Azul Caverna – Emptiness expansion

Emptiness expansion is the individual show of Azul Caverna. The text that accompanied the exhibition was in charge of Florencia Qualina.

The huge painting has a disturbing name, something blasphemous: Chicken or Nietszche?. On the white background of the canvas three stripes are distributed composed of small rectangles that cross the surface diagonally. Two stripes are relatively short, their rectangles are yellow and pink; the other strip, more extensive, is composed of black figures. The repetition turns them into a system, they are no longer geometric structures and they begin to be characters. The characters move between the paintings like a swarm of bees. At first sight it is more evident to establish relations between the work of Azul Caverna with Concrete Art, than with the man of philosophy with hammers. Concrete Art is, for A.C, a primary source. You only need look at the works of Lidy Prati or Tomás Maldonado to see in him, a certain continuation in the iconographic plane. Other perceptions, relationships or readings, are somewhat more elusive and require the persistent attention of whoever meets them.

The images of Azul Caverna have, at some point, an unstable bias. In the serial characters, repeated without stop, you can read zebra’s steps, bar codes suspended in the desert. The conceptual axis of this exhibition is the emptiness. Said in his words: “The emptiness as a cold still mass, this eternal bubble seems to contain us and distance us enough from each other, as if protecting us from something, or better, as if protecting others from ourselves.” In a cryptic way, the rectangles transpose for A.C a herd that circulates between virtual networks. A swarm report led by common sense and publicity.

These ideas and impressions are not, however, the closing of the works. There will be, from this exhibition other multiple, contradictory, never misguided ideas and impressions around, about the works. The emptiness can be read as a Taoist emanation:

The space between heaven and earth is like a bellows, exhales empty endlessly.

The more you move, the more you exhale.

More is talked about him

and less is reached.

Or as a space arranged for contemplation, where there is nothing to understand or explain. This last possibility is the one I strongly suggest.

Rogelio Polesello – A circle, a game

A circle, a game brings together a selection of paintings, papers and acrylic sculptures by the consecrated and prolific argentinean artist Rogelio Polesello.

Polesello takes place into the world of geometric art at an early age, as early as 1959 he had made his first individual exhibition at the Peuser gallery. Then he is part of the legendary generation of artists who passed through the mythical Di Tella Institute in Buenos Aires in the sixties and who, being young, had already achieved great international recognition.

The set of exhibited works, dating from the sixties to the last years of production, show his authentic journey within geometric and optical abstract art in Argentina. Crossed by the games of vision, Polesello, defies the gaze with the deformation and succession of synthetic forms.

A circle, a game, reveals Polesello’s innate ability to use unpublished materials and techniques, evident in the works present at the exhibition. Among them: acrylic plates from 1969 – 1971, a set of works on paper from 1959; and paintings of the sixties and seventies.

The show puts the viewer in the center of the board to continue with the game and put in check his perception of reality.

Kenneth Kemble

Kenneth Kemble (Buenos Aires 1923 – 1998) studied painting during 1950 with his first teacher, Raúl Russo. In 1951 he attended to the André Lothe Academy in Paris and visited museums in France, Italy, Spain, England, Belgium and the Netherlands.

In the mid-50s he returned to Argentina, with his first wife, Terry Hanrahan where he stayed for a short time, since in 1955 he traveled to the US and remained there for three months.

He returned to Buenos Aires in 1956 and in 1956 he began to develop a series of collages and oils – made with rags, grilles, cardboard, blankets, which are a central part of the renewal of artistic language in Argentina. Between 1958 and 1960 he produced his series of “Suburban Landscapes”, assamblages made of wood, tree bark, veneers extracted by Kemble from emergency neighborhoods in Córdoba. In 1958 he exhibited for the first time at the Pizarro Gallery, in the Arte Nuevo exhibition. In 1961 he carried out the Destructive Art exhibition at the Lirolay Gallery, an experience that opened the path for Conceptualism in Argentina, and the experiences that will be carried out at the Di Tella Institute and the CAYC – Center for Art and Experimentation – during the 1960s ‘and 70’.

In 1963, the Museum of Modern Art in Buenos Aires dedicated its first retrospective exhibition and during the same year he exhibited individually at the Museum of Modern Art in Miami. 

Between 1960 and 1972 he was an art critic of the Buenos Aires Herald newspaper ; the Director of the Luján Museum between 1968-1972 and in 1962 he joined the Ernesto de la Cárcova Higher School of Fine Arts, a task he previously carried out in his workshop and that will continue all his life. 

In 1972 he obtained the first prize of painting in the National Salon of Plastic Arts Manuel Belgrano. The decade of the 70 will be fruitful for its artistic and critical production: he published in various media the texts “The Painting does not move, does not make noise and is not a means of communication, luckily” -1971 -, “Cultural Autocolonization I and II ”And“ In defense of the Academy ”-1976-.

During the decade of the 80 he exhibited individually in the galleries Alberto Elía -1980-, Ruth Benzacar -1985, 87, 89- and in the Center of Art and Communication- CAYC, 1988-. 

In 1983, he received the award for the best teaching work, awarded by the Argentine Association of Art Critics, and the best artist of the year in 1985, awarded by the same institution.

In 1987, the critic Rafael Squirru publishes the book “Kenneth Kemble, critical and biographical essay”.

Druing the 90’s he exhibited at the Rubbers Gallery -1990-, the Ibero-American Cooperation Institute -ICI, 1994-, Nexus Gallery -1998-. In 1994 he obtained the Grand Prize of Honor of the Salon of Plastic Arts. Between 1995 and 1998, two major retrospective exhibitions took place, the first one in the National Exhibition Halls and the last one in the Recoleta Cultural Center, entitled La Gran Ruptura. Obras(1956-1963), curated by Marcelo Pacheco.

In 2013 he had a solo exhibition at Malba (Museum of Latinamerican Art of Buenos Aires) entitled Kemble by Kemble.

His works belong to public collections, such as: Modern Museum of Art, Buenos Aires; Museum of Fine Arts, Buenos Aires; Palais de Glace, Buenos Aires; Provincial Museum of Fine Arts Dr. Pedro E. Martínez, Entre Ríos, Banco Velox, among others.