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The River Side Dot Fiftyone Gallery celebrates the beauty of Mexican art and does so with two great contemporary figures, Carlos Jorge and Armando Romero, according to what has been the ideology that distinguishes the gallery founded by Alfredo Guzman and Isaac Perelman since 2003. Using the word gallery intended as an exhibition space for emerging and established artists whose works encourage ideas and dynamic discourse.
“Carlos Jorge, a life for art that celebrates him as an artist and collector of contemporary art. An old love for art, so much to be known in the environment, as a guru “, tells him the director of the Mexican gallery that represents both artists, the Casa Colon Gallery of Merida, by Connie Calderón, present at the cocktail reception opening with Mimi Cervera Villamil.
Carlos is in fact still a child when he begins to represent images and scenes of the Mexican landscape where his eyes are captured by the bardas: stone constructions that delimit the houses and that represent a game for children who enjoy building them with what nature provides. Of probable Mayan origin, the term bardas represents the overlapping of stones one on top of the other interspersed by the darkness of the interposed spaces that “nobody ever notice”, says Jorge, and which are represented in his works with vivid realism. But if in the early works the realism of the stones prevails in a play of black and chiaroscuro, in the following years Jorge abandons the canonical representation in favor of a play of shapes and combinations of very bold and abstract color, far from the representation of the stone seen as rock itself. In his works the rounded and polished stone gives way to the suggestive angles of the igneous rock characteristic of the Mexican land of origin of the artist, Mérida in the Yucatan, Mexico. Its representations of bardas therefore take on a more abstract, fresher connotation in which the structured forms are crossed by straight lines that intersect, offering a representation of the chiaroscuro in a symbolic key, capable of enriching the work also of political connotations linked to the figure of the wall, today more than ever present.
On the other hand, the study of academic art history brings Armando Romero to paint surreal artworks in which he combines characters from classical art skillfully painted on collages, glued or sewn on canvas, and combined with captivating situations and surreal scenes of the circus environment which is connected through the use of fonts, images and color combinations typical of advertising posters in the 1950s. In the works on display, in particular, he depicted the grotesque faces of the Spanish royals depicted with merciless precision by Francisco Goya in La familia de Carlos IV, work preserved in the Museo del Prado. But if the portrayals of the characters in Goya caused a sensation mainly because of the ruthlessness in the representation of the characters that are ugly and awkward at the edge of the ironic, Romero’s works strike for the wit in the juxtaposition of shapes, colors and media through which the characters seem to catapult themselves out of time and of the situation, arriving to assume timeless and new narratives, in balance between ancient and modern. The inevitable forms of primitive spelling typical of childhood also compensate for the interweaving of the work by emphasizing even more the richness of the narration.
An evening of Mexican art, accompanied by the traditional flavors of Peruvian cuisine with tastings served in elegant glassware by Juan Chipoco, chef and owner of the award-winning restaurant CVI.CHE 105. Consecrated one among the best restaurants in Miami, CVI.CHE 105 offers the taste of Peruvian tradition, combined with creativity and quality in a sophisticated and never banal way through the various variations of ceviche.
In addition to the gallery at number 7275 NE 4th Avenue, Dot Fiftyone has recently set up a pop up gallery in the beautiful location of the Faena Bazar adjacent to the Faena Hotel in Miami Beach with works by Juan José Cambre, Graciela Hasper and Gonzalo Fuenmayor.
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