This year Pan American Art Projects is celebrating its tenth anniversary as a gallery and its fifth in the Wynwood Art District of Miami.
Our opening exhibition in Miami was with Argentinean artists León Ferrari and Oscar Bony. We decided to show again León Ferrari as a commemorative mark for Pan American as well as for our relationship with the artist. Ferrari is one of the most dynamic Contemporary Argentinean artists, with a long and prolific career. Still today he continues making art without losing the freshness and the energetic vibe that characterized his early pieces. A rebellious and anti-establishment figure in his time, Ferrari kept a clear political message. He is particularly known for his controversial and ironic pieces on religious themes, but there is also a significant volume of works that deals with other subjects, perhaps more intimate, such as automatic writing, which are included in this exhibition. It is our intention precisely to show the progression and diversity of his work.
Ferrari has received extensive worldwide recognition as well as important prizes in the last five years. In 2006 he was guest of honor at the Sao Paulo Biennial, in conjunction with his vast exhibit at the Pinacoteca (which followed his retrospective at the Centro Cultural Recoleta of Buenos Aires); he was awarded the prestigious Golden Lion award at the 2007 Venice Biennial. In 2010 the Museum of Modern Art of New York (MoMA) presented his exhibition Tangled Alphabets with Mira Schendel.
We are also including other Argentinean artists in this exhibition whose work will help to get an idea of the constantly developing and intense visual plastic arts movement in the country. A significant trend in contemporary Argentinean art has been the political connotation that artists had embedded in their works. It is not a surprise taking into consideration the social and political history of the country. Among the artists who have work with this theme is Oscar Bony, whose iconic ‘double shoots’ defined his latest work and the violence that swept the country, and Tomas Espina, with his “boom” paintings derived from fire and explosions. Ana Fabry, with a child-like language, brings up the horror of the military dictatorship years. Santiago Porter’s isolated images convey the tragedy of the bombing to Jewish centers in Buenos Aires. Gian Paolo Minelli’s photographs reveal prisons’ infrahuman conditions. Yaya Firpo’s puzzles are talking about geographical and political redistribution.
All these artists, like Ferrari, reflect in their work the country’s social and political instability borne out of their personal experiences. These images convey the violence and frustration that has permeated Argentinean society for many years.