Raúl Díaz Reyes | anamasprojects.com

"Two (I take something out and it’s better)", 2018. Archival inkjet print on Dibond and painted steel. 170 x 123 cm.

Raúl Díaz Reyes | anamasprojects.com

"Eighty eight", 2018. Archival inkjet print on Dibond and wheels. Variable measures.

Raúl Díaz Reyes | anamasprojects.com

"Three (fav!)", 2018. Archival inkjet print on Dibond and painted steel. 170 x 123 cm.

Raúl Díaz Reyes | anamasprojects.com

"One (colorful exception)", 2018. Archival inkjet print on Dibond and painted steel. 170 x 123 cm.

Raúl Díaz Reyes | anamasprojects.com

"Miss M", 2017. Aluminium and archival inkjet print on glass. 68 x 50 x 40 cm.

Raúl Díaz Reyes | anamasprojects.com

"DbND N3", 2017. Archival inkjet print on dibond and wood. 31 x 17 x 2 in.

Raúl Díaz Reyes | anamasprojects.com

Black (Zulu). Painted steel and Plexiglas. 120 x 85 cm

Raúl Díaz Reyes | anamasprojects.com

Plex N16, 2016
Archival inkjet print on canvas and plexiglass and wheels. 93 × 63 cm

Raúl Díaz Reyes | anamasprojects.com

Dark Red (tímido e lento), 2019. Painted steel and Plexiglas. 120 x 85

Raúl Díaz Reyes | anamasprojects.com

View of exhibition
"Idea, Materia, Forma" This is Jackalope (Madrid) 2018

Raúl Díaz Reyes | anamasprojects.com

Exhibition view "Taking a stand" Ponce +Robles Gallery (Madrid) 2016

Raúl Díaz Reyes | anamasprojects.com

Exhibition view "Taking a stand" Ponce +Robles Gallery (Madrid) 2016

Raúl Díaz Reyes | anamasprojects.com

Exhibition view "Redundant Array of Independent Disks" Raquel Arnaud Gallery (São Paulo) 2016

Raúl Díaz Reyes | anamasprojects.com

Exhibition view at "Redundant Array of Independent Disks" Raquel Arnaud Gallery (São Paulo) 2016

Raúl Díaz Reyes | anamasprojects.com

View of exhibition "Dapple and Dazzle" in Osnova Gallery (Moscow, Russia) 2019

Raúl Díaz Reyes | anamasprojects.com

View of exhibition "Vocabulary For Settling Vertigos" at Raquel Arnaud Gallery (São Paulo, Brasil) 2019

Raúl Díaz Reyes | anamasprojects.com

Exhibition view "Jardins" at Ponce+Robles Gallery

CV

RAÚL DÍAZ REYES

SOLO SHOWS

2019

Jardins, Ponce + Robles, Madrid

Vocabulary for Settling Vertigos, Raquel Arnaud Gallery, São Paulo

Dapple and Dazzle. Osnova Gallery. Moscow

2016

I’m the problem. Atelier Fidalga, San Pablo.
Patterns. Osnova Gallery. Moscú.

2014

Renovations, Ponce+Robles Gallery, Madrid.

2012

Archimede’s Principle. (con Santiago Morilla. Comisariada por Edu Hurtado) 3+1 Contemporary Art. Lisboa.

2011

Intimate Freaks.Emma Thomas Gallery. San Pablo.
Pixaçao São Paulo. Jose Robles Gallery. Madrid.

2010

Vitamina R. La Gesta Imposible. La Noche en Blanco (Comisariada por David Armengol) Madrid.

2009

Un paseo entre el dibujo, la pintura y un más allá. (Comisariada por Virginia Torrente) Centro de Arte Joven, Madrid.

2008

Always in love. Alfara Gallery, Oviedo / Brita Prinz Gallery, Madrid.

GROUP SHOWS

2020

PArC’20 online (Ponce+Robles Gallery) Madrid

Arco’20. (Ponce+Robles Gallery) Madrid

2019

Pinta’ 19. (Ponce+Robles Gallery) Madrid

PArC’19. (Ponce+Robles Gallery) Madrid

2018

PARC’18, Lima.
Red ITINER (Comisariada por This is Jackalope) Travelling exhibition, Madrid.
ARCO’18 (Ponce+Robles Gallery) Madrid.

2017

UNTITLED Art Fair Miami Beach. (Ana Mas Projects)
Library of Love (Proyecto comisariado por Sandra Cinto) CAC – Cincinnati Contemporary Arts Center.
Tell Me Net. Osnova Gallery, Moscú.
The Matter of Color. (Comisariada por Franck Marlot) Raquel Arnaud gallery São Paulo.
Art Lima (Ponce+Robles Gallery) Lima.
Kaptateka. Argunovskaya Library. Moscú.

2016

UNTITLED Miami Beach. (Ana Mas Projects)
RAID_8. Raquel Arnaud Gallery. San Pablo.
VOLTA 12. Basel. (Ponce+Robles Gallery)
ARCO’16 (Ponce+Robles Gallery) (Land Rover Gallery) Madrid.
Tomar Posición. Ponce+Robles Gallery, Madrid.
#ABSOLUTICON. Palacio de las Alhajas. Madrid.
Los piscolabis del cuarto. Cuarto de Invitados. Madrid

2015

VOLTA 11. Basel. (Ponce+Robles Gallery)
Vidas Cruzadas. Paula Alonso Gallery. Madrid
De la mano. CENTRO CENTRO. Madrid

2014

Si no todas las armas, los cañones. MATADERO MADRID.
Tangentes. IED, Madrid. (Comisariada por Cristina Anglada)
El Ranchito. PIVÔ, San Pablo.
VOLTA 10. Basel. (Ponce+Robles Gallery)
ARCO ’14. As Tables Are Shelves. Múltiplos.

2013

Open Studio. 110 Building Art Center. LMCC. Nova York.
High society. Pelaires gallery. Palma de Mallorca. (Comisariada por Fernando Gómez de la Cuesta).
VOLTA 9. Basel. (Pro Gallery)
SP Arte. São Paulo International Art Fair. Brasil. (Emma Thomas Gallery).
Une Vie Á La Gomme. +R Gallery. Barcelona.
Casa Arte Art Fair. (FranjaMelero). Madrid.
No hay Banda. Matadero Madrid.
ARCO’13. (Paddle8). Madrid.
Blue 7 Phenomenon. Sant Andreu Contemporani Art. Barcelona.
Biblioteca Intervenida. DAFO Space of Proyects and Contemporay Art. Lleida.
Archimovile. Independent Curators International (ICI) Nova York.
JUSTMAD MAM. Basel / Miami Fair. (Jose Robles Gallery).

2012

Suporte/ Leilão de Parede. Pivô. Copan Building, San Pablo.
100% Desván. Sant Andreu Contemporani Art. Barcelona.
Let Stock About Art. Palacio El Imparcial. Madrid.
Los Inmutables. DAFO Space of Proyects and Contemporay Art. Lleida.
The 12th Gas Natural Fenosa Art International Exhibition. – MACUF, La Coruña.
Masquelibros– I Feria del libro de artista de Madrid. (José Robles Gallery).
SWAB Art Fair. (masART Gallery).
SP Arte 2012. São Paulo International Art Fair. Brazil. (Emma Thomas Gallery).
Explum 2012, International Contemporary Art Award, Puerto Lumbreras.
ARCO’12. (masART Gallery) (artista destacado).
Circuitos 2011. Sala de Arte Joven de la Comunidad de Madrid. (Comisariada por Javier Hontoria).

2011

Escala 1:1. Matadero Contemporary Art Center, Madrid.
Tempo Forte. Casa das Caldeiras. San Pablo.
Biblioteca Intervenida. Museo de Arte Moderno y Contemporáneo de Santander y Cantabria.
Wallpaper. Art & Design Gallery. Barcelona.
Quarto das Maravilhas. Emma Thomas Gallery. San Pablo.
SWAB Art Fair. masART Gallery. Barcelona.
Horizonte Vazado: Artistas Iberoamericanos en el Filo. Instituto Cervantes San Pablo.
La Fábula Mísitica. masART Gallery. Barcelona. (Comisariada por David Armengol).
Arts Libris Fair. Ogami Press. Barcelona.

2010

SP Arte 2010. São Paulo International Art Fair. Emma Thomas Gallery.
La trama Invisible. Centro de Arte Moderno. Madrid.
The Art Books Project. Esquina Gallery Madrid.
Gregorio Prieto Drawing Price. Gregorio Prie,o Foundation,Valdepeñas, Sala La Lonja, Madrid.

2009

La ropa Sucia se lava en casa. Emma Thomas Gallery, San Pablo.
De Madrid, el Suelo. Itinerant exhibition, Sofía Street Art Festival, Sofía, Bulgaria.
Inaugural Exhibit. Art:Raw Gallery, Nova York.
Perrera. Arturo Herrera Cabañas Foundation, Pachuca, Mexico.
Hacerlo Sólo No Es Lo Mismo. Espacio Menosuno. Madrid.
Cincuenta y la Madre. Alfara Gallery. Oviedo.

2008

Doméstico’08. El Papel del Artista. Madrid.
D1NaCER0. Gráfica Digital. Sala Zuloaga, Fuendetodos, ; Sala Okendo, San Sebastián.
Bon a tirer 17/10. Circulo de Bellas Artes de Madrid.
V Exposición de Donaciones de Obra Gráfica. Biblioteca Nacional: 1998-2002. Madrid.
Carmen Arozena International Graphic Award. Taller Gravura, Málaga.

2007

Triangel ein Grafikprojekt, Wien Madrid Bentlage. Kloster Bentlage, Rheine, Germany.
Textual. Center of Art Casa Duró, Mieres; School of Arts Oviedo; CMAE, Avilés.
LAUS Awards. ADG-FAD de Barcelona.
Estampa 07. Stand Cabildo Insular de la Palma.
Aprender a Mirar. Sala de exposiciones del Distrito Retiro, Madrid.
De Madrid, el Suelo. Offlimits and Espacio F, Madrid.

 

AWARDS AND RESIDENCIES

2020

Premio KUNA, Feria ARCO Madrid

2018

Segundo Premio Fundación Ankaria al libro de artista

Ayudas a la Creación Visual de la Comunidad de Madrid

2016

Paulo Reis Residency. Atelier Fidalga, São Paulo.

2014

Grant AECID. El Ranchito / MATADERO MADRID and PIVÔ.

Aid to the Production Omnivoros Studio.

2013

Grant for the promotion of the Spanish Contemporary Art, Ministry of Culture of Spain.
Swing Space Residency. LMCC (Lower Manhattan Cultural Council) New York. USA.

2012

Finalist. Swab Drawing Prize.

2011

Grant for the promotion of the Spanish Contemporary Art, Ministry of Culture of Spain.
FAAP Art Residency. São Paulo.
Circuitos 2011.(selected).

2010

Hangar Grant. Casa das Caldeiras, São Paulo.
Grant for Contemporary Creation Matadero Madrid.
Honourable mention Carmen Arozena. International Graphic Award.

2009

International Creators Movility Grant. Matadero Madrid, Emma Thomas Gallery, São Paulo.
Aid to the Production of Plastic Arts. Comunidad de Madrid.

2008

Arte y Derecho Fundation Grant. Project “The Art Books Project”. Propuestas 2008.
Selection, Call Sala de Exposiciones Centro de Arte Joven de Madrid.

2007

Druckwerkstatt Bentlage Foundation Grant, Germany.
Honourable mention Carmen Arozena International Graphic Award.

2006

First Prize Artistic intervention in new subway stations.Comunidad de Madrid.
Second Prize Fotografía Dirección General de Igualdad de Oportunidades de la Comunidad de Madrid.

2004

Art Acquisition. Collection of Contemporary Art BBVA Foundation.

2003

First Prize Jóvenes Creadores National Award, Calcografía Nacional, Madrid.

2001

First Prize Graphic Art Award San Lorenzo del Escorial.

Texts

  • I'M THE PROBLEM - A conversation between Nico Linares and Raúl Díaz Reyes - (2016)

     

    A week ago, late at night -due to the different time zones we were at the time- I got a message from Raúl asking me if I would write something for his upcoming exhibition in São Paulo. It was late, so I thought about sending him my go-to fuck you meme, but then I thought briefly about our last encounter filled with beers, music and honest laughs and went back to sleep with a smile. After a lengthy discussion on whatsapp about the different possibilities the text could offer (and its limitations) we decided to do causal Q&A via mobile phone. A talk in which subjects could pop-up freely and were not necessarily related to art or his work. A format that fit Raúl’s work for two reasons: it was flexible and stubborn enough to get along at the same time. And also, it shined a light in some of the themes and images behind his work without being extremely referential.

    Memory and heat shouldn’t be mixed lightly. The tropical setting where I type these words has nothing to do with one of my earliest memories of my friendship with Raúl. We were roaming around Madrid, in a modestly enough windy day. Out of the blue he ask me: Are you a Piña Colada lover? I knew the question was a decisive one. One of those moments where incipient friendships come out reinforced or is broken altogether. I wouldn’t call myself a Piña Colada lover, but I am definitely a good friend, a caring friend, I said. He smiled and told me had never actually loved the cocktail, but lately he had been having these crazy dreams about it. We ended up having 4 each that day. One of the best days of my life.

    Nico Linares: Woody, Larry or George?

    Raúl Díaz Reyes: That’s a good first one. Three heroes. I love Woody and I love Larry, but I would choose Mr. Constanza.

    NL: If you had to give your worst enemy a superpower, what would it be?

    RDR: Oh let me think, I have a big list after enjoying One-punch Man this year. I think you were expecting other kind of answer.

    NL: I wasn’t expecting anything. I once sat next to a guy in a plane in a flight from Mexico to Colombia who after drinking a bottle of scotch thought that the best thing to do next was to steal the purse of a woman who was sleeping, lock himself in the bathroom and steal out all of her money. He threw up when we were landing, and then the police came into the plane and arrested him. Any good airplane stories you might like to share?

    RDR: Just a short romance with a blonde flight attendant, it was a Brussels – Atlanta 1998. All started when I threw the coffee tray she was holding.

    NL: Oh, that is so much better than my story! Moving on. You seem to place a good deal of attention on the silence of the image, I mean, what is hidden or cut or erased holds the same importance than the actual objects/traces being shown. Is that a fair assessment to make?

    RDR: You’re totally right. All is about layers and about what I decide to show and what not. At the end, these works that I’m showing here are just the result of adding and removing layers, digitally and analogically. Artists now have the possibility of using a bunch of new media. I try to take advantage of that in order to talk about things that interest me.

    NLL: You’ve been in São Paulo 5 times or something like that before, right? What is for you the appeal of the city?

    RDR: Yes this is my fifth trip in Sao Paulo; is always intense for me here. This city helps me know more about myself, At least it works this way for me. It is a special city, maybe in the next trip I’ll stay.

    NL: You and me are both big fans of Michael Jackson, you much more than me I would say. Have you realize that almost nobody knows any albums by him, aside from Dangerous and Thriller, me included. I mean he is all about the singles. Do you happen to know the name of all of his albums?

    RDR: Of course, man. You just have to add Off the Wall, Bad, History, Invincible and maybe that Blood on the Dancefloor, there are previous and posthumous albums that I wouldn’t include in this list. Talking about Michael, the story about the flight attendant? Well, during that trip I ended up spending a day in Neverland, Yes, Michael’s house. A mutual friend invited me. I know that you’re very interested in food, so let me share so information: I ate a nice BBQ chicken there.

    NL: Are you a cyber-security freak? I mean, do you erase your history and cache’s and use VPN software? There’s not a day that goes by that I don’t think something about data, identity and corporate-state power. I’ve been also watching Mr. Robot, so that doesn’t help. Are you parte of that club?

    RDR: Oh yes I do, you have to be a freak about it! But, hey, Mr. Robot? I hate that show!

    NL: In the last 3 years you’ve changed your art practice in a significant way (I wouldn’t call it radical because the ethos of your work is still mostly intact, in my opinion). What was the thing, if there is one, or the moment, that made you switch from drawing to sculpture?

    RDR: Well, I lived half year in NY in 2013, and there I felt that I was really tired about my last works, I was not enjoying it. And in the other hand, I was visiting all those amazing shows. I used to have long talks with Max Stolkin, this genuine artist who was my partner at the LMCC residency. Later I started to have long skype chats with my friend Andrea Hill, and we talked a lot about art, about shows. She also helped me too to reboot myself and to take “the job” more professionally.
    And more specifically… these Plexiglas pieces are drawings too. Now I feel that I can make anything.

    NL: Would you rather:
    1) Be in the same room with a cat for a whole day
    2) Be in the same room with a dog for a whole day
    3) Be in the same room with a hippo for a whole day

    RDR: Depend of the cat, if it is a excited one I will chose the hippo.

    NL: You always reflect a sense of calm in any given situation. However, is a certain calm I a associate with obsessive heroes like Woody Allen or Larry David, who eventually explode and blow steam all over the place. Do you also have this little (or big) episodes of fury? And if you do, what bring the pot to a boil?

    RDR: I have my temper, and it does pop-ups sometimes, but I’m not like our heroes, my friend.

    NL: What song, or type of music, plays on your head when you fall in love?

    RDR: During this residency I have listened a lot to Frank Ocean, also Drake (I am still asking myself if I actually like his music) Panda Bear. You know? It’s curious because in Madrid I’m always listening Brazilian music. But you asked when I fall in love, right?

    NL: Yeah. What about when you are in love? Don’t give me such a Trump answer!

    RDR: I was trying to be enigmatic; maybe she’s reading this conversation now. By the way, does a Temer answer exist?

    NL: Primeiramente… they come from the same bag of shit. Anyway, are you mainly, and almost always, the problem? I mean, are you prone to blame yourself for everything, even when you can’t control the circumstances?

    RDR: Oh yes, that’s me. It’s always my fault but hey, I’m also the solution! I’M THE PROBLEM is also the tittle of the show. For a month I shared the studio in Fidalga with Takashi Kuribayashi. We were setting up our RAID 8 at Raquel Arnaud exhibition show and it was being intense and hectic at the beginning. I remember chating with him on an uber and telling him: I’m the problem, Takashi. Is always me, next show will have this tittle. We chose our own limits and the things we are confronted against with. And let me talk to you about this show, it has been conceived in some way like a experimental exhibition, because I feel that experimental has to be a closely associated to residency.

    NL: Tell me more about the show.

    RDR: Well the exhibition ends my residency in São Paulo and I’m showing new works; archival inkjet prints on canvas with adhesive vinyl, and Plexiglas.

    NL: Do you dream about specific images? Or sounds?

    RDR: I used to dream with falling elevators during my childhood, and sometimes I dream with new songs, and with new noises. In my head they are like undiscovered hits.

    NL: You should try to do something with that! Maybe whistle the melodies and record them on your phone.

    RDR: Maybe. That could be something. Hey, this press release reminds me the episode when Jerry and George pitch their show to CBS; the infamous show about nothing.

    NL: Seinfeld should be on the air forever. Every two hours or something like that.

    -Nico Linares. Colombian writer living in São Paulo-.

  • PATTERNS, Osnova gallery. Moscow, Russia, (Mar 10 - May 15, 2016) Press release by Tobi Maier

     

    For his first solo exhibition in Russia, Spanish artist Raul Diaz Reyes has developed two distinct bodies of work. Inspired by his research into the architectures of São Paulo, New York and Madrid, Diaz Reyes began processing the image of the city as a genre that documents construction and habitation, developing a unique language of sculptural abstraction, while employing a variety of materials.

    In many instances his work departs from a flashy surface, a shiny material printed and painted upon with seductive design and colours. Aluminium and metal sheets serve as a primer, for elements of architectural photography that stem from the artists extensive archive. These registers are consequently painted or spray-painted upon in compositions that are reminiscent to the pop canon. Thus pictorial and abstract languages converge in Diaz Reyes’ sculptures.

    The exhibition at Osnova Gallery presents an ambient of aluminium sculptures on plinths as well as a new body of photographic paintings. In a process of overlapping, the prime surface of the plane aluminium is painted and then crowned with photographic prints, featuring elements of the city, patterns of architecture, that appear to be generic images. Presented in analogous synthetic acrylic boxes, the photographic assemblages can be considered formal works on visual representation yet they also conjure a digital aesthetic. The coloured acrylic frames and the entering day light add to the complexity of the work, resembling illuminated frames that might be perceived by the urban dweller at night.

    Adjacent and presented on white plinths of different sizes and levels, Diaz Reyes has assembled a series of enigmatic sculptures. On first view one might interpret them as representations of 3D computer animations. Developed from a synchronous mode of operation similar to the above mentioned framed works, they feature photographed architectural elements printed on aluminium, which are then painted and bent.

    Their anatomy is reminiscent to Brazilian artist Lygia Clark’s bichos, while the aesthetics remind us of some of the works produced by architect Zaha Hadid. The works perception hinges on the angle upon which the viewer considers the work. In an eclectic phase of production Diaz Reyes fixes moments of contemporaneity may they allude to the perception of (post-) modern architecture or the glossy surfaces we consume in front of high definition plasma screens, cell phones and personal computers. Documents of our zeitgeist, Diaz Reyes’ works are precious remainders of our current moment where art becomes architecture becomes art.

    Tobi Maier is a curator and art critic based in São Paulo, Brazil

  • RAID _8 (REDUNDANT ARRAY OF INDEPENDENT DISKS). Group show, São Paulo, Aug - Oct 2016. Raquel Arnaud gallery Press Release

    The Raid 8 (Redundant Array of Independent Disks) project, which will be occupying the Galeria Raquel Arnaud during the 32nd Bienal de Arte de São Paulo, is a collective in which four artists represented by the gallery – Carla Chaim, Carlos Nunes, Ding Musa and Geórgia Kyriakakis – will bring guests to take part in the exhibit – Takashi Kuribayashi, from Japan,Raúl Díaz Reyes and Iñaki Domingo, from Spain, and Tiago Mestre, a Portuguese artist who lives in Brazil. These guest artists produced their works in São Paulo during artistic residencies that took place before the exhibit, giving things more of an experimental mood, and more of a sense of occupation of the gallery.

    This project came into being from a desire to propose and experiment with new ways of organizing and implementing exhibits, as indicated by the invitation to foreign artists, which was made directly by Brazilians. Their choices favored matters of affinity, identification or the simple desire to face the art in an exhibit space, where works are endowed with the power to define and create meaning. In this light, as noted by critic and curator, Jacopo Crivelli Visconti, who has been following the work of several of these artists and was invited to reflect on the process through a text introducing the exhibit which will be part of the catalogue released in the beginning of September, “Raid 8 falls within a genealogy of exhibits organized by artists in Brazil and around the world over the course of recent decades.”

    The process of confronting /approaching the works reveals analogous procedures and common interests that guide the creation of the artists involved, regardless of geographic distances and the particularities of each individual. The use of diverse materials, the presence of drawing as a matrix of thought, the use of photography, the constant traffic between the virtual nature of the image, the concreteness of the world and the exploration of three-dimensionality, are just a few of the elements that these approaches reveal in the group’s artistic output, as explored in this exhibit. There is no assembling of works by theme, what we see, rather, is a series of conversations on different practices brought together and complementing one another in new forms of discourse.

  • PONCE+ROBLES. TAKING A STAND. Ding Musa - Carlos Nunes - Raúl Díaz Reyes

     

    In the physical world the light that hurts our eyes carries information about the objects where it comes from.
    Carlo Roveli

    The most basic way to describe what happens in our eyes when we perceive the reality that surrounds us, that is, our sight, is the ability these organs have of interpreting the world through the interaction between them and the sun’s rays coming from the outside. Depending on our position in the space-time we perceive one thing or the other.

    If we want to describe in a more accurate way what happens when the light’s wave-particles collide with our eyes, we can find in different sources that our eyes are sensitive to electromagnetic radiation waves of specific length and position. These waves are registered as the sensation of light. When light enters the eye it goes through the cornea, the pupil and the lens, eventually reaching the retina, where light’s electromagnetic energy turns into nervous impulses that can be used by the brain. The optical nerve transmits the electric impulses generated in the retina to the brain, where they are processed in the visual cortex. It is eventually in the brain where the complicated process of the visual perception takes place, thanks to which we are able to make out the shape of objects, identify distances, perceive colours and movement. It is said that colour is not a characteristic of the light or of the reflecting objects but a sentation of the brain.

    This sensation therefore makes us understand that there are no shapes or things but just light and colour. It is in the reflection and with the interaction where things are generated and produced. This is the approach and reflection that Tomar Posición proposes. This exhibition is generated through the reflection among Raúl Díaz Rey, Ding Musa and Carlos Nunes’ artwork in the space at Ponce+Robles’ Gallery. The show suggests thinking about how things interact rather tan thinking about what the things around us look like. A thought that happens to be essential in order to understand the reality in the new theories of quantum mechanics.

    Tomar Posición is a three headed project that questions the importance of the description of the objects themselves and insists on the necessity of understanding the mechanisms and events that interact between the processes. All three artists intend to bestow prominence to the individual perception of every visitor to the exhibition. Carlo Roveli, Italian theoretical scientist, explains in his book ‘Reality is not what it seems’, in the world described by quantum mechanics there is not reality without the relationship among physical systems (the objects). As the artists in this exhibition suggest, it isn’t that things can interact, it’s the interaction that leads to the idea of the thing. The world of quantum mechanics is not a world of objects but one of basic events and things acquire entity the moment those basic events take place. In this case, the conjunction of the three projects by each artist in a fixed space-time.

    This project is therefore generated from the interaction among the three different productions made specifically for the show. A physical interaction through reflection in Díaz Reyes, where the irradiance of colour and the reflection of Musa and Nunes’ work form their own sculptures. To Musa the perception of the
    shapes in space is fundamental and unique: it confronts the viewer (and the other artists’ work) to contemplate the reality represented as a structural unit in the construction of what we perceive. In Nunes it creates multiple possibilities and variations through experiments with colour and light, thus exploring a scientific universe as a production mechanism but with a clear interest in the metaphysics of the images generated by his own experiments.

    Three artists who work from photography as a tool where light and colour interact in chemical processes that print information of the shapes of things in a permanent way. Shapes that not only are pigment particles that dye paper to produce images with the intention of being contemplated but also discover at a larger scale an
    clear approach of a vision that distorts what is presented to us; at the same time making the viewers distort the image and the reflection again and adopt an attitude towards what their eyes perceive. A game about the importance of determining a position before reality but also a responsibility for the power of transformation
    we have on the world around us, the world we are part of.

    For Raúl Díaz Reyes, Ding Musa and Carlos Nunes, Tomar posición serves the purpose of focusing the action of the show on three different levels of interaction: between their artwork and the space, the reflections among the pieces of work but especially on the multiple processes that may emerge between the viewer and the artworks. A proposal where the public will have to look for its place and take a stance on their particular vision.

    Bernardo Sopelana

  • Raul Diaz Reyes. Curador MAG. Vol.II - Marta R. Collado (2016)

    Raúl Díaz Reyes’ work breaks the frontiers between disciplines, taking us into a decisive contemporaneity, in which all languages drift away from the standard and invite us to knock into shape a panoramic look of our surroundings. The union that is established with architecture, and the mash-up of materials, talks to us about cities in relationship with their inhabitants as dynamic systems in constant movement and alteration. This way, there are no dimensional limits, no technical laws: the photograph is contemplated as a sculpture, and the painting gets into it.

    The results of this reflection on the city as a place for interaction and change question exhibition models, alters codes, and generate new landscapes with multiple possibilities.

    Marta R. Collado

  • LMCC Open Studio / Renovations Press Release Max Stolkin (2013)

     

    Hey NYCs a swinging place

    thru which dracula cab driver

    glides over rainslicked streets in a black car

    talking about Dracula

    “most people see horror- I see it as a LOVE story,”

    his black face bathed Green in the flourescent advertising

    that spills from the buildings thru the drivers side window

     

    not tonight she said. I can’t.

    these sheets are Ralph Lauren

    rather lets talk about Macguffin

    at the end of the movie the chip that all the spies are after

    is a piece of shit

    but the whole movie happened for the chip,

    Macguffin on the sidewalk saying “i was never here”

    just a plot device who

    takes three steps over flourescent markings

    and slips into a crack in the sidewalk

     

    all of the construction

    the renovation

    the transfers gated off with straps of orange vinyl

    flourescent men popping out of holes in the ground

    the paper blown about in the wind

    the buildings in flux trying to hide

    that there is no Sasquatch-

    are no UFOS.

     

    the city is a clock

    counting down from five months.

    paper wrappers- peeled away

     

    in Spain i was George costanza

    in Nueva York I am Art Vandelay

     

    The neon sign blinks

     

    A

    T

    M

     

    stroke/stroke/stroke

    Back to brushtrokes

     

    City built up and torn down and built up

    Like a drawing / like cut and paste / like layers

    clocks

     

    10,000 good and bad shows and always finding Hanna or Drea,

    or always finding ikea furniture

     

    I’m a swinging Vandelay

    /swing space

     

     

    -Text developed in collaboration with Max Stolkin.-

     

  • Curatorial text for the exhibition "Dapple and Dazzle" at Osnova Gallery, Moscow
    Domenico de Chirico (2018)

     

    Etymological meaning of the word «Dapple» is «differing in color». Thus we should

    focus on the dialectic of the infinite visual work. What makes dapple a dapple is not a

    dapple itself, but it’s distinction from what surrounds it. From this point of view, art

    gesture only exists as a result of other art gestures’ existence or vice versa due to its’

    absence.

    Dazzle, represented in one of the works, is etymologically dual: it origins from the word

    «to change», and it is the changing of perception that makes a dazzle. Works by Collin

    Penno and Raul Diaz Reyes, presented at the exhibition, continue this constant

    dialectic, incorporating it with the dialectic of space exploration, which in its turn creates

    third round of dialog between two dualities: form and space.

    This never-ending search of relations between color, form, space and subject, which

    occur on the verge of or inside the work, seem to fully support the fundamental idea of

    «difference» formulated by French philosopher Jacques Derrida: everything that exists

    is always decentralised in comparison with itself and, therefore, mostly cannot be

    expresses with signs. Sign system, visual, in this case, is understood by Derrida like

    «bundle», tangle of feelings or power lines, constantly searching for balance between

    the line and its own dimension. Distinction of elements turns out to be the powerhouse

    discourse, that finds its personal, closest to reality, meaning in its states’ dissimilarity,

    being constantly uncovered and drawn nearer and numerously times zoomed on.

    The energy of contradiction in Collin Penno’s work, which might occur in comparison

    between three-dimensional form and colorful «formulation», is filled with most certain

    meaning of word «difference». The never-ending sound occurs from this contradiction.

    In fact, Penno does not want and does not look for harmonization of formal grounds.

    What appears to be the hardest, is to choose either the perception of complicated form

    or focus on extensive internal artistic concepts. The latest works of his might be

    understood as final chapter of the longterm conceptual and experimental analysis of

    representational, intermedia and transmedia conventions. Colin Penno initiates

    polemics in the field of typical perspective and dissolves borders between media and

    academic disciplines.

    Сoncept of «difference» in the work of Raul Diaz Reyes can be seen in simultaneous

    presence of visually «blured» forms and more definite element, referring us to the

    postmodern architecture. Unity or, to be more specific, separation of these two

    elements, which finds balance in the works of Reyes, generate surfaces within space

    limits or technical laws: the image is observed as a figure, the image becomes its part,

    generating new landscapes with variable compositional opportunities. Final system of

    signs tells about sculptural abstractions, in which edges of form construction play with

    bigger tactility, due to usage of various materials.

  • Curatorial text for the exhibition "Jardins" at Ponce+Robles Gallery (Madrid)
    Isabella Lenzi, 2019

    “A tree is a slow explosion of a seed” (Bruno Munari)

    Accustomed to produce artworks from drifts in urban spaces, Raúl Díaz Reyes replaced the city`s gray, polluted and full of reflective surfaces with predominantly green, dense and humid landscapes. “Jardins” (in its Portuguese spelling), was born out the recent tropical experience lived by the Spanish artist in Brazilian lands and, more specifically, from his contact with the work of the artist and landscape designer Roberto Burle Marx.

    A modern intellectual, Burle Marx articulates his expanded aesthetic and manual production with knowledge of botany. His paintings anticipate the winding lines of Óscar Niemeyer’s architecture, a partner in several future projects. At the same time, Burle Marx seems to recognize that the interaction between colors and shapes on a pictorial surface should not be the same as a projected landscape. Rather than using other languages — such as tapestry, jewelry design, or landscaping itself — to underscore the supposed evolution of Western painting, Burle Marx’s work builds on an extensive inquiry that focuses primarily on the geographical particularities of each site and the material specificities of each art form used to imagine and represent those sites.

    During his stay in Brasil, Raúl visited a series of gardens, among them, several idealized from the 1930s by the Brazilian landscape designer. In these wanderings, the artist assembled a database with images, sounds and notes. All the compiled material was decomposed and again recomposed, this time, crossed by other references from his closest universe.

    The memory of the atmosphere experienced in the tropics was then transposed to the aseptic reality of the exhibition space in a lively project in which elements of different natures are incorporated in an almost organic way. Together, the artworks do not refer directly to Burle Marx, but materialize many of the precepts and operations also present in his production: the use of collage and juxtaposition, the rejection of symmetry, the application of geometry and abstraction, the re-conceptualization of the relationship between figure-ground, in addition to a sensitivity towards the materials and their different uses and possibilities.

    Raúl proposes the construction of an immersive environment. The main room is occupied by large format vertical paintings hanging from the ceiling, which together compose a kind of orthogonal labyrinth. The rationality of the arrangement of the pieces and the geometric cuts that establish the limit of the pictorial surfaces’ contrasts with the fluidity of the colored cloths. Watercolors on paper, the paintings recall satellite images of green surfaces. They are semi-abstract spots, watery, wild and without horizon, which by their tone, scale and transparency —resulting from the open weft of the paper— incorporate the space around and body of the spectator. The installation seems to echo Burle Marx’s statement: “It is necessary to understand that garden is ordered nature, organized for man, based on his needs. (…) But it is necessary to understand the wild nature, not elaborated, in order to draw from it the great lesson.”

    The dense and festive atmosphere of the installation is reinforced by a sound piece in which Abel Hernández traces a kind of open score. A collage composed of audio files recorded by Raúl in Brazil, combined with fragments of other songs and synthetic sounds. In one of the five arias that resonate randomly in space, we hear bossa nova’s father João Gilberto sing the first syllable of “Ho bá lá lá”. In another we hear a shrill noise produced by Tom Ze. References of Brazilian popular music are mixed with the singing of birds, the screaming of children, the voice of Burle Marx and the European circus tone of Nino Rota.

    On the walls, small, precise pieces, work as footnotes and true attraction magnets: watercolor compositions on wood chips, paintings on cubic volumes made of wood, colored pen stains on paper, and photographic collages. The works, almost imperceptible, break the central structure and introduce another scale, producing a body movement of approximation and distance from this natural environment. In the same space, different choreographies coexist. Microscopic and telescopic perspectives, aerial and frontal views, 3D models and two-dimensional representations.

    The wood compositions refer to architectural models of imaginary gardens, perhaps utopian.

    The collages are montages made with photographs taken by Raúl at Sítio Burle Marx. Located in the state of Rio de Janeiro, it houses part of the enormous botanical collection constituted along the years by the landscasquarepe designer in a series of expeditions for plant collecting, in which he observed the physical conditions of the species, their means of propagation and the characteristics of their habitat. The overlaps of different temporalities and the notion of human smallness of the collages are typical of the archaeological look of Piranesi’s engravings. The pen drawings, on the other hand, look like seeds in the process of fertilization and explosion, in a stage prior to the appearance of shrubs and trees, as stated by Bruno Munari.

    Aglaonema, yam, anthurium, comigo-ninguém-pode, peace lily and cup-of-milk. Species from the Brazilian cerrado, Amazon and northeastern sertão. Like the writer Guimarães Rosa, Burle Marx listed, made known and introduced the exuberant Brazilian flora into the local landscape vocabulary, besides having classified dozens of new species. His gardens are distinguished not only by their geometry. The main renewal proposed by the landscaper was in the diversity, in the use of new materials and plants in combinations and original arrangements, bringing together the native and what is regarded as exotic. At the same time, Burle Marx freely articulated non-organic and artificial elements, introducing concrete sculptures, ceramic tiles and immense beds of colored minerals in his gardens.

    In these gestures, he made clear something that Raúl also seeks to underline with this exhibition, the false dichotomy between nature and culture, nature and human being. Edens are built on top of skyscrapers, paved roads are opened along sublime banks, forests are cut and burned in the name of progress — vide the recent and still burning fires in the Amazon. A modern garden, in turn, could not and cannot ignore these aspects. Ecological activist, in the 1970s Burle Marx publicly criticized the transformation of forested areas into pastures resulting from economic interests that dictate destructive action. A modern and contemporary garden, therefore, could not and cannot ignore a scenario in which our relationship with nature is characterized primarily by violence and disrespect. Burle Marx and Raúl introduce materials from other origins, absorb and “cannibalize”, to use a term from the poet and theorist of Brazilian modernism Oswald de Andrade, thus producing something provocative, live and new.

  • THE COLOR OF THE VOWELS
    Isabella Lenzi, 2019
    Text for the exhibition "vocabulary for settling vertigos" at Raquel Arnaud Gallery (São Paulo, Brasil)

     

    “I invented colours for the vowels! A black, E white, I red, O blue, U green. I made rules for the form and movement of every consonant, and I boasted of inventing, with rhythms from within me, a kind of poetry that all the senses, sooner or later, would recognize. And I alone would be its translator. I began it as an investigation. I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still.” Arthur Rimbaud[1] Raúl Díaz Reyes fills the four walls of the exhibition room with an alphabet of colors and shapes. In his second solo show in São Paulo, the Spanish artist scatters small bidimensional acrylic elements throughout the space. The largely geometric blue, black and red pieces are not letters strictly speaking. They are born from the encounter of pure shapes – triangles, circles and squares – in a process of addition, cutout and subtraction that gives rise to new configurations. Others of them are more spontaneous and gestural. All together, they constitute a vocabulary of signs which, sometimes, refer to known and quickly identifiable patterns, akin to icons and logos, to the urban world and advertising. Accompanied by their supposed “molds,” at first sight it seems that the pieces have just now become free, though still shyly and taking their time. The molds – acrylic sheets with shapes cut out of them, framed and held up by rectangular structures of painted iron – resemble those plastic stencil rulers with simple, generic shapes to aid in the sketching of trees, airplanes or even ocean waves. They also recall architect’s rulers, used to construct less playful technical drawings, which serve for a functional purpose and a logic of prefabrication. However, contrary to one’s first impression, the loose figures that have been cut out of them not fit in the empty places of the molds, indicating that in reality the larger pieces did not serve as matrices for their production. This disconnection is the first sign, or the first clue, of the breaking of an order and of the entropy suggested by the artist. Cut with a laser, the acrylic elements allude to industrial production. Their edges are sharp, their material is cold, and their surface, delicate. They seem distant from manual work. Even so, they clearly dialogue with the experimentation of the historic avant-gardes, with geometric abstraction, with constructivism, with concretism and neoconcretism. Like the typographic poem of Mallarmé, Un coup de dés jamais n’abolira le hasard (1897),[2] which explored the possibilities of the technology of printing and of the empty space on the page, the pieces by Raúl use the wall like a blank sheet of paper. The cutout figures are stuck to the architecture and define the rhythm of the reading and the pauses of the artwork. Freely grouped, the pieces establish among themselves interplays of weights that defy any fixed rule, any single pattern or grid. The set possesses movement and draws within the space a musical score made with an alternative notation, a visual form or a landscape. It does not appear easy to decipher their meaning or the laws of their construction. The reading of the installation transits between the visual, the choreographic, the architectural and, despite the silence, the sonorous. In a 1965 text, Between Poetry and Painting,”[3] the Benedictine monk and visual poet Dom Sylvester Houédard uses the terms “logos” and “icon” to refer to a broader world than “word” and “painting.” By constructing a historical chronology of the relations between the two concepts, spanning from the primitive artifacts up to the 1960s, the monk proposes terms such as “quasi-painting,” “quasi-word” or even “quasi-letter.” With the use of this terminology to designate open proposals in permanent redefinition, Dom Sylvester shakes the nature and existence of “words” and the “painting” as isolated materials, proposing zones of free circulation and nonseparation between text and image, between poetry and painting, between “logos” and “icons.”[4] Raúl’s pieces lie in this “between” realm. They are quasi-paintings, quasi-words or quasi-letters that synthesize and materialize signs present in contemporary visual culture, in the signage of cities and in the history of art. In this work, references or cross-influences are intercrossed without explicit and specific citations from different times and provenances. From the production of North American filmmaker and graphic designer Saul Bass, famous for the opening sequences of films such as Vertigo by Alfred Hitchcock, to the geometric choreography of Oskar Schlemmer’s Triadic Ballet, from the beginning of the 20th century. Some of the elements of the installation also recall the totemic iconography of Rubem Valentim, who from the 1950s onwards resorted to the language of geometric abstraction to construct complex compositions that redesign and reconfigure Afro-Atlantic symbols, emblems and references. Lastly, it is fundamental to refer to Lygia Pape, to her Ballet Neoconcreto, conceived in 1958 in partnership with poet Reynaldo Jardim, and, mainly, to the trilogy of books that the artist produced at the end of the 1950s and beginning of the 1960s, Livro da Criação, Livro da Arquitetura and Livro do Tempo. Lygia transcended the formal distancing of concretism, calling attention to the social dimension of art and suggesting the interaction between art and the public. Raúl also questions preestablished orders and proposes processes of rearticulation, reconfiguration and metamorphosis that take place in the presence of the spectator. Just like Rimbaud, he invents a vocabulary all his own to settle vertigos.

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