Divergent Structure is an installation that presents a parallel dimension where disjointed sculptural geometry reveals a landscape that intertwines the physical and digital realms. In this work, his most ambitious exploration beyond the canvas, Uruguayan-born Guillermo Garcia-Cruz examines the impact of technology on contemporary life through metaphor. He uses pillars of varying sizes to express strong contrasts between the organic and inorganic matter, as well as dynamic and static forms.
Guillermo Garcia-Cruz revisits the Latin American tradition of geometric abstract art to reflect on a contemporary reality mediated by technology. He reimagines the rectangle to represent contemporaneity in a minimal and universal way. His rectangles deviate from their natural paths, representing how our current reality is not perceived in a linear way. By breaking and interlacing these rectangular forms, he brings the concept of the digital “glitch” into the physical realm. Garcia-Cruz invites us to reflect on how, in an era of exponential change, traditional structures have disintegrated to pave the way for new ideas.
As spectators move through the exhibition space, their reflections are mirrored and distorted in the stainless steel surface of the pillars. This invites the audience to question the common limits of perception and reality. Through this distortion, the pillars evoke a sense of standing in an alternate dimension. In Divergent Structure, Garcia Cruz invites us to enter a world where the familiar is fractured, creating a new visual language that challenges our perceptions of space, structure, and the digital age.
Guillermo García-Cruz (1988, Montevideo, Uruguay) is a professor of Visual Arts at the IPA, Montevideo, Uruguay. He has been part of the Washington Studio School and Corcoran School of the Arts and Design, Washington, USA. At the national level, his work has been exhibited individually at the Espacio de Arte Contemporáneo de Montevideo, and internationally in exhibitions in Lima, Buenos Aires, Mexico, Miami, Washington DC, New York, Madrid, Lisbon and Tianjin. Recently, his work became part of the CIFO – Cisneros Fontanals Art Foundation, Miami, USA; PAMM – Pérez Art Museum Miami, USA; Collection of Chicago Northwestern University, USA; Luis Bassat Collection, Barcelona; Alberto and Ginette Rebaza Collection, Lima; MACA (Atchugarry Museum of Contemporary Art), Uruguay; among other international private collections.
Rina Gitlin is an independent curator, art historian, and cultural event planner. She holds a Master of Liberal Arts in Museum Studies from Harvard Extension School and a Bachelor of Arts in Art History from the Universidad Iberoamericana in Mexico City. Rina has twenty-three years of experience successfully planning and executing innovative exhibitions, events, and festivals in the United States and Mexico. Her multicultural background and education have enabled her to work for large institutions, smaller organizations, and independently, as a curator, event producer, teacher, and arts administrator. She founded RTcurated, a platform that promotes visual artists while supporting the work of various nonprofit organizations.
For this year’s Miami Art Week, Piero Atchugarry Gallery is pleased to host 50 Years, Galería Raquel Arnaud.
Over the last few decades, only a few individuals have been as active in supporting Brazilian art and artists as Raquel Arnaud has. The exhibition celebrating her fifty years of work provides a unique opportunity to delve into the history of the multiple galleries she founded and directed, the exhibitions she organized and the events she produced during this period. Raquel is passionate about her work, and her connection with art goes beyond the surface. She possesses a well-defined and consolidated taste that has only evolved over the years, giving her gallery a distinctive and immediately recognizable character — an increasingly rare quality. Her commitment to preserving the memory and constructive legacy of Brazilian art is emblematic, leading her to establish, more than twenty years ago, a pioneering institution, the Instituto de Arte Contemporânea (IAC). Additionally, examining her entire trajectory allows us to grasp the paths that led to this clarity, and to acknowledge the generosity and openness that have defined her work over time.
Taking these considerations into account, the exhibition was conceived as a timeline that succinctly records the activities of the galleries Raquel managed throughout her career. This timeline is the only element of the exhibition that aspires to be complete; everything else surrounding it should be viewed as merely metonymic, almost a reflection, partial and fleeting, of what Raquel, her teams and numerous artists, both Brazilian and foreigner, have done over the years. There is an almost deliberate and conscious contradiction in focusing Raquel’s trajectory in the exhibition, as artworks have always been the most important thing for her. However, it seemed pertinent that, for once, after fifty years, attention should shift from the works to the gallerist and the artists who, with her, wrote such a significant chapter in the history of Brazilian art.
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.
Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
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