PINTA ART FAIR
About Pinta NY
PINTA is a unique event exhibiting annually for sale through the participating galleries the best of Latin American art, coinciding with Christie¹s and Sotheby¹s Latin American art auctions and with important exhibitions in museums and cultural institutions in New York City. The fair organizers have invited the most prestigious galleries from the United States, Latin America and Europe to participate in this event. Thus, PINTA will be an exclusive fair which will include the participation of fifty select art galleries showing museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as of other contemporary art movements.
DATE & TIME 2012
Public Hours / Horario de Apertura al Público
Thursday, November 15th 6:00pm – 9:00pm: By invitation only
Friday, November 16th 1:00pm – 8:00pm
Saturday, November 17th 12:00pm – 8:00pm
Sunday, November 18th 12:00pm – 7:00pm
SHOW LOCATION 2012
7 West 34th Street, at 5th Avenue
New York, NY 10001
ABOUT JOSE LUIS LANDET
The works by Landet are characterized by their simplicity and masterful use of color, simple forms that the artist breaks down and rebuilds in an act of creation and destruction that functions as an analogy for memory and oblivion. Notions such as cutting, fragmenting, recomposing, serializing, and reiterating are some of the core concepts Landet employed in his inquiry into the intricacies of memory. His works are reconstructed canvases. Once the artist finishes his work, he then proceeds to cut the canvas into identical portions; these will be combined with fragments from other canvases to create an entirely new work. Once reconstructed on the wall as a result of meticulous recomposition, this new piece emerges as a sort of visual grid of graceful and alternating rhythms.
JOSE LUIS LANDET EXHIBITION AT DOT FIFTYONE'S AT PINTA NY
About "Volemia" installation to be exhibited at PINTA NY 2012
By Sebastian Vidal Mackinson
Volemia is a word which originates from the Latin and Greek languages. It represents volume, mass and blood; it is the total volume of blood and globular plasma in the human body. It entails themass of circulating blood and the immobilization of the blood reservoirs.
In Hegel’s Aesthetics, it is stated that the painting assumes what seems obvious: work on the flat and illusionistic representation of reality. Meanwhile, a few years prior, in the fourteenth century, the ascension of Petrarch to Mount Ventoux compelled a change in the aesthetical perception of nature and landscape. This genre of painting has been developed throughout history in different ways: bucolic, romantic, sublime,national ... To paint a landscape often involved the physical transfer of the artist to the exterior, towards "nature", in order to capture the essence sought in it. In Latin America, since the last quarter of the late nineteenth century up to the Centennial of Independence, the definition of a national landscape was a capital occupation.
José Luis Landet frames his artistic production on these topics. He finds a new edge to his landscape paintings by finding images at flea markets from pictorial representations of other artists. In them, he discover a tenderness that moves him and thus he appropriates fragments from these works which he cuts and later restructures them into a new composition with portions of paintings from various works. The status of the painting is stated in these acts. Landet becomes a moving subject, thus imitating the acts of the artists emerging from nature. In his case, landscape painting is the reason for his representation, it is the basis from which a new composition and structure are founded, and at the same time, in a deconstructive act, is the surface in which it is interposed with another image.
A grid, a pantone, fragments that make explicit the canvas’ surface and the character of his production, are being articulated in his current works from this exhibitionwith deliberate residues from his previous works. Landet, grinds, cuts and disposes his own works to hold the edges of the painting and give frame support, now volumetric illusionist window, which, for a long time, was believed to be the painting.
In this exhibit, José Luis Landet, deconstructs the painting and exposes his explicit theoretical, philosophical and pictorial references.