Piero Atchugarry Gallery

Piero Atchugarry Gallery

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

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Lydia Okumura: Standing Points

December 1, 2020—February 6, 2021

Piero Atchugarry Gallery presents Standing Points , a solo exhibition of seminal works by postmodern artist Lydia Okumura, including installation, sculpture and works on paper. The inaugural show as a represented artist in Miami, Standing Points highlights how the artist applies her unencumbered perspective to her practice, transforming our notions of physical space from opaque monoliths to transparent supports onto which she can project any desired reality.
Born to Japanese parents in São Paulo, Brazil, Okumura’s bifid experience of languages and rites initiated her in the perceptual multiplicity of the world. Unlike the Op Art movement, which dominated Latin American art for most of the mid-twentieth century, Okumura does not aim to deceive our eyes, but rather to free them from the constraints of our current notions of dimensionality. Mapping competing geometric forms onto the point where two physical axes meet, such as a corner or where a wall and floor intersect, Okumura generates a conceptual and physical space between illusion and reality. Not limited to the concessions of where one dimension ends and the other begins, Standing Points explores the possibilities of space through two- and three-dimensional investigations.

About Lydia Okumura

Lydia Okumura (b 1948, São Paulo, Brazil) Lives and works in New York. Lydia Okumura began her career at the height of a twentyone-year-long military dictatorship in Brazil, navigating the rise in censorship through collectivist projects and ephemeral installations. As part of the collective Equipe3, along with Genilson Soares and Francisco Iñarra, Okumura was invited to participate in the 1973 São Paulo Biennial, for which they created a site-specific abstract environment, Points of View. Intersecting two- and three-dimensional space through form and shading, the installation marked the artist’s departure from the dominant movements of Op Art and Kinetic Art, and the beginning of her signature style of Geometric Abstraction. For
the past 50 years, Okumura has employed the pure formal aspects of Geometric Abstraction to deconstruct concepts of physical space, materiality and illusion.

In 2019 Okumura participated in Women Geometers, a group exhibition at Piero Atchugarry Gallery which recognized twelve Latin American artists for their groundbreaking contributions to the development of Geometric Abstraction. Her work is included in permanent collections of major institutions, including The Metropolitan Museum of Art, New York; Museo de Arte Moderna, the Pinacoteca Museum in São Paulo, the Hara Museum of Contemporary Art, Japan and most recently the Pérez Art Museum Miami (PAMM),

Four Women Painters: At the Crossroads

Zsofia Schweger, Lucia Vidales, Anya Zholud , Uurintuya Dagvasambuu

Curated by Omar Lopez Chahoud

December 1, 2020 – January 9, 2021

SAPAR CONTEMPORARY is delighted to present Four Women Painters: At the Crossroads , an exhibition that highlights new developments in painting in Mexico, Hungary, UK, Russia and Mongolia. The exhibition is curated by Omar Lopez Chahoud and will be presented at the Piero Atchugarry Gallery in Miami’s Design District. This is a second collaboration of Sapar Contemporary and Piero Atchugarry Gallery and is a part of the PA Takeover program .
The exhibition focuses on paintings that blur the line between figuration and abstraction. The participating artists were carefully chosen to represent different approaches and styles with an emphasis on visual narrative. Storytelling in art has been present for centuries and in many cases has served as a point of reference to understand the social and political structure of past civilizations. The artists in this exhibition—all women—are well aware of their origins and personal histories: Mongolia, Russia, Hungary and Mexico are distinct countries facing similar challenges as a result of globalization. These conditions have brought about technological advances in communication and easy access to information, which results in an approach to artmaking one could call the contemporary homogeneous. Social Media has contributed further to this new direction, shifting artists’ production into ever greater accessibility and availability to anyone, regardless of social status or geographical location. This concept of the crossroads, then, represents a return to the meeting point at which consensus must be reached.
The exhibited works might come across as aesthetically beautiful and poetically embellished, but upon a closer look, a complex set of themes and emotions unravels. Layers upon layers reveal fears of isolation and belonging, further elucidating the creators’ inner concerns and humanity. Additionally, cultural appropriation becomes a means to an end in order to question the ills of society. These female artists reflect upon issues such as economic disadvantage, gender inequality, racism, and environmental concerns, and consumerism. For instance, in the work of Anya Zholud (Russia) and Zsofia Schweger (Hungary), both artists confront and question issues of gender role expectations and address mobility and migration through the metaphors of domestic and public spaces. Uuriintuya Dagvasambuu (Mongolia) appropriates traditional Buddhist motifs and iconography to orchestrate a contemporary narrative about the impact on, and the positioning of women in everyday life in a post-nomadic Mongolian culture. Lucia Vidales (Mexico) makes paintings that are loose expressionistic renderings of the human figure. With these fluid figures she re-envisions the language of painting and at the same time questions an old religious narrative as they tell a story most people encountered in medieval imagery. Vidales’s work gives birth to strange hybrid creatures in a space that echoes hundreds of years of civilization and traditions. The artists tell us a story of who we are and where we come from, and, perhaps—in presenting a scenario for a hopeful, better future – where we are going.

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.