On Abstraction

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Juego con líneas y colores / Playing with Lines and Colors, 1963 Oil On Paper © Private Collection, Madrid
February 26th, 2012 2:00 PM - 4:00 PM

Artist talk
long beach
Wed,Fri,Sat,Sun 11-5 ; Thur 11-9
panel discussion
Free with Museum admission.


Moderator: Cecilia Fajardo-Hill. Panelists: Magdalena Fernández, Marco Maggi,  Selene Preciado, Barbara Bloemink and Jorge Virgili.

Balboa Events Center

Three exhibitions will be under discussion:
Project Room: Marco Maggi: no idea
Temporary Gallery A: Esteban Lisa: Playing with Lines and Colors
Temporary Gallery B: Magdalena Fernández: 2iPM009

Artists: Magdalena Fernández and Marco Maggi; curators: Julia P. Herzberg, curator of Magdalena Fernández: 2iPM009; Barbara Bloemink and Jorge Virgili, curators of Esteban Lisa: Playing with Lines and Colors; curator Selene Preciado of Marco Maggi: No Idea and MOLAA Chief Curator Cecilia Fajardo-Hill as chair, will participate in a round table discussion on issues pertaining the three exhibitions. The focus of discussion will be the shared and contrasting abstract traditions in Latin America from the 1930s to the present. In recent years, geometric abstract art from Latin America has come to stand as an expression of modernism and cosmopolitanism. Esteban Lisa, rooted in Argentina, is one of the precursors of abstraction in Latin America, nevertheless, his work was unknown until recently and his signature style is not abstract. How do we insert a singular artist such as Lisa in the history of modernism in Latin America? Magdalena Fernández’s recent abstract work using technology is in direct dialogue not only with the kinetic tradition in Venezuela, her country of origin, but with Brazilian and European geometric abstract art of artists such as Hélio Oiticica and Piet Mondrian. Marco Maggi, from Uruguay, is the heir of a strong abstract tradition in artists such as Joaquin Torres-García. He produces works on disparate formats and forms, always creating complex and overloaded structures that may or may not refer to the configurations of metropolis, architecture and impossible constructions. Marco Maggi, for example, is invested in a conceptual art practice which was initially borne out of a critique of abstraction as a canonical universal art language. In this panel discussion the question of how these three exhibitions intersect and dialogue with past and contemporary abstract traditions, both Latin American and European, formal and conceptual, will be discussed.