By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
Guerrier, a graduate of Miami's New World School of the Arts, earlier had created "back yard" photos in which life was a real-time continuum of trivial and pointless events -- not unlike that of Sartre's aimless characters in The Wall. (It's worth noting that other Miami artists' work echoes such existential moods.) This art's humor seemed too detached for a world filled with atrocities. I (along with Camus) could've asked this question: How could one remain lucid confronted with such truths?
With "loss/entry/return" Guerrier shifts ground. You see the artist looking through binoculars at the expanse of the metropolis. But it's not a real city. This is more like a superimposition of events, black blotches and green tempera splashes (with directional tentacles) moving near the background of the metropolis's silhouette. Amid these images you find linear sentence fragments, silent remarks as if coming from a lost century of ideologies.
Then one discovers this conspicuous cantilevered solid structure -- a sort of corbel -- that the artist draws in most of his pieces. I read a bit into it: In architecture, cantilevers separate themselves from the ground; they are singular, impulsive. What's more important, they don't subjugate the territory.
Guerrier is slowly moving away from the dense existential "feel" of reality expressed in his earlier photos. He has become a more gregarious, unconventional observer, exploring his own situation in relation to the rest of us. Now he should incorporate into his photography some of the new elements present in this series.
At the exhibit, an important local curator helped me see a bit of French theorist and filmmaker Guy Debord in Guerrier's work. Suddenly the seemingly disconnected one-liners inside the drawings made more sense.
In his 1967 Society of the Spectacle, Debord warned that our lives had become transactional relationships. Spectacle was a key concept for Debord, who borrowed from Marx's idea of alienation. We become alienated from ourselves when everything we do, we do for the sake of abundance. The spectacle then becomes the sad and endless race to own more, which, paradoxically, turns into an abundance of dispossession. Some of this message is already present in Guerrier's promising cityscapes.
What makes for good art? This is a practical question. If you think of investing your money in something more than mere decoration, you may want to know. And though there are no magic formulas, there's a general consensus among art experts that originality is a useful starting point. A work of art is original when it successfully presents the familiar in a different way, or when it surprises us with its innovative formal appearance. Picasso's Demoiselles d'Avignon is an original painting, though it depicts a common theme: a group of women in a whorehouse.
In making judgments about the quality of art, some people place emphasis on skill. But originality may already involve some level of skill if it is to execute an idea persuasively. On the other hand, skill alone will not cut it. Domenichino, a Baroque Italian painter known for his decorative tableaux in churches, was technically proficient but derivative.
Some works don't innovate, but they may evince a degree of inventiveness. Modern art has minor artists who made attractive contributions. Have you heard of Alfred Sisley? He was an Impressionist of English descent; his work a bit of Coubert and Corot, and yet he showed ingenuity in his study of light for his notable series of landscapes of Argenteuil, where he lived for a while.
I bring this up apropos of last week's third installment of the Merril Lynch Arte Américas show, featuring modern and contemporary Latin American art from eighteen countries. According to the organizers, Leslie Pantin, Jr. and Emilio Calleja, this was the best event yet. "It is a boutique fair," said Calleja. "We have 50 galleries, but we want to keep it small and manageable." The fair, he added, aims to display art of palpable quality.
The idea should work -- given the demanding standards of admission, Miami's privileged location, and its diverse and vibrant Latin American population -- and (after MAM's Beyond Geometry) with time could become a re-evaluation of modern Latin American art.
Addressing quality: The five-day exposition at the Coconut Grove Convention Center displayed much better art than the previous one, but there was still some mediocre stuff. By mediocre I mean derivative art that poorly mimics styles already in the mainstream. Picture corny Surrealist-like paintings of fruits mixed with bodies; cheap figurative and subjective portraiture; inane abstractions of colors and spaces with fickle dabs here and there; plus Botero's minor pieces (drawings, prints, and whatnot), which have become fixtures in Miami's banks and hotel lobbies.
Regardless of the artwork presented, some exhibition spaces still demonstrated a curatorial effort that went beyond the mere mercenary. Galería Thomas Cohn from São Paulo had a cogent array of works by Ruben Torres Llorca, Paulo Queiroz, and others. Oscar Oiwa's four-panel canvas of a city (São Paulo perhaps) in the act of collapsing, as if into a huge waterfall, was a strong statement on how nature and civilization remain at odds.
Mexico's Nina Menocal Gallery commissioned Juan Luis Morales to curate more than twenty artists to celebrate the gallery's fifteenth anniversary. Menocal's roster is pretty impressive, with names like Glexis Novoa, Ana Albertina Delgado, José Bedia, Roberto Behar and Rosario Marquardt, Pedro Vizcaino, Gustavo Acosta, and others who created pieces specifically for this occasion. The work, though a little cluttered, was well presented.
Sicardi Gallery of Houston, Texas, featured a nice selection of Jesus Rafael Soto's optic pieces, Carlos Cruz Diez's concrete sculptures, and Marco Maggi's interesting paper structures. Diana Lowenstein Fine Art from Miami looked neat, with works by Carlos Estevez, Tulio Romano, and José Bechara, who showed a delicate diptych canvas with mysterious depth. My favorites were two exquisite photos by Carlos Betancourt.
Viota Gallery from Puerto Rico included a group of talented artists, among them painter Rabindranat Diaz (cartoonish, bittersweet images) and sculptor Melquiades Rosario Sastre, a talent who should get more exposure in Miami. From Brazil Galería Brito Cimino showed a worthy selection of artists, some of them gravitating toward neo-concrete style (Regina Silveira and Antoni Abid) and others favoring a more postmodern figurative style (Ernesto Pujol and Eder Santos).
Another interesting gallery exhibiting consistent work was Lyle O. Reitzel Arte Contemporáneo from Santo Domingo. I particularly enjoyed the agoraphobic works of Eleomar Puente, Edouard Duval Carrie's colorful biomorphic abstractions, and the powerful existential riddles of García Cordero, one of Santo Domingo's best painters.
Galerie Bourbon-Lally of Haiti offered a coherent display of primitive imagery. Prominent were a strong painting by Santiago Olazabal and an amazing sculpture by Haitian artist Eugene Andre: a metal skeleton donning a purple tie, glassless goggles, and a yellow nylon cape, revealing a colossal wooden phallus (supported by metal rods) on an I.V.
Other galleries had good artwork. Miami's Cernuda Arte highlighted Vicente Hernandez Ascencion's allegorical paintings of his hometown in Cuba, a biting political commentary on Cuba's present situation. The fine works of Salvadoran Santiago Valladares were featured at San Salvador's Galería 1,2,3. Rigoberto Quintana's little paintings were on view at Galería Botello from Puerto Rico.
Then there were Mexican Hugo Crosthwaite's haunting charcoal drawings at ArtSpace Virginia Miller Galleries; Soledad Arias's you are here neon signs at Alexandra von Hartz Fine Arts (both from Miami); and Ronald Moran's eye-catching felt-covered furniture at Costa Rica's Klaus Steinmetz Arte Contemporáneo.