Nov 28, 2021

Piero Atchugarry Gallery

Piero Atchugarry Gallery

5520 NE 4th Ave
Miami, FL 33137
[email protected]

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A glimpse of....: Anne Cecile Surga and Sophie Ullrich

November 28, 2021 - February 12, 2022

A glimpse of … tells the story of two female artists. One paints, the other sculpts. One is German, the other French. They never met, but their works, even though they couldn’t be more different in terms of material, feel like they complement each other. Both artists express the fleeting nature of existence through their subtle gestures and impressions.

Sophie Ullrich’s (b. 1990) paintings, which cannot be assigned to either abstraction or figuration, are dominated by her typical comic-like character that appears on the canvas. O.T. Above all, 2021 could be the classic portrait of a Renaissance lady. But her visage is divided. A large, stylized eye with two pupils looks at us, and the free breast is not as vividly figurative as it was in the sixteenth century, but simply a circle with a point. Sophie paints
freely, without previous drawing, every brushstroke is perfect. This ease is reflected in the new works made for the exhibition. The Figura Serpentinata (a typical stylistic device in Mannerism) in Rückendeckung / Backing, 2021, dances across the canvas with two swords in her hand, surrounded by wild (and quite) coeval color fields that not only define the shape of the figure, but also compose the canvas.

In the sculptures by Anne Cecile Surga (*1987) you can feel the immanent presence of the human being: what is caricatured in Sophie Ullrich’s paintings can be felt in Anne Cecile’s oeuvre. What does this mean? Immanent presence? It’s the glimpse of being. Her hands leave
deep nicks in the marble. La Historia de Dos Amores, 2021 not only expresses the encounter of two lovers in the title, but also in the sculpture. There are traces of human handprints on all four sides of the marble block. It has been hugged, it has been loved, but the people do not
exist, no faces can be recognized and yet we sense their presence when we look at the marble. The way in which Anne Cecile works this hard stone is remarkable. Marble no longer looks like marble, she distorts the apparent heaviness of the material through forms that have slumped into themselves—as if it were hot wax that changes shape with the lightest touch. The Shell – The Shelf, 2020 in its amorphous shape is reminiscent of a softened candle that has collapsed under the force of its own weight. And it is precisely this quiet humor that connects the two artists. A touch of humor, a touch of
human presence. You echo yourself again, nothing is clear and yet it is evident. Not only the question of the subjectivity of human existence is raised, but also the sense of self and the awareness of others. Humor here seems to be the answer to these philosophical questions, or at least a glimpse of it.

Natural Successor: Henrique Oliveira, Pablo Atchugarry, Roberto Pugliese, Artur Lescher, Arcangelo Sassolino, and Yuken Teruya

November 28, 2021 - February 12, 2022

The Piero Atchugarry Gallery presents Natural Successor, a group exhibition of contemporary sculpture that draws attention to the struggle for dominance between nature and artifice that has come to a head in the Anthropocene era. Hailing from Brazil, Italy, Uruguay and Japan, each artist takes up the task of drawing our attention to the ways in which our perception of what is natural has been reshaped and obfuscated by the legacy of global industry.

Brazilian artist Henrique Oliveira (b. 1973) primarily uses discarded wood collected from the streets of São Paulo, where he lives and works. Inspired by the many temporary wooden construction fences seen throughout his city, Oliveira’s newest jagged sculptures present the many visual and tactile qualities of wood that has been exposed to the elements. Evoking a tree hollow enclosed with sharpened prongs, Oliveira’s sculptures not only collapse the stages of wood’s decomposition, but also the timeline from the wood’s harvest to its industrial purpose, and its return to a more natural yet alien appearance.

Also based in São Paulo, Brazilian artist Artur Lescher (b. 1962) makes reference to natural elements which, when impeccably reproduced by means of industrial processes, reveal and, at the same time, deny these very real origins. Lescher transforms raw elements like volcanic Basalt rock and Jacaranda wood into sleeker, almost streamlined, interpretations of nature. A river is simplified into a flowing lattice of steel in Lescher’s Rio De Parede (2021); A forest is signified by a grouping of suspended forms, tapering off towards the ground and ceiling, rootless, impossible.

Uruguayan artist Pablo Atchugarry (b. 1954) sculpts with the intention of restoring a sense of dignity to his materials in their afterlife. La Forza della Natura (2019) embodies the artist’s role as co-author with nature–the gnarled olive tree stump (originally from Spain) is transformed into a graceful figure that rises up–overcoming the physical restrictions imposed by nature by means of his own art.

Italian artist Roberto Pugliese’s (b. 1982) Critici Ostinati Ritmici (2010) uses sound and kinetics to amplify the imminent problem of global deforestation. Through a series of electromagnetic pulses released according to live statistics, a clicking noise is produced for every felling of a tree. The hollowed out trunk that houses Pugliese’s contraption is a material reminder of the manifold trees it eulogizes; the jumble of wires evoking a patient on life support. The dense and insistent sound texture created represents the declining health of forests in real time, amplifying the image of the earth as a living being in critical condition.

Another Italian artist working with kinetic sculpture is Arcangelo Sassolino. Pressurized air causes his plastic sculpture to contract and expand, producing a thunder that beckons viewers closer with every strike. The plastic container itself resembles a water jug, a sinister cue of the mounting amount of single-use plastics polluting oceans every year.

Japanese artist Yuken Teruya’s Notice-Forest series illustrates the cycle of mass consumerism. Each work in the series is a “portrait” referencing a specific, existing tree from a photograph, each housed inside a discarded fast food or designer paper. While it seems like the bag is holding the fragile tree inside, the bag actually combines with the tension of the tree to hold the bag up. It is a microcosm of the initial tree’s strength, and a reminder of the trees harvested for the manufacturing of paper bags en masse. At the heart of Natural Successor is the message that our connection to the planet is vital for our survival. Each artist challenges our ability to discern nature from artifice, as technological advancements move us further away from the memory of an unspent earth.

In December 2018, with a space established in Garzón, Uruguay, Piero Atchugarry expanded his program to North America to a warehouse in Miami’s renowned Design District neighborhood. A 9,000-squarefoot art space, the Piero Atchugarry Gallery is committed to supporting and presenting the work of local and international artists with an institutional approach.

The public opening reception of Natural Successor will coincide with Miami Art Week, taking place from 12pm to 7pm on Sunday, November 28th at the Piero Atchugarry Gallery. The opening is free and open to the public

Dagoberto Rodríguez: Otro Mundo

November 28, 2021 - February 12, 2022

Piero Atchugarry Gallery is pleased to announce Otro Mundo (Another World), contemporary Cuban conceptual artist Dagoberto Rodríguez’s inaugural non-fungible token (NFT) exclusive exhibition in Miami. Known for his large-scale futuristic watercolor paintings, Rodríguez ups the ante with an immersive experience that draws viewers into his imagined world—entirely produced from his watercolor tunnel series. Accompanied by a musical element by Majorcan composer Joan Valent, the simulations depict dreamlike futuristic architecture of a possible tomorrow. Dagoberto Rodríguez Sanchez was born 1969 in Caibarién, Las Villas and graduated from Instituto Superior de Arte (ISA), La Habana, Cuba in 1994. Upon finishing his Arts degree in 1994, he spent another three months of compulsory military service. In 1992 he co-founded the historic artistic collective Los Carpintero (1992-2018) .

Currently working between Madrid and Havana, Rodríguez combines architecture, design and sculpture, using humor and irony to express himself on core themes in art, politics and society. His work is in permanent collections of major institutions such as MOMA, Whitney Museum of American Art, Guggenheim in New York, Centre Georges Pompidou in Paris, Tate Modern in London and Museo Centro de Arte Reina Sofia in Madrid among others.

Otro Mundo (Another World), convincingly transports viewers through a series of tunnels built of legos that are neither here nor there, lacking all sense of location, without any indication of a beginning or end. These simulations exude a dystopian atmosphere of sorts, without the slightest trace of humanity.

To quote, Jérôme Sans, “Dagoberto Rodríguez creates ultra-contemporary and urban narratives of a mechanical, cold and dehumanized world bathed into an electric light … A kind of outside world, closed in itself, enigmatic, without landmarks and of which we do not know if it is dreamlike, dystopic or concrete.” Otro Mundo (Another World) sets forth a series of questions about futuring through the act of simulation that encourages a strong force of attraction towards the depths of nowhere, but a potential somewhere.

Otro Mundo II and Otro Mundo III will exclusively drop during Miami Art Week. In December 2018, with a space established in Garzón, Uruguay, Piero Atchugarry expanded his program to North America with a second location near Miami’s renowned Design District neighborhood. Together with architects Diana Boytell and Leonardo Noguez, Piero Atchugarry renovated a 1955, 9,000-square foot warehouse into an exhibition space that deliberately merged the industrial interior with the natural world present outdoors. The Piero Atchugarry Gallery is committed to supporting and presenting the work of local and international artists with an institutional approach.

The public opening reception of Otro Mundo (Another World) will coincide with Miami Art Week, taking place from 12pm to 7pm on Sunday, November 28th at the Piero Atchugarry Gallery. The opening is free and open to the public.

About Piero Atchugarry Gallery

Piero Atchugarry gallery presents a contemporary art program and modern art survey. The gallery opened to the public in September 2013 with a Post-War Italian art exhibition. By January 2014 the gallery moved to a large stable adapted as an exhibition space in Garzón. In this space the program allowed outdoor and indoor proposal exploration, through the creation of dialogue between architectural features and curatorial practices.

On December 2018, the program expanded to North America with a second location, a 9000 square feet warehouse on 5520 NE 4th Avenue in the Design District neighborhood. The participation of the gallery in what is a boiling art community that connects Europe, Latin America and both coasts of the United States represents the commitment of the program to support and present the work of local and international artists with an institutional approach.

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