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Ernesto Deira

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Ernesto Deira was born in Buenos Aires on July 28, 1928. His studies were oriented towards traditional careers and it was not until four years after graduating as a lawyer that he entered the world of painting, guided by none other than Leopoldo Presas and Leopoldo Torres Agüero. In 1958 he had his first individual exhibition at the Rubbers Gallery in Buenos Aires. A few years later, together with Luis Felipe Noé, Jorge de la Vega and Rómulo Macció, he formed the “New Figuration” group, exhibiting at the Peuser Gallery in 1961 and in the following years at the Museum of Fine Arts and also abroad. In 1964 he participates in the IV Guggenheim Intrenational Award and organizes exhibitions in Europe. Two years later he was invited as a professor at Cornell University (USA). In 1965 he received the Fulbright Scholarship and in 1967 he was awarded the Palanza Prize. Among others, he received in 1965 in the U.S.A. the prize of the First Salon of Young Artists of Latin America and the Palanza Prize in 1967.

He had numerous solo and group exhibitions in Rio de Janeiro, Brussels, Madrid, Paris, Chartres and Venice. In 1981 the Galleria Degli Uci included a Self-Portrait in its collection. In 1992 his work “Adam and Eve #2” (1963) was part of the Konex Exhibition 100 Masterpieces – 100 Argentine Painters (anthological exhibition of Argentine painting) at the MNBA in Buenos Aires. He died in Paris in July 1986. In the following years his work was exhibited both in Buenos Aires and in dierent cities of Latin America. His works are in important public collections: Museum of Modern Art (MoMA), New York, USA; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo de Arte Latinoamericano de Buenos Aires, Argentina; Centro de Arte Contemporáneo, Córdoba, Argentina; Fundación Federico Jorge Klemm, Buenos Aires, Argentina; Museo de Arte Moderno de Buenos Aires, Argentina; Banco Ciudad, Buenos Aires, Argentina; Museo Municipal de Bellas Artes ̈Juan B. Castagnino ̈, Rosario, Argentina.

Oscar Bony

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Oscar Bony (1941, Misiones). At the age of 17, he began to study painting with a hometown professor until traveling to Buenos Aires in 1959 to attend the Escuela Preparatoria de Bellas Artes Manuel Belgrano on a scholarship. However, he always considered himself a self-taught artist. Between 1959 and 1963 he attended classes at the studios of Demetrio Urruchúa and Juan Carlos Castagnino, while working as an assistant for Antonio Berni. His imagery during this initial phase reveals a certain expressive realism, along the lines of the new figuration movement. In 1964, his Anatomías series allowed him to enter the contemporary art circuit, where he was invited to participate in the Premio de Honor Ver y Estimar along with holding his first solo exhibition in one of the most important galleries in Buenos Aires, the Galería Rubbers. He formed part of the group of artists who frequented the Bar Moderno, where he befriended Rubén Santantonín, Pablo Suárez, Emilio Renart, and Ricardo Carreira.

From 1965 to 1968, his experiences with Pop Art, Minimalism, Conceptual Art, and objects positioned him amongst the most radical avant-garde movements then taking place in alternative galleries, like the previously mentioned Premio de Honor Ver y Estimar and also the Instituto Torcuato Di Tella. Bony exhibited installations, short films, objects, primary structures, and a sound piece. In May 1968, he hired a working-class family, exhibiting them “live” on a museum plinth for the Experiencias ’68 show at Instituto Di Tella. The reaction from the critic, the public, and the official art world was strong and grew stronger, as did divisions within the avant-garde movement itself. Exacerbated by tensions between art and politics, and the social, economic, and political crises of the time, the divisions became increasingly extreme and the fronts on which these struggles were being waged multiplied. Finally, in response to a court order to close down Roberto Plate’s piece in the show, the rest of the show´s artists decided to destroy their works and throw the remains onto Florida Street as a way of publicly denouncing the infringing act of censorship. It was the end of an era as Bony and several of his colleagues left their activity in the art field.

For almost six years, from 1968 onward, Bony worked as a photographer in the music industry. It was just at the time when the Argentine rock music scene was becoming a popular phenomenon, gaining access to mass communications media such as television, a product consumed by a young and rapidly expanding audience. Record companies had incorporated sales and publicity methods from other markets. Each album release was linked to concerts, festivals, and promotional campaigns. The albums included extensive liner notes, song lyrics, and photographs from special photo shoots and posters for the most popular icons. Each band’s profile was planned by designing wardrobes, hairstyles, and scenographies for their photo sessions and presentations, while various specialty magazines, film, radio, and television stations served as distributors. Bony played an active part in the rock scene and became one of the creators of its visual imagery during the time that he worked with the RCA record label. A certain Bony style became identifiable and distinguishable. The public image of rock bands such as Los Gatos, La Joven Guardia, Manal and Almendra was shaped through the lenses of his camera.

In 1974, Bony returned to the “high art” world, to his “professional” career. He produced paintings and photographs, had a few exhibitions, and finally made the decision he had considered but postponed for years: to leave the country and go into exile. He resided in Milan from 1977 until 1988, maintaining a constant presence in the Italian art scene for ten years, including shows in Spain, Ireland, France, and trips to the United States, and occasional contact with Buenos Aires. Once again, Bony was making installations, objects, montages, interventions, paintings, and mixed media pieces. He was invited to participate in the Milan Triennial and the Venice Biennial, where he began to flirt with styles like the trans avantgarde. And in February 1986 he opened two simultaneous solo shows in two of Milan’s most important galleries, Galleria Zeus Arte and Galleria Fac-Simile.

In 1988 Bony returned to Argentina. He explored, he worked; he waited patiently.
By 1993 he gained recognition once again with his De memoria show. Bony was yet another survivor of the 60s who dazzled younger artists, was respected by critics, and was intensely active. His 1994 golden- framed glasses, paper and lead pieces with bullet holes, together with his first photographs with glass and gunshots from 1996 on, upheld his eccentricity, his intensity, his rigour, his nomadic nature and magical gift for being one and many an artist at a time. He created installations and performances, such as Il limite, presented un-invited at the XLVI Biennale di Venezia; he handed out flyers, made declarations, and held exhibitions. In 1997 he was invited to participate in the 6ª Bienal de La Habana. El individuo y su memoria, in the I Bienal de Artes Visuais do Mercosul in Puerto Alegre, and the 5th International Istanbul Biennal. He said farewell to the century with considerable presence in the specialized press, providing a number of journalistic notes and talks thanks to the impact achieved with the series of “las baleadas” with El triunfo de la muerte exhibition presented at Museo Nacional de Bellas Artes (MNBA)in 1998.

La familia obrera from 1968, was reconstructed in Buenos Aires, New York, Madrid, and Ljubljana, and was widely recognized by the international contemporary art history community. Bony died in April of 2002 in Buenos Aires while still in full activity.

With the retrospective titled Oscar Bony. El Mago. Obras 1965-2001, which took place at the Museo de Arte Latinoamericano de Buenos Aires (Malba) in 2007; curated by chief curator Marcelo Pacheco, a phase of a decade of privileged circulation and diffusion of Bony’s art opened in the regional as well as the international world: Bony’s work participated in large exhibitions dedicated to the revisionism of conceptual art and minimalism and the early days of contemporary art in the United States and Europe; At the same time, his position was established even more by high-profile purchases by the Museum of Modern Art of New York (MoMA), the Kunsthaus in Zürich, and the Bengolea and Costantini collections in Buenos Aires.

Renata Schussheim

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Renata Schussheim, born in Buenos Aires on October 17, 1949, is an Argentine multidisciplinary artist distinguished in costume design, set design, illustration, and visual arts. Her career is marked by the integration of different disciplines and a constant exploration of new creative worlds. From an early age, she was encouraged by her mother to study drawing and painting. At 13, she began training with the painter Carlos Alonso, who helped her find her identity as an artist. At 15, she held her first exhibition at the gallery El Laberinto, with drawings influenced by Hieronymus Bosch.

At 19, she started working as a costume designer, and her work quickly expanded to set design, photography, and animation. Renata has stated that her disciplines overlap organically. In one of her exhibitions, she combined images, videos, performances, and objects, fusing diverse artistic forms.

She has worked closely with musicians such as Charly García, Luis Alberto Spinetta, Walter Giardino, and Federico Moura. With García, she designed the album covers for Música del Alma and Bicicleta, and was responsible for the scenic design of his performances.

In theater and opera, she stood out in productions such as Jesus Christ Superstar, The Magic Flute, and Carmen, staged in major theaters in Argentina, Spain, France, and Chile. She also collaborated with Oscar Araiz on Boquitas pintadas by Manuel Puig.

In cinema, she worked with Héctor Olivera on Buenos Aires Rock (1983) and developed personal projects, such as the set design for a love hotel, exploring intimate aspects of society. Collaboration has been key to her work: she has worked alongside artists such as Marie Orensanz, her mentor, and Jean-François Casanova, from the group Caviar. For Schussheim, mutual stimulation between generations is one of the essential values of art.

She is recognized for having developed the concept of “art of complicity” in Argentina, understanding creation as a collective process. Her figure stands out as that of a collaborator: an artist who dissolves herself in collaboration while producing unique works. She was one of the few artists, along with Marta Minujín, to have a solo exhibition at CAyC under Jorge Glusberg. Her name is associated with a groundbreaking approach to Argentine art.

She has stated that the most important thing is to remain attentive to what inspires her. Her endless curiosity has led her to experiment without attachment to a single discipline. “I’m interested in everything,” she has said. Her work reflects this capacity for transformation, as well as her desire to influence, communicate, and collaborate. In this way, she has established herself as an essential figure in contemporary Argentine art, demonstrating that creativity has no limits and that art is, above all, a space for exchange and continuous growth.

A través del espejo

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Renata Schussheim, Edgardo Giménez, and Juan Stoppani are artists with vast and undeniable trajectories. Faced with that, what could I possibly add that hasn’t already been said by critics, curators, and art historians? What can one say in the face of the power of their work? To begin with: every encounter with them has been—and continues to be—a celebration, a breath of fresh air, both inspiring and revitalizing. An endless compendium of anecdotes, experiences, and projects.

Great artists are often defined by their careers—shaped by milestones, brilliance, and recognition. But that’s not what defines them. While their artistic journeys are indeed impressive, what truly identifies and sets them apart is their creative freedom, their adventurous spirit, their unwavering commitment to art.

None of what they have accomplished would have been possible without the consistency and conviction that fuel their practice. Their hunger for work, their way of observing the world and inventing their own, their willingness to take risks, to remain faithful to their desires, to experience and share joy. They have developed deeply personal bodies of work while collaborating with fellow creators—musicians, filmmakers, playwrights—navigating different disciplines and languages without prejudice.

This exhibition, which brings them together for the first time, invites us to step through the looking glass and discover characters and animals embracing and encouraging all kinds of interspecies fantasies—revealed under a perfect, round moon resting in a star-studded sky. A labyrinthine sculpture rises from a landscape of irregular geometries and portraits of birds and young ladies, while a curtain opens to the backstage of The Carnival of the Animals and The Child and the Spells.

Adventure books—like those chronicling the wanderings of Alice, written by Lewis Carroll in the second half of the 19th century—have always nurtured the imaginations of children and adults across time. In much the same way, Renata, Edgardo, and Juan do so in this exhibition. And, whether intentionally or not, they offer us the chance to reflect on the importance of fostering imagination as a means of building freer and more creative societies.

Laura Spivak

*  The Carnival of the Animals (1886) is a musical suite composed by Camille Saint-Saëns. The Child and the Spells (1925) is an opera with music by Maurice Ravel and a libretto by Sidonie-Gabrielle Colette.

Forms of Being Human: Paintings and Drawings by Ernesto Deira (1961–1966)

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Ernesto Deira pertenece a ese conjunto de artistas que practicó la pintura como una gesta, una figuración magmática de paleta agitada por rojos, azules y amarillos intensos, que salpicara el sentido común fuera del bastidor. Como si sus personajes surgieran a partir de algún proceso volcánico, desde 1961, con poco más de treinta años de edad, Deira fue parte de quienes renovaron la representación de lo humano por medio de esa dimensión material espesa y excedida, un sustrato que el Informalismo había hinchado de protagonismo pocos años antes.

La selección reunida en esta exposición recorta ese periodo experimental, en que el artista exploró las posibilidades de la pintura, pero también del dibujo y del montaje de la obra al momento de la exhibición.1 Se trata de obras producidas entre 1961 y 1966, pobladas de criaturas vitales e indescifrables, incluidas varias pinturas de gran porte. La mayoría de estos dibujos y pinturas no lleva título, como si ese estado de indeterminación no debiera estabilizarse con un nombre. Pero algunos títulos –El estudiante de lógica formal o Retrato familiar– matizan la ferocidad de esas imágenes con una ironía risueña: esas figuras, que no parecen haber terminado de fraguar, se nos presentan como una suerte de contracara extrañada, o de imagen reveladora, de personajes cotidianos y sensatos.

Retrato familiar (1964) retoma el juego de la imagen dentro de la imagen, en un comentario sobre la pintura y su tradicional función retratística: sobre un fondo azul, dentro de dos óvalos trazados con brochazos de color rojo, se adivinan los rostros, de frente y perfil, de dos señores -llevan traje y bastón como atributos. El “retrato” de la derecha, congelado en una mueca, muestra una expresión cadavérica. El de la izquierda se escure hacia abajo, desbordando el marco rojo oval representado. La obra parece una declaración de principios, tanto acerca del despropósito de plasmar una semblanza verosímil en una imagen pintada, como de la apuesta irrenunciable por representar lo humano.

De veladura blanca y más de dos metros y medio de lado, una pintura de 1963 representa, delante de una sutil pero decisiva línea de horizonte, lo que podría describirse como un conjunto indeterminado de figuras humanoides. Tienen ojos, no solo en lo que parecen ser sus rostros sino también en sus manos. O tienen manos que son, a su vez, pequeñas cabezas con ojos. En el revés del bastidor se leen los nombres de quienes integraron el grupo de la Nueva Figuración entre 1961 y 1964: Macció, Noé, De la Vega y también Deira.2 ¿Será tal vez un guiño o un reconocimiento a esos artistas cómplices? La representación de esa agrupación, que para 1963 ya se había disipado, como una suerte de organismo multicéfalo que pintó y dibujó lo que veía, menos con los ojos, que con las manos.

Los reversos de esta y otras de las telas exhibidas ofrecen pistas de redes e itinerarios artísticos que excedieron la escena cultural de la Buenos Aires de los años sesenta; un misterioso “Martha Peluffo” escrito en otro bastidor; una etiqueta de la Bienal Americana de Arte, que las Industrias Kaiser organizaron en Córdoba entre 1962 y 1966, en una pintura de 1964 y , en la mencionada El estudiante de lógica formal, de 1965, una etiqueta de la legendaria galería Bonino, que promocionó a los cuatro pintores de la nueva figuración durante esos años. Aquí hay que señalar el impacto que tuvo, entre los artistas cariocas, la exposición del grupo Nueva Figuración de 1963 en la sede de la galería Bonino de Rio de Janeiro y, dos años más tarde, en el Museo de Arte Moderno de esa ciudad, donde se exhibió Retrato familiar (1964) entre las 12 obras de Deira.3 La selección de pinturas en exhibición también da cuenta de la proyección hacia los Estados Unidos, en la exposición de Deira de 1964 en la galería de la Pan American Union, Washignton DC, cuyo catálogo reproduce la feroz pintura sin título de 1963, que representa una cabeza humana.

Si las pinturas de esos años dieron forma a esa vocación experimental por medio de masas insurrectas de color esparcido, los dibujos realizados en paralelo juegan en su propio campo: el desarrollo lineal (o el pensamiento lineal, para citar el título de una exposición de dibujos de los años ochenta que incluyó a Deira),4 en franco negro sobre blanco. De tamaños más modestos, algunos parecen realizados con movimientos continuos, sin levantar la pluma. Y todos configuran personajes, entre precarios y sofisticados que, gracias a las posibilidades de la tinta sobre papel, presentan detalles, como dientes, cabelleras, órganos y huesos, mezclados con ovillos y otras formas aleatorias, pero misteriosamente humanas.

Dibujos y pinturas se refuerzan mutuamente en sus especificidades a la vez que confluyen como formas de ser humano, esto es como medios por los cuales Deira exploró la figuración de manera vital y múltiple.

Isabel Plante, mayo de 2025.

1 María José Herrera, “La experimentación en la obra de Ernesto Deira (1961-1968), en María José Herrera (cur.), Retrospectiva Deira. Buenos Aires, Museo Nacional de Bellas, Artes, 2006, pp. 10-21.


2 Si bien, la primera exposición conjunta también estuvo integrada por Sameer Makarius y Carolina Muchnik, el grupo se estabilizó luego con estos cuatro integrantes: Ernesto Deira, Jorge De la Vega, Rómulo Macció y Luis F. Noé.

3 Paulo Herkenkoff, Nueva figuración Río/Buenos Aires. Río de Janeiro, Galería del Instituto Cultural Brasil-Argentina, 1987.

4 Luis Felipe Noé y Jorge López Anaya (org.), El pensamiento lineal. En torno a la autonomía de la línea a través del dibujo argentino. Buenos Aires, Fundación San Telmo, 1988.

Fancy Monas

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The Fancy Monas are a series of 25 works created by Edgardo Giménez, where pop art meets technology. Drawing from over 100 elements of his visual universe — colors, objects, shapes, characters — Giménez used algorithmic tools to breathe new life into them.

The result is a collection of unique, vibrant, and humor-filled pieces that reimagine his work through a contemporary lens. The Fancy Monas open new pathways for artistic creation, blending the manual with the digital, the playful with the experimental.

¡Jugar es cosa seria!

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Playing is also a serious matter!

In 1984, Manuel Espinosa participated in the exhibition El juguete (The Toy), a group show that brought together well-known artists to create toys. For this, Espinosa created Juego de la Matusa, a stacking game made of yellow, blue, red, and green acrylic pieces. Ingeniously and sensitively, he used geometric rationality to create a visual construction device that invites the viewer to engage in an open formal experiment.

The relationship between art and play has numerous precedents throughout the history of art, with many artists linking play to artistic practices to foster creativity or stimulate the imagination. From the toys created by Joaquín Torres García and the esoteric game invented by Xul Solar to the central role of participatory experiences in the playful environments of the 1960s, Playing is also a serious matter! proposes a playful approach to art. It is an exhibition composed of a selection of works that center their investigations around play and playful exploration: from participatory proposals that directly engage the viewer’s experience, toys as objects produced by renowned artists, and a body of works that refer to the imaginary of childhood.

Hans-Georg Gadamer presents play as an elemental function of human life, to the point where one could not think of human culture without a playful component. Through play, we learn to share, experience, create, solve problems, and connect with others. Some of the essential aspects of play, as pointed out by Gadamer, include playing-with, a repeating movement, and a particular inclusion of reason, where everything is ordered as if it had a purpose. However, play turns out to be a free rationality with no other aim beyond the play itself.[1]

In a similar way to Juego de la Matusa, Rogelio Polesello’s acrylics propose a playful activity focused on participation and playing-with the visitors, the surrounding space, and the works displayed here. The concave and convex forms of his carved pieces alter perception through the movement or change in the viewer’s angle of vision, generating an optical game of transformation. Polesello makes us move back and forth, repeating a motion that resolves itself in the play space. On the other hand, Ernesto Ballesteros uses constant, repeated movement, slightly choreographed, to create his drawings from play and the participation of others. As if having a purpose, Ballesteros organizes the movement with which he constructs these enormous tangles of pink and yellow threads, with no other goal than the freedom of creative experimentation. His drawings highlight the value of play as a tool for creation and reflection.

The universe of toys also emerged in the production of Luis F. Benedit, a renowned conceptual artist who focused on exploring the connections between art and science. Through the childlike drawings of Tomás, his five-year-old son, Benedit approached the world of toys. In this series of works, the artist included his son’s drawings – from a policeman to the bride of King Kong – and his own reinterpretation of the drawings as a projective design, which he then brought into three-dimensional objects.

Some toys are created from their own universe, while others are built from shared fantasies. Many games and toys belong to specific eras, marking generational milestones, while others remain relevant over time. In Giménez, an artist who navigated various genres – painting, sculpture, architecture, graphic design – marked by joy and pop beauty, we find a universe of fantasy and childhood imagination in his work. Clouds, monkeys, cats, rabbits, among others, are recurring elements in his art, as well as the green labyrinths included in this exhibition. Like the labyrinthine gardens of European palaces, Giménez constructed green geometric walls, streets, and crossroads that invite his characters to play at getting lost and finding the way out.

In Pop Folklórico, Cynthia Cohen gathers various objects on a small altar: from a book of Frida Kahlo next to one of Barbie, a Hawaiian doll with her arms wide open, to a small toy horse. All these memories are stacked between stars and bright bows tied with light blue ribbon against a pink background. In this small altar, elements of cultural consumption, souvenirs, and childhood toys coexist on the same level, configuring the artist’s universe.

Dino Bruzzone, on the other hand, explores and dives into the imagination of other generations and childhoods. His most recent work consists of large paintings with bright flat colors, crossed by the offset dot pattern, representing images from a comic strip from the early 20th century. Krazy Kat is a strip created by George Herriman that was published in American newspapers from 1913 to 1944, blending innocence, surrealism, and a certain romanticism in its images and plot. The strip centers on the adventures of Krazy Kat, who is in love with the mouse Ignatz, but his love is unrequited.

Finally, Fernando Brizuela also takes childhood dolls like Hulk and King Kong to create a true bestiary. These dolls – sold in toy stores for children and personifying strength and power – transform in Brizuela’s hands into monsters, creatures with sharp teeth, crazed eyes, and uncontrollable strength in their hands. This aggressive gesturality is covered with marijuana, creating a strange transfiguration of the characters between the human, animal, and vegetal. With irony, these monsters seem to expose a prejudice, a fear possibly constructed from misinformation and arbitrariness. Also part of his production are botanical watercolors that recall the records of 19th-century traveling painters made during expeditions.

The universe of play, toys, and fantasies are important matters, not only because they present themselves as a possible antidote to the rigidity of routine and daily life, but also due to their transformative relevance for our experience in the world.

Ayleén Vázquez

[1] Hans-Georg, The Relevance of the Beautiful. Art as Play, Symbol, and Festival. Barcelona: Paidós, 2002.


Selected Artists: Manuel Espinosa, Rogelio Polesello, Edgardo Giménez, Luis F. Benedit, Ernesto Ballesteros, Cynthia Cohen, Fernando Brizula, and Dino Bruzzone

Curatorship: Agustina Espinosa, Bárbara Espinosa, and Ayelén Vázquez.

Fuzz | Juan Becú

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Distort, destroy, and start over.

For this exhibition, Juan Becú (Buenos Aires, 1980) looks back at the landscape he has built over 25 years of work, reconnecting with his traces, remains, milestones, and disappointments in order to analyze the processes he has gone through in the search for his poetics. Although he has explored alternative paths such as sculpture, drawing, video, and performance, painting has always been the guiding force, imposing its own logic. Time and again, it has been killed and resurrected in this century, but Becú has remained loyal, even when the attention of the art world shifted to other contemporary languages. However, the relationship is not ideal; it could be described as a sort of Stockholm Syndrome. Each day they spend together in the studio leaves him completely exhausted and anxious for the reunion the next day. The bond is tortuous and filled with constant confrontations; it is only possible through debate: when one proposes an idea, the other automatically contradicts it; when it seems like an agreement is within reach, one of them throws everything overboard and they start over. Detachment from images proves to be the most exhausting challenge. The impossibility of citing or maintaining a motif as a narrative axis gives way to emotion, sensitivity, and spirituality to take the lead in decision-making. Thus, the images evolve amidst these disputes; if a figure longs to appear, the material demands a gesture that covers it partially or completely. If the oil paint seeks to wander anarchically, it will be forced to suggest silhouettes that will later blend with other brushstrokes on the canvas. Color becomes a hostage, predominant in its presence but always adrift, influenced by gestures and moods. A color that dominates the composition one day may disappear the next, drowned by the emergence of new tensions.

In his series of drawings “Genomanías,” he tries to offer a break for thought, aiming for an informal and carefree automatism. He seeks to suppress conscious control by working quickly, freeing his hand on the paper and restricting the color palette. However, painting will intervene, demanding that layers of oil pastels be added to veil and conceal. In an act of resistance, Becú will partially remove them to reveal fragments of the initial proposals.

In sculpture, he will attempt, unsuccessfully, to escape the intensity of that relationship. But painting will remain present, guiding his hand with techniques that are intrinsic to its history. Forms begin to emerge through the accumulation of plaster on wooden and iron structures. It is a process similar to how sandcastles are built by dripping: pouring the wet mixture with the hand, letting it slip through the fingers, sedimenting, and creating cavities and interior spaces. A volumetric dripping with the haphazard vigor of Abstract Expressionism and the introspective, melancholic subjectivity of Informalism.

It is in music where Juan finds a space that has not allowed painting to infiltrate. It is a social space, linking him to other musicians and audiences. Yet, it will be the discipline that provides him with one of the keys to understanding his practice in the visual arts. His brushstrokes, like guitar chords distorted by fuzz, break the conventional harmony, opening the way to a more experimental and emotional dimension. If fuzz distorts pure sound, Becú, through the layering of colors, forms, and gestures, generates tensions between order and chaos, between representation and abstraction. In both cases, the result is an intense sensory experience that stimulates new perceptions in both the listener and the viewer.

Joaquín Rodríguez