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From Latin-America to the Mediterranean

For years we have dedicated ourselves to the world of art, of the artists, of the collectors. It always is arduous as well as delicate to select a matter of contemporaneous art, since it is not an infallible academia that possesses strict directives that mark a particular path. Today everything is arguable, revisable and subject to differing opinions. Distances disappear, cultures intermix, and what remains certain is that artists continue being those heading-up intellectuality in its most critical, transgressing and advanced form.

      Matt Lamb       

 

Elisa Arimani

  

 David Rodriguez

 

 

 



 
 

  

        Jose Manuel Fors

         Nicolás Cabrera

 

From this point of view, we center our investigation on two worlds: from America we dilate to the Catalan Mediterranean, exposing the work of a series of artists with a same common point: the plastic quality of the work itself at the same time as a suggestive and innovative conceptual condition, where sincerity and rigor are demonstrated as fundamental pillars of their work. In such manner, we present Elisa Arimany, Nicolás Cabrera, José Manuel Fors, Matt Lamb and David Rodríguez, five artists that belong to two worlds spatially separated by the Atlantic, but which form at the same time two realities with a rich identity, and, in our opinion, with a congruous essence, a common root that assembles and articulates them.

Elisa Arimany’s sculptures do not propose to us a system of signs, but rather purity full with simplicity. The non-figurative schools renounce the primary level of communication and establish themselves by means of a new language articulation. Open works, therefore, her sculptures do not interpret, but rather explain the repertoire of units which constantly are differentiated and in opposition to each other. Units and positions within a system - from thought to perception, from norm to form, from simplicity to complexity, from minimum to maximum, from emptiness to fullness, from the poetic to the plastic. Her work derives from a mentality based both on order and playfulness, thus constructing and structuring the space from a rhythmic tension that transcends the pure formal intentions. We admire Elisa’s innate instinct for space, her capacity for the placement of forms and volumes with few welds or manipulations. An exact understanding of weight and volume of materials guides her sculptures, which do not constitute the sum of diverse chaotic fragments but instead the unblocking of the unit, often achieved by means of the unfolding and parading of forms.

Nicolás Cabrera offers us a wide, open vision devoid of the prejudice of mankind and our surroundings, with a humanistic vocation that transcends concrete spaces of culture, era, time, sex, place, identity, as part of a continuous exercise of knowledge and search. In the work of Nicolás Cabrera, the obscene, mystic, religious, erotic, dead, the “poetics regarding excess” or the discursive reflections with respect to the artistic, mark a rhythm of sequential cadences where the fundamental focuses on the peculiar (magical, irreverent, illicit) expansive possibility of images, which reflects in a unique manner the phases of mankind; in the radicalization of a plastic attitude that includes the comprehension of the origin of painted art as a constant effort to expand the imagination, make its limits more ample and seize it in its full therapeutic and transforming potential.

José Manuel Fors has decided to be an untiring and masterful memory worker, on which he bases the foundation of the discourse of its work: man, its memory and its personal history as a foundational axis of life. Fors makes his first photography in 1982. It was a “portrait” of an old and destroyed park bench which, together with two other images (a door surrounded by leaves and a fragment of a broken curb with leaves), he presented as a set at a national photography event at La Habana that same year. Photography demonstrated to him that it was a support on which he was able to host objects, processes, ephemeral interventions and spaces that until such time he had manipulated in a physical and tridimensional manner. Photography was also capable of being manipulated in spatial terms, thus becoming itself a controllable object.

Matt Lamb, expressionist and visceral painter, is devoted to the representation of the spirit which he finds in all manifestations of life. Refined and educated, having traveled and exhibited throughout the world in important art galleries and notable museums, he manifests his feelings through his paintings with a vital force. A person of arduous and great spirituality, he fights incessantly for a laudable ideal: peace in the world.

David Rodríguez is a young promise that Sleuwen Bentz Fine Art affirms. The concept arises from an intuitive reflection, offering us a work with a subjective character, where we are allowed to enter into one of the most beautiful expressions of the duality of art in its latest decades, where paintings cause the contemplator to think, as it is the expression of questions and answers. The touching and restless expressiveness appears in contrast to the juxtaposition of the blacks, whites and grays. The broad weave, the broad stroke, the broad brush … And in that moment, appear the faces, their grimaces, their gestures, which bloom with a near aggressive vigor. It’s the moment in which the artist appears to have won the battle against perturbation and peevishness. The different representations of heads of these insolate and enigmatic characters manage to convulse our feelings.

In conclusion, we present five different works in their most primary essence, a system of artistic language from which Sleuwen Bentz Fine Art channels and presents to the public a nexus of two distant yet near worlds which are not separated, but rather “united by one common Atlantic Ocean”.

*Navarro, Wendy. Words for the catalogue of the exposition “Deep in the dream”, Nicolás Cabrera, 2005

SLEUWEN BENTZ FINE ART, LLC © 2006

PROGRAM 2nd Semester of 2006


DECEMBER:

>Friday, December 15, 2006 at 7:30 pm
Presentation of Exposition:
“Two forms of understanding photography”: José Manuel Fors and Luiz Simoes

Theoretical event by Arnau Puig, Art Critic and former professor of aesthetics at the University of Architecture of Barcelona

JANUARY:

Art Miami 2007: Nicolás Cabrera, David Rodríguez, José Manuel Fors and Matt Lamb.

FEBRUARY:

February 9 - Recent work of Irene Duvrosky.

SLEUWEN BENTZ FINE ART, LLC
fineart@sleuwenbentz.com