS DEL MALBA (1) ED. LA MAREA. DAGÁ (1) EL DIBUJO por ADRIANA MARINO (1) ELLA (1) EMILIANO ES EX ASISTENTE DEL EQUIPO GC. VIVE EN BERLÍN Y ESTOCOLMO (1) EN ARTE X ARTE 2009 (1) EN LATINUM VA SIN ACENTUM ... (1) EQ GC EN ARTE X ARTE 2009 (1) EQ GC EN EL MNBA . (1) EQ.GC EN ARTE X ARTE 2009 . FOTOS DE GABY MATEO. ASISTENTE. (1) equipo gc 2011 . data . (1) EQUIPO GC EN EL MNBA (1) EQUIPO.GC SEDE QUINQUELA MARTIN. (1) ESCULTURAS EN EL LARRETA (1) ESCULTURAS. MUSEO CASA DE YRURTIA. (1) ESPACIO GIESSO (1) ESTAR EN NIEBLAS ... (1) ESTUDIO DE CATALINA CHERVIN. BA. AGO DE 2009 (1) EXCLUSIVO ARBEITEN WORKERS. X GABY MATEO. TSO 2009. (1) EXPO ... HOY (1) EXPO ATTILA (1) EXPOSICION EN HOMENAJE A AURELIO MACCHI (1) EXPOTRASTIENDAS 2009 (1) EXPOTRASTIENDAS 2009. STAND 530 (1) EXPOTRASTORNO 2009 (1) FEBRERO DE 2011. EQUIPO.GC (1) FELIX ANGEL I.D.B. WASHINGTON (1) FELIZ 2011 (1) FERNÁNDEZ INFANZÓN (1) FIGURAL EMERGIENDO DEL DIAGRAMA por GC en GALERIA MAMAN. ESTADIO II. (1) FOTO DE GABY MATEO EQUIPO GC 2DO. CUATRI DE 2010 (1) FOTO DE GABY MATEO PARA EL EQUIPO GC (1) FOTO DE GABY MATEO. CLASE MAGISTRAL DEL 2DO. CUATRI 2010 (1) foto de NASHA CUELLO (1) FOTOS DE DAMIAN RILO (2) FOTOS DE GABY MATEO. ASISTENTE DEL NIVEL III (1) FOTOS. GC y CANON . . . (1) G 5 . MARU . . . . (1) G. FARES . Horns . Image Size 10 x 12 Mixed Media on Paper. (1) G4 MARU. GRAFFITI AL PASO NRO. 4 (1) GABY MATEO Y ROX CARINI (1) GALERÍA LAURA HABER. BUENOS AIRES 2010 (1) GALERIAS DE ARTE DE BUENOS AIRES (1) GC (1) GC . ESTUDIOS Y BOCETOS. S.A.C. BLOG N I II III (1) GC CLASE MAGISTRAL EN LA GALERIA MAMAN (1) GC EN GALERIA DANIEL MAMAN B.A. 2010 (4) GC y AM Admirando la Obra de Frank GEHRY. (2) GC Y AURELIO MACCHI (1) GC Y DAGÁ (1) GC y GASTON 2010 (1) GC Y PICASSO (1) GC. CLASE ESPECIAL EN EL MUSEO SAAVEDRA (1) GC. ENLACES 2010 (1) GC. MACLA DE LA PLATA 2009 (1) GC. PARIS 1986. SATURNO RELOADED. HOMENAJE A GOYA y A SAURA. FLASHE SOBRE PAPEL. (1) GC. T. Y C. (1) GENTILEZA DE GALERIA MAMAN (1) GF EN EL ESTUDIO GC. AGOSTO DE 2009. (1) GOMEZ y PATRICIA BRAVO (1) Guernica. (1) GUILLERMO CUELLO. Clase especial sobre el dibujo y los tiempos de la línea en Picasso. Período Histórico (1) GUILLERMO CUELLO. Clase sobre el Dibujo . PICASSO. (1) HOMENAJE A MACCHI 2011 (1) http://www.artnet.com (1) http://www.clarin.com/suplementos/cultura/2005/03/12/u-936814.htm (1) http://www.gaphv.blogspot.com (1) http://www.indiaartsummit.com/ (1) http://www.march.es/arte/cuenca/exposiciones/giorgio_morandi/temporal.asp (1) http://www.mostorojasarte.com/ (2) III (1) INADI 2010 (1) ISFA (1) ISSE. CUELLO. DE LA VEGA 2011 (1) JAMAICAN ARTISTS (1) JARDINES DEL MUESEO LARRETA 2010 (1) JORGE ABOT EN EL SÍVORI (1) Jorge Gómez (1) JORGE GOMEZ RESTREPO (3) JORGE GOMEZ RESTREPO . C.V. (1) JORGE GOMEZ RESTREPO. COLOMBIA. (1) JULIO BOCCA Y T.S.O. (1) LA WEAH SALE CON FRITAS (1) LAS LEONAS EN EXPOTRASTIENDAS 2009 (1) LINKS DE INTERES. SPANISH. (1) LONDON PINTA EL 2011 (1) Lucía VELAZQUEZ. RAFFAELE Y MARINO EN A X A . (1) MACCHI por JORGE ABOT EN PAGINA 12 (1) MACCHI y EQUIPO GC EN EL MNBA. PARTE 1. (1) MADERO MYSTIC 2011 (1) MADI 2011 (1) MAESTROS ARGENTINOS CONTEMPORANEOS. PROYECTO S.A.C. BLOG 2009 . NIVEL I. (1) MALBA. B.A. 2010 (1) MANZANA DE LAS LUCES 2011 (1) MARCHESOTTI (1) MARINO (1) MARION EPPINGER HELFT en el CICLO ENTRE NOSOTROS 2009 (1) MARKED DIFFERENCES (1) MARU AND CO. Y C.C.C. (1) MAS ALLA DE MADI ...BLASZKO. (1) MASSONI (1) MATEO (1) MAXI BELLMANN (2) MERCEDES SOSA (1) MONTAJE EN LA GALERIA. PABLO SUAREZ y GC .GENTILEZA. GALERIA MAMAN 2009 (1) MOOKIE Y ALUMNOS DEL EQ GC DIALOGANDO EN ARTE X ARTE 2009 (1) MUCHEDUMBRE INFINITA II (1) NIVEL I (1) NIVEL I. LIC. ADRIANA MARINO (8) NO LATINOS ABSTENERSE...STUNDE NULL... (1) NO OLVIDAR. CLASE DEL 14.5.2010 (1) NOTA DE LA NACION (1) NUESTRO AGRADECIMIENTO A MARTHA DETRY (1) Nuevo agradecimiento a Félix Angel y a su trabajo artístico (1) NYC (1) O.B.B. (1) PASCUA LAMA 1 (1) PATRICIA BRAVO (1) PATRICIA BRAVO . C.V. (1) PIATEK. TRABAJOS DE EX ALUMNOS DEL EQ.GC. 2009 (1) PICASSO EN MOSCU (1) Pinturas de Ex Alumnos. Sandra SANSEVERINO. RESIDENTE en St. Etienne. LA FRANCE. (1) POLICASTRO. CERATO. ABOT MAR SOLÍS. LA ESTAMPA (1) PRE U 2011 (1) PREMIO ITAU (1) PREMIO P. P. 2011 (1) PROPUESTA ALTERNATIVA 2010 (1) PROYECCION DE DIBUJOS DE JORGE GOMEZ . . . (1) PROYECCION DE OBRAS DE PATRICIA BRAVO (1) PROYECTO AKASO. MX. (1) RAFFAELE (1) REC A B.A. D ´Infosurr. net mai 2010 (1) REC DE FELIX ANGEL IDB (1) REC. DE FELIX ANGEL. (2) REC. DE ARTEVEN MX. (3) REC. DE ATV. MX. COM (1) REC. DE C. CHERVIN 2010 (1) REC. DE CORTESE (1) REC. DE EFT BS. AS. (1) REC. DE FELIX ANGEL . B.I.D. (2) REC. DE GALERIA DANIEL MAMAN (1) REC. DE GALERIA DEL INFINITO BA. (1) REC. DE ICANA 2010 (1) REC. de KUKE. (1) REC. DE L. M. X TSO (1) REC. DE LT.GRAFICA (1) REC. DE MI AMIGO FELIX ANGEL (1) REC. DE N. ZONANA 2010. (2) REC. DE R. TITLE. (2) REC. DEL CeDIP (1) REC. DEL CIA . . . (1) REC. DEL IDB (1) REC. DEL INADI (1) REC. DEL ISFA MANUEL BELGRANO ...P.DOBERTI (1) REC. DEL RECTORADO (1) REC. DEL RECTORADO DEL IUNA (1) REC. PERFECTAMENTE DE F. ANGEL IDB (1) RECOMENDADO POR EL EQ.GC. (2) REGARDS SUR L AMERIQUE LATINE. PARIS. (1) RES. POST ARTE BA 2009 . Maxi Bellmann (1) REUNION DE CATEDRA NOV. 2010 (1) RICARDO DAGÁ (1) ROMA. (1) RUFINO TAMAYO (1) RUSIA EN ARCO MADRID (1) S.A.C.. BLOG 2009 (1) S.T. (1) SEMINARIO GC. SABADOS 2009 (1) SIMPOSIO CORTESE.IT (1) SOLDANO (1) SOUTINE. BACON. (1) ST. ETIENNE. FRANCE 2011 (1) THE KING JEAN CHARLES I (1) TOROS . . . by G.FARES (1) trabajando en su estudio. (1) TRABAJOS DE ALUMNOS (1) TRABAJOS DE ALUMNOS DEL EQ.GC (1) TRABAJOS DE EX ALUMNOS DEL EQ.GC. FOTO DE DAMIAN RILO (1) TSO 2009 (1) TSO. IMPA 2009 (1) TXT BY GUSTAVO FARES (1) Una obra de Hlito y GC. Montaje de obras en Galería MAMAN. Agosto de 2009 (1) VELAZQUEZ (1) Visitas programadas 2010 EQ. GC (1) VISTA CINETICA DEL TALLER . . . (1) VISUAL XXI . EXPOTRASTIENDAS 09 (1) www.gcpinturas.blogspot.com (1)

Guillermo CUELLO > Obra en el MACLA / LP

Guillermo CUELLO > Obra en el MACLA / LP
MACLA / L.P. / BUENOS AIRES / ARGENTINA > 2010