Spanning three decades of Pablo Atchugarry’s career, Time’s Fold’s is the artist’s first exhibition at Piero Atchugarry, Miami. The survey includes some twenty hypnotic sculptures. All Atchugarry’s prime materials are here. From pristine white Carrara and warm Portuguese pink marbles to bronze and wood. The expansivedisplayalsoserves,inasense, as a concise retrospective – a window onto Atchugarry’s core themes. While his dexterity is rooted in matter, the imaginative scope at stake reaches much further. The translucent, crystalline marble at once captures luminosity and radiates it back from within. Likewise, cherry wood sculptures introduce an organic note, suggesting growth rising from below. Throughout, vertical contours and curves multiply toward infinity – not least when rendered in bronze coated with strong, glossy colors that intensify reflections, linear shadows and vivid highlights. The sculptural fold itself is a gesture rooted in duration, chiefly abstract though laden with figurative hints. Above all, these factors address a fundamental goal. Universality. Atchugarry alternates between his native Uruguay and a studio near Italy’s Lake Como. Nevertheless, his ultimate aim is universal: “I think that every one of us was born with a vision, and our goal is to share it with mankind.” The works incarnate this generosity. Their elements remain timeless – light, stone and movement keyed to a constant verticality, as if earthbound existence forever seeks higher realms. The exhibition’s sightlines, changing motifs, calibrated scale and formal harmonies unfold in time. Undulating through space, Atchugarry’s sentinel presences prompt emotions and thoughts unique to each viewer’s heart and mind. – David Anfam, Curator
Christo (b. 1935, Gabrovo, Bulgaria) left Bulgaria in 1956, first to Prague, Czechoslovakia, and then escaped to Vienna, Austria, in 1957, then moved to Geneva, Switzerland. In 1958, Christo went to Paris, where he met Jeanne-Claude Denat de Guillebon, not only his wife but life partner in the creation of monumental environmental works of art. From early wrapped objects to monumental outdoor projects, Christo and JeanneClaude’s artwork transcended the traditional bounds of painting, sculpture, and architecture. Some of their work included Wrapped Coast near Sydney (1968– 69), Valley Curtain in Colorado (1970–72), Running Fence in California (1972–76), Surrounded Islands in Miami (1980–83), The Pont Neuf Wrapped in Paris (1975–85), The Umbrellas in Japan and California (1984–91), Wrapped Reichstag in Berlin (1972–95), The Gates in New York’s Central Park (1979–2005).
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.