Carmelo Arden quin – Wikipedia, the free encyclopedia

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Carmelo Heriberto Alves (Rivera, Uruguay; 16 March 1913-Savigony-Surge-South, France;

In 1932 he began taking painting classes in Santana do Livramento, Brazil with the Spanish Emilio Sanz.

In 1936 he made his first non -orthogonal paintings, transgressing the traditional limits of the frame. Exposed these works in

He met Joaquín Torres García in January 1935, when he attended his conference “Geometry, creation, proportion” at the headquarters of the Theosophical Society; This fact determined his future inclination towards abstraction and considered it his teacher. The house of Spain in Montevideo, within the framework of a demonstration in support of the Spanish Republic. In November of that same year, he also exhibited its flat forms of primary colors in the Collective Exhibition of Plastic Arts for the benefit of Spanish intellectuals in the Athenaeum of Montevideo.

In 1938 he settled in Buenos Aires where he frequented avant -garde artists and studied philosophy and lyrics at the university. In this city he shares the workshop with the Chilean artist Miguel Martínez.

In July 1939 he attended a retrospective of Emilio Pettoruti in the Circle of Fine Arts of Montevideo and established a relationship with Uruguayan painter Rhod Rothfuss. A short time later and again in Buenos Aires he met Gyula Kosice (a teenager who was dedicated to leather goods), Bayley and Godofredo Iommi.

In 1941 he participated in the foundation of the Bimonthly newspaper The University , where he published his political and aesthetic ideas. In 1944 he published the first and only number of the Arturo Magazine , Journal of Abstract Art of Latin America, in which Joaquín Torres García, Vicente Huidobro, Tomás Maldonado, Rhod Rothfuss and Gyula Kosice participated, among others. The opening article, signed by Arden Quin, was titled “Introduction to the Manifesto. The mobile”.

In 1946 he formed the Madí Group, along with Rhod Rothfuss and Gyula Kosice. Arden Quin made the reading of the Madí Manifesto at the French Institute of Higher Studies and participated in the exhibitions held in the Van Riel Gallery and at the Altamira Plastic Arts Free School. He integrated the first international matist exhibition, organized in the Athenaeum of Montevideo. He conducted works by Marco Polygonal, mobile structures, coplanares, paintings-object and concave-convex works. [ first ] ​

In 1948 he traveled to Paris, where he frequented Michel Seuphor, Marcelle Cahn, Auguste Herbin, Jean Arp, Georges Braque and Francis Picabia, among other avant -garde artists. There he made numerous exhibitions and participated in the Nouvelles reality salon.

In 1954 he returned for a short time to Argentina and together with Aldo Pellegrini founded the Art Nuevo Association that, composed of artists of different non -figurative trends (such as Ana Priest and Martín Blaszko), made his first exhibition at the gallery Van Riel in 1955.

Upon his return to Paris he continued his work and in this period he introduced in his work the collage and the decoupage, resource that he would use exclusively until 1971, the year in which he resumed the painting. In 1962 he created the magazine Elsewhere And, during that decade he participated in the concrete poetry movement.

Among the last individual exhibitions was in the Galerie Charley Chevalier, Paris (1973); Galerie Quinmpoix, Paris (1977); Exhibition tribute to his sixties, Espace Latino-Americain, Paris (1983); Nice Gallery, Brescia (1986); Galerie Down Town, Paris (1987); El Patio Bremen, Germany (1988) and Fundación Arte y Technology, Madrid (1997). In 1998, the Ruth Benzacar Gallery in Buenos Aires organized an important monographic exhibition entitled Carmelo Arden Quin. Paints and objects 1945-1995.

He participated in important collective exhibitions, such as Art in Latin America. The Modern Era (1820-1990), at Hayward Gallery in London (1989); Argentina. Concrete art invention 1945; Grupo Madí 1946, in the Rachel Adler Gallery in New York (1990); Madí Art, at the Reina Sofía Art Center in Madrid (1997) and Abstract Art from Rio de la Plata. Buenos Aires and Montevideo 1933/53 in The Americas Society in New York (2001).

He died on September 27, 2010, at 97, at his home as Savigny-Sur -orge, near Paris. [ 2 ] ​

In 2012, the Konex Foundation awarded the Konex Honor Award as a deceased figure of outstanding relief in visual arts. [ 3 ] ​

References [ To edit ]

Bibliography [ To edit ]

  • Sapollnik, Julio, editor. (2009). MADI International – Catalog . Buenos Aires: Laura Haber Gallery.
  • Santana, Raul, and others (2008). Carmelo Arden Quin – Catalog . Buenos Aires: Laura Haber Gallery.
  • López Anaya, Jorge (2003). End of the century rites . Buenos Aires: Emecé editions. ISBN 950-04-2452-5 .
  • Gradowczyk, Mario H. (2006). Abstract art . Buenos Aires: UNTREF. ISBN 987-1172-14-1 .

external links [ To edit ]