March 2010

Friday, March 19, 2010

How To Get Manual For Cva Apollo

Arteamericas ::::::::: from 26 to 29 MIAMI March

July

Both artists are undergoing a moment of fulfillment in their careers, having participated in several editions of Art BA and numerous group and solo exhibitions to his credit. Busy with multiple projects for the coming year, including Arts and Americas Lepez

a sample for Lehmann, seeking time to get together to plan a pooled sample.

We are in the department Lepez in Belgrano and is evident at first glance the friendship between the two artists: a small work of Lehmann rests on the library between Lepez favorite books and the walls are covered with tiles Lepez,

among which we find a portrait of Lehmann. When asked about Lepez, Lehmann said that, in retrospect, since those early works in the painting class, you see a very consistent thread in his work. "I always focused on the human figure. The portraits are now making more an excuse to continue to figure, "says Lehmann about his friend. To make your Pictures, Lepez works on the basis that takes photos of his friends. Is it easier to know well portrayed, I ask. "Yes. I feel much more comfortable working out the details. Also, sometimes I think a work based directly on any of my friends. I have an idea and immediately who best embody, who would strengthen. " Explains the artist. "For example, Paul is suitable for most solemn things, while another friend, Danilo, lends itself to things acted ... but there is a chance, just happens that I see Paul one day and took the camera," adds Lepez.

"Well, I might add, that his paintings are creating something rare in our group of friends, because it is strange to see us portrayed in places and other friends and acquaintances to see those pictures ... there is something wrong with being cut and featured in a wall, "says Paul, and after a pause, added with a smile:" But when Mr plays with titles. " Lepez laughs and shows me a picture of Lehmann entitled Psychological Portrait. "But in fact this title is carambola, has nothing to do with the psychology of my friend. Sometimes the work I can think from the title, usually from the image, but I have several titles I'm using as a wildcard and I interspersed and repeated, and Portrait Psychological is one of them, one is the Impossible Portrait "explains the artist.

Lehmann concludes that "generally, in the most important jobs he has done is a game between the figure and the title, and the situation that generates that's very important for the work."

himself.

"He has a very strong base in the drawing, and a taste for the form is not lost," concluded his friend.

Lepez is extremely important to capture the look of the subject, there are things that have to look out. "I've had to be much beyond a picture and did not find what I had to say, and one of those days began to wipe the face and then cross it out furiously. Now I use both resources depending on the weight I feel you need the work, sometimes you delete the factions, sometimes you pan across the face. And those are the
Impossible Pictures, "explains the artist.

"He creates an illusory space in his works. The portrait is in place, but the depth that takes in that space is lost in strikethrough, highlighting the fact that it is an apparent three-dimensional painting and become flat, "says Lehmann.

"It is always fun. Narrative has much weight my work and I think, by runoff, from Fine Arts, each table must have a story, and within that narrative has a lot of weight humor, "says Lepez.

Lehmann, who has written about the work of Lepez for display in the Palais de Glace, describes the characters of his friend as "pure fiction. As emerging from a novel or a story, invite one to walk hand in hand, makeup and making fun of our reality we are transported to the uncertain space. "

"Julio loves Hispanic literature and has also written several short stories and novels. From the outside I see the association between their works and a taste for literature, "says Lehmann. "More than anything short stories and novels and essays do not," he says with a smile.

"Sure, sure ..." laughs Lepez. "He is a reader of novels, essays and me," he explains.
"This is how all these stories and novels ..." says Lehmann, while Lepez stands and concludes: "They left many characters ... for example, First

evenings without Teresa

emerged from a novel

of Juan Marse, Last Evenings with Teresa. find very fertile ground in the Latin American novel, I shoot a lot. "

When asked about his creative process said that what usually triggers a work is an image that is anchored in the head as the image of someone riding a wooden horse. "For example, the first

psychological portrait came from the idea of \u200b\u200ba chair with a seat belt. The first is an idea that serves as an anchor, and everything else is subordinated to this idea, "says Lepez.

Lepez

The figures are always dressed, and often with surprising style, which has attracted more than one comment. "For me Dress is a resource that allows me to play with a lot of things with the skin can not be as serious collage, blasting and gestures, and faces that I stick more to the picture, "says Lepez. Lehmann, restless, says that in any case be defined fashion. "I never saw his work in any way connected to fashion. His figures are obviously contemporary, and perhaps that is what led to those related to fashion, "he explains.

"My subjects are always pose when taking photos of my friends so I pose it is obvious that they are posing for the picture. I like irony and my friends are necessarily contemporary, and thus what you read in my works is a subject linked to contemporary irony, "says Lepez about posing in his works.

"As someone Julio has a great sense of humor, and takes it to work. The humor is always present, sometimes more noticeable and sometimes it is more hidden, a glancing humor, "he says Lehmann.

Time to question about his friend Lepez Lehmann. With a somewhat furtive smile Lepez says that when he met Lehmann in Fine Arts, "Mr. painted figures," he laughs and adds, "Paul this would come to light someday. "

Leaving aside the humor, Lepez says the line is also very consistent in the work of Lehmann. "As soon as completed Fine Arts began work on paper with a group of artists. That was an important transition to his current job, because changing the material changed history, language, "explains Lepez.

Although not yet started using the word in their work, using much the line, and was there when Lehmann began using paper and fabric. "One thing I always point out is that, although it has that hard core concept in all its work, which reinforces much his work is the fact that he never gave up that which connects with the sensible ", explains Lepez.

Lehmann In those early works played a lot with the burnt paper, and is currently working with plastic letters burned and blasted, says Lepez. "This kind of work the matter that has, in some way damaging it and injuring, causing strong feelings in the viewer. Those tissues which produce many more feelings than you might think. They are very sensory "concludes Lepez excited.

Lehmann, reclining on the couch, he noted with a smile while her friend getting bigger day after the description of his work. "I work with real and apparent and works with the world of ideas," continues Lepez. "The treatment makes embody the ideas, is seeping or melting

matter, it adds a much stronger burden to those ideas that pose, and so manages to connect very well with the rational sensible. While it is a conceptual artist, not preponderate in the intellectual and has a delight in the superficial, because it adds a much stronger burden from the senses, and that's what gets the eye, "concludes Lepez.

time ago began Lehmann as a resource to use the word plastic in their works. "It was a gradual inquiry," said Lepez. "In the early works were not words. Some had even work as a kind of braille, then went to work taking leaves of books and penetrating words.

Gradually the word became inevitable, now ... why? We will have to ask him, "says Lepez, paying attention to his friend.

"There are things that one would draw period," says Lehmann stretching on the couch. "When I finished the faculty felt that painting I served

fully to what I wanted to make

. Had reached a point where no representation and give me more pleasure. I went to Europe, and when I already had ideas in my head.

Then I started working paper, while I started teaching in the School of Semiotics. I always had a taste for the semiology and semiotics, Umberto Eco, Roland Barthes and various philosophers. A little need to prepare for classes and some for pleasure, I started reading a lot ... and I guess it was becoming very important word. I started doing braille and plots that emulated texts, then immerse the words of books and leaves Jigsaw eventually write and direct my own writing, "says Lehmann.

Concurrent with its work on paper, began working with molten plastic letters, with which builds the delicate objects also today. "He saved many plastic letters and wanted to take what paper to plastic letters. Arrive at the resort blast melted and after much experimentation. And get to do the words ( in-certain, vague, confusing) in the texts through the draft, did the same with the melted plastic. That is a constant in my work: I ( in-certain, vague, confused) * word, "he says Lehmann.

"I think he does * in

while understandable," says Lepez. "It gives many more interpretations and to work. Everyone will understand what you want. To make understandable to the floor in the first impression will be from the sensible, not from the rational. My first impression with his work is of a damaged letter. It blasted so that I do not understand, but the blast that struck me, period, "says Lepez seriously.

"If I guess I find some pleasure, I will not try to understand, because it would have to do with a psychologist, to damage the subject, put some quotes, violence, "says Lehmann with a burst of laughter, while Lepez stands," Say it Paul, if violence! "

Once recovered her composure, Lepez continues:" It's just that violence has on the subject which adds a heavy burden to the work, because it is not simply to make it

in understandable, because that there are many other resources ... "

One of the first things that attract attention over the work of Lehmann, besides the treatment of the subject, is the fragility of them. "Their work sometimes give the impression that you can not play. They are ethereal, fragile ... "comments Lepez thoughtfully.

"The apparent fragility of my work comes from a strong search that I have within the threshold at which a text no longer get text to image and vice versa. I like to tease with the ambiguity generated by such uncertain situations, such as placing the text on the threshold of the image, "says more seriously. "The texts are seen as one travels, leaving only the meaning, but I am interested the signifier, bone matter of the text itself, "he concludes.

Lehmann's works are not paintings. Nor are sculptures. Are objects. "I guess it has to do with my departure from the Re-presentation. Look for something that was out of it. Are ambiguous objects, "says Paul.

"is that you're a provocateur Pablo!" Says Lepez with another of his furtive smiles. "Again and again has done that are not one or the other, are incatalogables, as his words are not words ...", add more thoughtfully.

"Yes, the documentation is a problem for me," Lehmann says proudly, while Lepez stands: "We want to be painters painting keep calling!" he exclaimed, then added, "Although I also go a little bit of traditional painting ..."

About the process Creative Lehmann says: "I'm very different in July, I need time before starting a series to try things ... once I boot, every work project. While there are surprises in general know very well what I want in advance. I can not set a role of a meter for weeks and then I like it! "Exclaims the artist. "That's where eIMPORTANT NOTE conceptual work ... I stare individual papers, not series. He, being conceptual, is a thread that leads him to work in series. Always worked in series. I could never work in series, just after the works grouped under the same title, "concludes Lepez.

About his influences, Lepez mentioned a long list: Saura, Millares, Rauschenberg, Schiele, Freud ... Lehmann says inspire him most of all his readings, but mentions Arthur Bispo do Rosario, a Brazilian artist who lived and made their works in a psychiatric hospital.

About contemporary art scene, Lehmann welcomed what is positive coexistence there of all media and expressions. Lepez is less optimistic, are outraged mostly going to see a sample. How will these two artists to work together in a joint exhibit? "Once we got a place that has to be institutional, the project will accelerate," said Lehmann.

"I'll leave it all to Paul. I'm going to go singing until nearer the time, "says Julio with its classic combination of a serious tone of mischievous smile. "I'm pretty more systematic work than July, "added Lehmann. "I can not stay without doing anything, I'm always working and planning and organizing ..." concludes on itself. "Sometimes working under pressure when things appear interesting, but generally need to be quiet to work. The small

idle bumps like me enough, because things are brewing, matures

work, "says Lepez.

The central idea behind the show is working with top literary figures of both artists. "The idea is that the characters and I represent the texts, "says Lehmann. Sounds like a good combination. There is no doubt that a sample between the two artists will be very interesting.

We look forward to.