Pabellon 4 Contemporary Art
T (+5411) 48562118
C (+54911) 69080638
About Pabellon 4 Contemporary Art
Pabellon 4 Contemporary Art, opened its doors in 1996. Located in Buenos Aires, has two exhibit halls and a video room, as well as a large warehouse with extensive inventory of artists.
From its origins, the art gallery intended to support contemporary art, including its insertion in the artistic main stream in Argentina and other countries. The primary objective has been to promote contemporary expressions of art to new audiences, to appeal to the public and to orient the colectors to new expressions of contemporary art
Scope Art Booth H13
During the week of Art Basel Pabellón 4 Contemporary Art will be at Scope Art Booth H13 With the Artists: Paula Otegui (Arg) - Dino Bruzzone (Arg) - TEC (Arg)- Ale Jordao (Brasil) - Paula Rivas (Arg) Christian Wloch (Arg) and Mariana Villafañe (Arg) Pepe Rodriguez (Malaga Spain )
After Art Basel and from January 6 to 10, 2018, Pabellon 4 will be present at Este Arte Punta del Este Uruguay with the Artists: Paula Rivas - Christian Wloch - Mariana Villafañe - Paula Otegui and Jimena Fuertes
Upcoming Exhibitions & Fairs
REGULAR DATES & HOURS
JANUARY 7th – 9th, 2018
5:30pm – 10:30pm
PROFESSIONAL PREVIEW & VERNISSSAGE
JANUARY 6, 2018
5:30pm – 10:30pm
(by invitation only)
Punta del Este Convention & Exhibition Center Av. Pedragosa Sierra esq. Aparicio Saravia Punta del Este, Maldonado, Uruguay
Paula Otegui paintings are composed of overlapping scenes, fragments of daily life or situations in history where the narrative _guration is fragmented, with viciousness and pleasure, between vegetation and waterfalls forests of shadows. In his last exhibition " Ensayo general Parte 1", the artist goes one step further and breaks the plain language of painting, with the bi-dimension, proposing a constellation of three-dimensional pieces.
"This proposal is to present a series of works in which the idea of space development through the _gure-ground interaction, bi-dimension - tridimension, and overlap. From these concepts I attempt to question the ways that I usually use to pictorial expression, setting new spatial links between the layers that appear in these works and the space environment and the spectator" in the words of the artist.
A few years ago, Otegui felt the need to break with that territory already known painting, to open the game to sculpture and installation, experimenting with unknown materials continue their pictures, but embodied in other bodies, guided by the suspected that space and supports that inhabit (fabric, canvas, wood) modify not only time but also the story that is being told: the trial began and fabrics, papers and woods embodied in modules of di_erent sizes, intervened pictorially, driving the movement of the fabric, which is twisted, folded, hides or reveals, and hanging at di_erent heights, enabling multiple possibilities mounting. "This new road is reconstructive, as it also aims to move a border language, leaving the bi-dimension, in search of another order, organizing the whole from a fragmented structure composed of overlapping visual layers, giving rise destabilization of pictorial planes. The paintings will be support to
establish narratives, proposing a tour of the existence of all things as a whole. With the intention of bringing together a constellation of parts and to focus on the relationships between the elements. These works demand a new area where interacting, as actors in a rehearsal, raising the image of the world as a scenario that illustrates the love of the theater of the human condition, "explains in detail your project.
Divisionismo, the new series of paintings by Dino Bruzzone, allows us to think the intersection between photography and painting as a portal to enter the complexity of contemporary image.
Dino scans the cover of a comic book of the sixties, to decompose and to focus on a RGB color point. According the chosen point, the red, the green or the blue, the points have di_erent scales and forms of distribution, either ninety degrees or diagonals. Then he makes the lineal and black comics drawing on a canvas, masking the canvas with a map of the points, he projects that map as one who projects an image on a photographic paper, but in this case oil painting points to make them appear. We are no longer to rebuild or deformation of the image as in previous works, else an atomization where the color is the focus point.
For Dino, color prints of comics by Ben Day dot technique has been an important _rst cultural experience with color as an entity in itself; as matter and texture, something possible to enjoy and perceive beyond the image that encapsulates it.
Dino recovers the sensation of color as pure corporeal matter. This search is emphasized by releasing and autonomise points: in some tables correspond exactly to the _gure in black, but other several centimeters are o_set achieving unchecking the color of the line, deconstructing what could be the background color and color the _gure. All these rematerialization color strategies, coming from the pleasant memory of the Ben Day points, are developed through an element for nothing whimsical: oil, DNA of color in the art of the last 500 years, you may go to the pointillism (one of the _rst moves that analyzes the pure elements of painting and paves the way toward abstraction), through expressionism (_eld of modern pictorial emotionality) and saturating in the Pop (movement dismantles modernity and autonomy by inviting the popular image in the discussion).
Pointillism is pop, pop is expressionism, expressionism Ben Day points, the RGB Ben Day a CMYK photoshop, photoshop a painting tool, painting a way to embody the color, texture, color an item to re_ect on photography and, in turn, on the emotional return of childhood memories he has always been present in the work of Dino Bruzzone
Born in december 1973 in São Paulo - Brazil, where he lives. Studied Fine Arts at FAAP (Fundação Armando Alvares Penteado) in the second half
of the 1900s with Sandra Cinto, Dora Longo Bahia, Paulo Pasta, Felipe Chaimovich, Eduardo Brandao, Carmela Gross and Regina Silveira and
Nelson Leirner - main reference for the artist.
Studi in Design at Domus in Milan in 2000, originated school from the experience of Italian postmodern design and architecture of the 70's and
80's. He began his professional artistic life in 2001 and throughout his career has de_ned a powerful and complex body of work both, materially
and conceptually. His work is very successful in relating varied _elds such as the visual arts, design and fashion, as well as the use of technology
and neon in his graphic language. The artist brings to Scope this year, from the series “ILUMINATA”, works that celebrate the presence of Neon
Light in this works.
HALF GLOBE NEON – neon sculpture in acrylic dome on mirror bases, brings the provocation, inherent of the artist, the consumerism, addictions
and hallucinations, from globalized world.
Cultural Idealizer of urban artistic projects with the NAU (“Urban Art Center”) at the exhibition in Marine Containers in the heart of Paulista
Avenue (São Paulo - 2011); The Wallride Project, urban interventions in wall against the famous COPAN (São Paulo - 2013 and 2014); Apraça,
urban transformation through art, project launched with the furniture Guard Rail at the exhibition Labcidade (São Paulo - 2016).
He is also creative artist of Pantone BR; "Friend of the Maison" Piaget Brazil and represented in Brazil by Choque Cultural Gallery and in Argentina
by Gallery Pabelló 4.
His art works can be seen in the published books: "Modern furniture in Brazil - Ed. Olhares – Maria Cecilia Loschiavo - 2015; "Inéditos: Design-Arte
/ New and Unique: Design-Art - Ed. Olhares - 2014"; "Design brasileiro de móveis/Brazilian furniture design - Ed. Olhares - 2013".
Born in Córdoba, Argentina, 1975
Lives and works Brazil and Argentina
The combination of different techniques and support is the tonic for this Cordobes artist’s work, who uses the street as his aesthetical inspiration. Tec explores the ambiguity of both the private and public art spaces, using a variety of methods: performatic intervention, site-specific installation and action footage.
The artist has innovated and expanded the urban art scene, with his giant drawings painted right over the
asphalt, making use of distance and perspective.
To document these projects as a way of mapping the circuit of his production, he films and captures the images with a camera attached to a drone.
On screen, he brings together the speed of action painting and the formal rigor of the layers that superimpose.
His signature lines and the way he works with color march to the beat of a different drum when compared to established knowledge and the way things are, using the creative act to put in place a new interpretation of what is real. His artwork reverberate and reassert his relationship with the city, which is expressed in an intense dialogue between action and control.
On the overall artwork produced by Tec, one can notice a remarkable manifestation of how he identifies with the children’s poetic universe, be it in his choice of graphics, in the images or in the colors.
Always aware of the social role of art, the artist frequently delivers lectures and runs workshops, specially in public schools, creating narratives consisting of a wide variety of material produced within the country and overseas, going from parietal art to the emergence of graffiti and Pichação.
Internationally recognized with the exhibition "De Dentro e De Fora" (Inside and Outside), which happened at MASP (Museu de Arte de São Paulo), Tec has had exhibitions in art institutions such as New York City, Washington, Barcelona, Berlin and Cologne, and has participated in art fairs including ArteBa (Argentina), SPArte (Brazil), ArtRio (Brazil) and Scope Miami Beach (USA). In 2015, the artist made one of São Paulo's largest murals on a building located on Amaral Gurgel street, facing Minhocão, the city's most iconic elevated highway and a highly-coveted graffiti spot.