Paintings it’s Rogelio Polesello’s solo exhibition, who set Geometric abstraction in Argentina since the middle of the last century. The exhibition, dedicated to his historical works, presents paintings of great relevance, produced by the artist in the sixties and early seventies. Polesello was inserted into the development of geometric and optical abstraction in an autonomous and original way, proving an innate capacity to experiment with unheard materials and techniques. He was part of the legendary generation of artists who passed through the mythical Di Tella Institute in Buenos Aires in the sixties and who, as a young man, had already achieved international recognition.
“Paintings” is an invitation to explore the artist’s works in an intimate setting, where the viewer can enter his timeless and hypnotic universe and from which they can always discover a new color, a new form or even a different effect.

Rogelio Polesello (Buenos Aires, 1939-2014) was graduated as a Drawing, Engraving and and Painting Professor at the National School of Fine Arts Prilidiano Pueyrredón. In 1959 he held his first solo exhibition at the Peuser gallery. Throughout his career he has worked on geometric abstraction in painting, engraving and acrylic objects. From an early age he worked im advertising design, activity that led him participate in experiences that transcend the world of visual art, and include interdisciplinary works related to architecture, environmental design, textile design, body painting and interventions in public spaces. His works have been exhibited in numerous national and international museums and galleries.
The following exhibitions are are highlighted: Pan-American Union in Washington, 1961; Museum of Fine Arts of Caracas, 1966 and 1968; University of Mayagüez, Puerto Rico 1966 and 1971; Luis Ángel Arango Library, Bank of Republic, Bogotá, 1967; Visual Art Center, Di Tella Institute, 1969; Center for Inter American Relations, New York, 1973; Museum of Modern Art of Bogotá, 1973; Museum of Modern Art-Bosque de Chapultepec, Mexico City, 1973; Palais de Glace, 1995; National Museum of Fine Arts, 2000; José Luis Cuevas Museum, Mexico City, 2002; Recoleta Cultural Center, 2005 and the Museum of Latin American Art of Buenos Aires, 2014, among others.

His works belong to the MoMA collection, Museum of Modern Art, New York; Guggenheim Museum, New York; Museum of the Americas, Washington DC; Blanton Museum, Austin; Lowe Art Museum, Miami; Museum of Modern Art of Bogotá; Bank of the Republic Collection, Bogotá; Museum of Fine Arts of Caracas; National Museum of Fine Arts, Buenos Aires; Museum of Modern Art of Buenos Aires; MALBA, Museum of Latin American Art of Buenos Aires and MACBA –Museum of contemporary Art of Buenos Aires.

In this individual exhibition, Cesar Paternosto transgredes the limits of space, with this work on lines, rectangles, encounters and unnoticed gaps that accentuate the concept of border. At the same time, it is the austere color notes that assume the new meaning that the artist recreates on borders, as abstract as tangible as they are. Paternosto exceeds the conceptual limits of knowledge and his work’s materials  through its own spatial and plastic expression.
César Paternosto (1931) was born in La Plata, Argentina. Painter and sculptor, he resided in New York since 1967. In 2004 he moved to Segovia, Spain, year in which he presented an individual exhibition at the Museum of Contemporary Art Esteban Vicente with the curatorship of Tomás Llorens. In 1969 Paternosto began a series of works where at first sight the front of the work, white and uniform, did not reveal an image. The geometric artist began to paint on the wide edges of the frame. In 1972 he won the Guggenheim Painting Scholarship among many others. Recently, the architects Rafael Moneo and Pedro Elcuaz proposed to intervene with his work the new arrival hall of the Atocha Station in Madrid. Paternosto’s color planes appear and disappear as the traveler or spectator walks through.
In the book called “Argentine Art. Four Centuries of History”, Jorge López Anaya wrote  about Paternosto’s work: “The new works force the viewer to move his gaze to both sides of the frame, it was a way to increase the complexity of the reception, inducing an active and bodily participation.”

 According to Tomás Llorens, this discovery of the edge of the canvas is a consequence of the framework questioning initiated by Paul Klee and concluded by Piet Mondrian. Paternosto discovered that possibility when he noticed that the dutch painter leaves the center of the fabric open and carried the black bars and the colored areas towards the edges.
His work belongs to public and private collections such as: the MoMA and the Guggenheim museum in New York, the Museum of Fine Arts in Boston, the Kunstmuseum in Bern, Switzerland, the Reina Sodía National Museum of Art in Madrid, The Ford Foundation, the Diana and Bruce Halle Collection in Arizona, the Patrica Phelps Cisneros and Ella Fontanals-Cisneros Collection, the National Museum of Fine Arts and Museum of Modern Art in Buenos Aires, the Baroness Carmen Thyseen-Bornemisza Collection, the Norman Foster Collection, among many others. He held numerous solo and group exhibitions in the United States, Latin America and Europe.