SOLAPA CONTRA TAPA
CONTRATAPA
TAPA
SOLAPA TAPA
They collaborated Poesía Edith Fariña Conti Edición Silvia Belmonte Fotografía María Victoria Bonadeo Atelier Escultura RAUL FARCO
RETROSPECTIVA
333 NW 23rd Street, Miami | FL 33127 | USA | T. +1 (786) 362 5165 |
[email protected]
www.artnartgallery.com
They collaborated Marcelino A. Ruiz Díaz Enrique M. Ruiz Díaz Miguel E. Perez Thank
RETIRACION SOLAPA TAPA
RETIRACION TAPA
RETIRACION CONTRATAPA
RETIRACION SOLAPA CONTRA TAPA
They collaborated Poesía Edith Fariña Conti Edición Silvia Belmonte Fotografía María Victoria Bonadeo Atelier Escultura RAUL FARCO They collaborated Marcelino A. Ruiz Díaz Enrique M. Ruiz Díaz Miguel E. Perez Thank
MOTHER EARTH Earth, like a mother who knows her children, gives water, sun, and air so that trees may grow, birds may fly, and fishes may sparkle. So that our own children may bathe freely, naked in the stream. So that the rain may wash our face, and wet our feet. So that the cicadas may heat up the sun and let the seeds germinate. So that in Wintertime, the fire may warm us, and the heat of the fire may temper the iron, and may cook the maze. So that in Springtime, fowls, plants, and women may beautifully show off their new dresses. So that we may hear the thunder, the word, and the song. And may the poet sing and the wise enlighten. So that the bees may buzz, the flowers may open, and the fruits may give their fragrance. So that we may love each other. … and after our times, fused with dew and clay, may we return in the murmur of the wind, or as sap in a mysterious earthen vessel, to once again be bewitched by the moonlight. RAUL CONTI, 2016
MADRE TIERRA Bronce patinado - 307 x 92 x 50 cm. 2016
"Other artists, collectors, curators, art critics, gallery and museums directors, are necessary collaborators and champions in the life of the one artist. We include here the thoughts of those when referring to the work of visual artist Raul Conti".
CINTI Té sobre papel - 16 x 13 cm. 2011
“I have known Raul Conti and his works for many years. We met in NYC in the 1990’s and he invited me to his studio. I immediately grasped that he had preserved his roots upon encountering his works. I could guess through his paintings that he had carried to New York, his cultural and traditional baggage. Afterwards I came into contact with his closest surroundings, a family dedicated to the Arts: his son Raul, a sculptor, his daughter Mirian, a pianist, and his wife Edith and her writings, some of which I have read. The respect this man felt for his profession was transmitted right away. When I look at his works and he tells what the themes are, I realize there and then how much he had reflected on the history he wants to tell us. His images are always positive, direct, and above all, very well painted. Each plain surface that he utilizes to construct a figure, is always full of small textures, of scrapings, glazing or velatura that allows us to read the painting in different levels. The forms, animals, they consistently end up delineated by a precise drawing. When I see his work, I think that, like Paul Klee, he combines texture and drawing very well. His themes are of a particular and intimate nature, which he thinks through from images of Art history, mixed with his fantasy and his peculiar vision of images. Some of his works function by accumulation of images. I say this remembering his recent sculptures which have impressed me for their magnitude, and for the many stories he relates to us. These sculptures are, to me, a summary of his previous artwork; these are sculptures that cannot be made until the artist has accumulated enough technical knowledge and has refined and selected the images he wants to combine or organize to tell the story. His sculptures of mature years, remind me of those later works of Beckman, works where many things are told. Raul Conti handles the craft with the ability of the ancient artisans. His tools are bought, and if they do not exist, he invents them; technical limits do not constrain him. Such materials like the Quebracho wood, (which he introduced me to) is an Argentine wood very much tied to his daily endeavors: tough, expressive and beautiful. I can attest to the difficulties that this wood offers at the hour of working with it. Well, he uses it with dexterity and with intelligence, he has made with it stupendous sculptures, which I already referred to before. Conti, my dear friend, I want to express my respects as an artist and as a role model. I await impatiently more of your next works, and I am convinced that you are now at your best moment. From New York, I wish that many others can enjoy your work as I do.” Manolo Valdes, New York, 27 of October, 2007 Spaniard artist of Malborough Gallery - New York
GOTHAM West Side New York - 21 x 27 cm. 2016
Sunday in Manhattan At dawn, when pigeons descend, come to Manhattan, tulips will be exquisitely arranged, Also the azaleas will display their bouquets. Remember, this is springtime. Manhattan is shrewdly beautiful with its pigeons and flowers. Come on Sunday, very early, when the sun lifts butterflies from the other shore. Oh! From Monday through Saturday don’t come to Manhattan. Edith Fariña Conti, 1981 New York
LOOK West Side New York. 21 x 27 cm. 2016
TRANVIA West Side New York. 21 x 27 cm. 2016
OBAMA West Side New York. 21 x 27 cm. 2016
Reflections of a Collector “…(more than thirty years!) we have been collecting his work so that today in The Olsson Art Collection we have a large number of the works of Raul Conti in all kinds and shapes; paintings of course but also drawings, sculptures, prints, silver works, jewelry, spanning his long and successful career.” “We have followed, and collected, Conti’s works rigorously and all the time being mesmerised by the continuous flow of works only getting better and better and more interesting. This interchange for us has led us to have dicussions with him about his works to be able to further understand its reasons, merits and messages to us viewers. There has been a mutual dialogue resulting in us to commision works directly from him. Conti has always been a frequent traveller, physically as well as in his mind. His physical travels have taken him on research trips all around Latin America where he has studied Pre-Columbian art at its own source. He has also travelled in Europe extensively and then lived in the US for many years until he, in the mid 80’s, settled back in Buenos Aires (but still keeping his place in Hell’s Kitchen, New York).” “Conti is concerned with the question of authenticity and originality – is it possible to have something unique or original to say, and to find an appropriate form for its expression? Or is there no option but to rehearse existing concepts using known gestures and styles? To Conti there are always options thus he can constantly revitalize his language of painting. But not in a fashionable or trendy way. Conti has never been part of fashions or trends. It is as if he has been working under the guidance of Malraux, ”he who marries the spirit of the ages will soon become a widower!” “To Matisse, the line he drew could be characterized as an energy path that generates figurative elements. The stroke that he worked with could be described as an energy line with a propulsive force and motion that empowers the picture field, that generates things and keeps them in a state of flux. In Conti, the simple two- dimensional line gets almost magical characteristics and the figure gives the illusion of tri-dimensionality, speaking specifically of the large paintings from 1966 and the latest ones.” “In his sculptures Conti captures action, tension and emotion. They immortalize a moment. Sculpture is a revelation to him because it is open and closed at the same time. His pieces are full of feeling – the form is inventive as well as complicated and yet it never loses its unity.”
The Olsson Arts Collector Malmö Sweden
VIENTO CALIDO DEL NORTE Oleo sobre tela - 130 x 190 cm. 2015
En este lugar naciste. En este espacio cuando eras niña el aire cálido iba bronceando tu piel y hacía flotar tu cabello negro. Tus pies ligeros dejaban efímero rastro en la arena de la costa mientras tu madre lavaba la ropa en ese río. …En un instante dejaste este aire y caminamos juntos muchos años. Aquí te recuerdo, ya son dos años de tu ausencia. Octubre 9 del 2015
333 NW 23rd Street, Miami | FL 33127 | USA | T. +1 (786) 362 5165 |
[email protected]
www.artnartgallery.com
PINO Y LULA Collage - café - mate cocido sobre papel - 13 x 16 cm. 2011
AMERICA NATIVA Bronce - 128 x 172 x 42 cm. 2016
FELIZ Collage - te - café - mate cocido sobre papel - 21 x 15 cm. 2011
CAZADOR DE SUEÑOS Oleo sobre tela - 150 x 140 cm. 2015
ZITA PIO Y CELI Collage sobre papel - 25 x 26 cm. 2011
LA ISLA PACURI Oleo sobre tela - 165 x 190 cm. 2015
CACAREO Mate cocido - Té - café -Collage sobre papel - 18 x 49 cm. 2011
AZUL ULTRAMAR Oleo sobre tela - 165 x 80 cm. 2015
CON SU PELO AZUL Bronce y madera policromada - 54 x 36 x 28 cm. 2016
SERENA LUZ DEL SOL Oleo sobre tela - 165 x 105 cm. 2015
PRESENCIA
GALLINA EN CURVA Bronce - 38 x 40 x 15 cm. 2007
EMIGRANDO 60.5 x 54 x 12 cm. 2008
EL CORO Quebracho colorado - 69 x 29 x 21 cm. 2015
SOMBRAS DIAGRAMADAS Oleo sobre tela - 91 x 122 cm. 2011
CONJUNCION DE LINEAS Oleo sobre tela - 153 x 92 cm. 2011
LUCES COMPUESTAS Oleo sobre tela - 90 x122 cm. 2011
ZONA AZUL Oleo sobre tela - 140 x 150 cm. 2011
LAS TEJEDORAS Oleo sobre tela - 140 x 150 cm. 2012
At first glance at Raúl Conti’s art shows that his vast work, encompassing over fifty years of creative effort which includes paintings, sculptures and engravings, has been marked by changes at times subtle and at other times evident. But these changes imposed on his work have not responded to purely formal needs or to demands of actualization imposed by modernity, but rather to those changes experienced by the artist in his own existence, and which have given, as a result, changing visions that inevitably are reflected in his art. In any event, the various stages of his work have been manifested, whether figurative, abstract, or symbolical, by inspired transfigurations of their vital context.
In an exhibit in Buenos Aires in 1984, dedicated to the memory of painter and teacher Juan Grela, the critic Osiris Chierico presents the show with these inspired words: “America is Raúl Conti’s vocation, that intimate vocation that has taken this man from Córdoba, shaped by lands of the littoral, along with Juan Grela’s popular vision, stage by stage to the gradual revelation of this world that he shows us and that underlies an imagery of its own character, even in profound mutations. Thus is revealed, through a schematic procession of paintings or tridemensional wood carvings, that his work travels the same road, even while it shows itself to be distinct, diverse...” Appropriate words of the critic, because this chapter of the visual history of our continent, that we call the study of predilection for the culture of the Indians of the Western Hemisphere, is present in Conti’s creations, above all in the repose and silence of the figures, where the constant representation of feet and hands prevails, connecting Conti with that moment of American art where the artists fasten their eyes on the essential in their search for the indigenous archetype. From here the presence of feet and hands, from the South to Mexico, becomes the essential key to the persistence of a specific theme.
DIVINA PROPORCION II Oleo sobre tela - 150 x 90 cm. 2006
DIVINA PROPORCION I Oleo sobre tela - 150 x 90 cm. 2005
DIVINA PROPORCION III Oleo sobre tela - 150 x 90 cm. 2005
It is foreseeable to imagine the impact that the U.S. would have caused on Conti during those first periods of residence With caution the artist began personally experiencing this new landscape, more a product of human rationality than of nature, which never ceased to transmit the imposing strength of this city that burns with its own rhythms and rites. Said in another way, Conti finds himself in the hottest society of the Occident, if we use the classification elaborated by the great French ethnologist Claude Levy Strauss, who speaks of “cold societies” and “hot societies,” the former being those that function with minimum entropy, and the latter those that the ethnologist compares to a steam engine – those that in order to function produce huge entropy; and it is obvious that the United States is the major paradigm of this latter classification. Although during this period the artist continued delving deeply into the imagery of zooanthropomorphic symbols, in works such as “The Door,” “Horizon and Reed Flute,” “The burying Ground,” “Protected Land,” works which on the surface continued to emit signals of profound America, very soon his paintings began to experience changes that marked the undoubtable effects of his new vital circumstances. And it could not be any other way, given these surroundings, the influence of the New York landscape, visually rich and filled with stimulus, impossible to pass unperceived by someone who always realistically or symbolically, created transfigurations of context. The architecture that abounds in that great city are immediately recognizable in the artist’s new urban landscapes, in works such as “Fire Escape,” “Spanglish,” or “White House 10th Avenue,” to name just a few – the fire plugs, the tall fluted garbage cans that are typical examples of its identity. But very few times are the new works of Conti a mere naturalistic description, because the painter, again remarking on the alwayspresent fire escapes of the buildings, introduces a geometric form that immediately evokes this same stair-step form found so often in Andean architecture.
NIÑA Lápiz y collage - 110 x 80 cm. 2009
That is to say, if it is true that reality is the starting point for Conti, then again begin to appear– this time like an undecipherable urban memory – those American Indian forms of Conti’s anterior stages, in the midst of men and woman who, like shadows, wander aimlessly through the streets, dispirited and sleepless seemingly identical ciphers. Then again, the presence of such colorful systems of traffic signs – this formal world so highly regarded by the pop-art artists that it has been transformed into an emblem of the pop-art movement – also appear in other of Conti’s works, existing side by side, like the buildings, with the world of synthetic American forms. And it is necessary to point out that if his paintings continue softly blending colors, in some of his new works many times the softer tints now appear as if evoking industrial colors. To study all that has been realized by Conti to date is to stand before a varied formal world where, as in a complex symphony, themes enter and leave with diverse new ideas and changing elaborations. But in nearly all the period in New York these variations transmit almost exclusively what we may call this Americanism that has been nurtured by the pre-Hispanic cultures. Those imaginary inhabitants of the Littoral, created in the times of Itati, have been left behind. That material expresses what, independently of the argument, already constitutes another argument in itself because of the quantity of symbols with which the artist populated the surface of his work. Once again he commences returning to his works as if he were exploring his remote beginnings, but now with another maturity and solvency, searching once more for those imaginary figures. The anthropomorphic “Nude in the Rock” and “Nude in a Field of Thistles,” created in 2000, make one feel that the figures are only a pretext to fill the surface of a material which, mixed with sawdust, sings its own glory from side to side and from top to bottom. The same thing happens, although the figures are more defined with synthetic geometric schematism, with the magnificent series of hens that emerge from the rich and bulky surface where these zoomorphisms function as models in a rich oscillation between planimetry and virtual space.
DIA DE SOL Mate cocido - café - papel hecho a mano, tela de lino - 90 x 60 cm. 2008
The grace of these paintings, like the grace of the painting “Bird Man” or the series of “Girls,” once again places us before an artist who, with singular wisdom, has triumphed in recuperating the pristine gaze of a child, as when in those times in Itati, he obsessively practiced painting owls. It is not an easy task to determine the limits of those periods of production of the artist; the reasoning and the motives that come and go and interweave over the years like cycles that are interrupted and then return. What we can affirm is that Conti has worked with many keys to modernity but has always remained distanced from – ismos and actualizations. Faithful to his intuition, between the dense and organic world of the Littoral of those beginnings where he established the foundations of his art, and the inorganic New York landscape, he has understood, with the modesty that characterizes his life, how to create to the present time those magnificent paintings and sculptures which, at times with eloquence and at other times softly whispering, present us with a powerful symbolic and imaginary imagery, as well as realities that Conti’s inspired hand has known how to transform into a different real.
Raúl Santana Agosto 2004 Director of the Museum of Modern Art of Buenos Aires. República Argentina.
CARTONERO - Collage - 100 x 80 cm. 2009
QUENA, CARACOL y ARPA - Oleo sobre tela - 101 x 71 cm.
CANCION DE QUENAS Oleo sobre tela - 68 x 48 cm. 1990
CURANDERA DE LA PAMPA Bronce - 30 x 14 x 6 cm. 2002
LUNA EN EN PARANA Oleo sobre tela - 70 x 100 cm. 2006
S/T Bronce - 34 x 21 x 14 cm.
HECHIZO Oleo sobre tela - 82 x 51 cm. 2010
MANOS ANTIGUAS Oleo sobre tela - 83 x 61 cm. 2007
PALETA ENCENDIDA Oleo sobre tela 100 x 72 cm. 2012
ESPERANZA Oleo sobre tela - 71 x 50 cm. 2005
TORO NEGRO Oleo sobre tela - 82 x 110 cm. 2003
EN LA ORILLA Oleo sobre tela - 92 x 102 cm. 2003-2009
TIEMPO NUESTRO Oleo sobre hardboard - 70 x 90 cm. 1971
AGRICULTURA ORIGINAL 1974
THE SEVEN MOON Oleo sobre tela - 120 x 90 cm.
Y LA RAIZ AL SOL Oleo sobre tela - 70 x 100 cm. 1993
TIEMPO ESPERANDO 1975
SYMBOLOGY IN THE ART OF RAUL CONTI The work of Argentine American artist Raul Conti has its origin in the elements that man utilized in the Pre Columbian culture and in the artists´ own history of European immigrants. He draws like a man from the Americas and paints as a European. He thinks and philosophies as a man unified by both ancestral cultures. The objects and natural elements complement his compositions denoting his concern of his social surroundings. His principal theme is the human figure to which he continues synthesizing until it is inscribed within the trapezoidal shapes resembling the Indo American architecture such as La Puerta del Sol, for example. <<<<<< The egg, a symbol of gestation of life and ideas. >>>>>> The bird, a symbol of freedom. <<<<<< A shell is the symbol of memories, when one places it on the ear, in its interior one hears the rumoring of the sea, remembering the origin of its birth. >>>>>> The oval form with two diagonals crossing at the center represents an ideal of no submission (this symbol reminds us of the painful dismemberment suffered by the Inca Tupac Amaru for not surrendering to the Spanish colonizers. <<<<<< The generous art of giving and not taking is represented by a hand of 4 fingers, eliminating the thumb (prehensile). >>>>>> The plant of corn, symbol of fundamental nourishment of the Americas. <<<<<< A frog, the symbol of fertility, its croaking announces rain. >>>>>>
A decorated vessel, a permanency of a patrimonial culture. <<<<<<
A broken clay vessel, the destruction of a culture. >>>>>>
The quena (pan flute), the Andean sounds <<<<<<
A flowered plant with its roots outside represents uprooted youth. >>>>>> Geometries, such as squares in a plane, the symbol of intelligence, since in order to draw it one needs to think and organize the spaces. <<<<<<
A cabure (a type of small owl )theamorous enchantment, and the magic of its feather. >>>>>> A loom with its unfinished weaving, the web of an incomplete life. <<<<<< Hands and birds in a symbiotic unification, solidarity and freedom as an axis of coexistence. >>>>>>
Walking anonymous human figures, symbol of the universal immigrant. <<<<<< Strings that emerge from the earth, symbolize the rhythm of Mother Earth. >>>>>>
A beehive, the given sweetness. <<<<<< Two identical images over two central figures, the knowledge to be passed on to the next generation. >>>>>>
The music collages, western culture. <<<<<< Circles, triangles over laps or hands are musical instruments. >>>>>> The crisscrossing of branches with leather or rope, a banner that signals the blood line of a family (two families with the same form and color of objects signified that they had a familiar link and could not mix, thus maintaining a healthy line of descendants). <<<<<<
All of these synthesized symbols are integrated sometimes into an exuberant landscape and others into solitary compositions. Monkeys, lizards, suns, hands, healers, cats, chickens, crops, maternities, ostriches, traffic signs, walls and fire escapes: cultural symbols of countries and cities where the artist traveled, lived, and shared together with Edith, his life companion, poet and mother of his 5 children. Carlos Conti
CUZCO Oleo sobre tela. 1967
RAUL CONTI Argentino, 1931 - Adopta la ciudadanía norteamericana en 1996. Argentine, 1931- Adopts the USA citizenship in 1996
Exhibitions – Collections and Bibliography Individual exhibitions 1954 Museo Histórico de Bellas Arte, Corrientes, Argentina Centro Cultural Humanístico, Resistencia, Chaco, Argentina 1960 Nupuli, Lotería Correntina, Corrientes, Argentina 1962 Museo Histórico de Bellas Artes, Corrientes, Argentina 1965 O Gallery, Rosario, Argentina 1966 La Reja Gallery, Rosario, Argentina Arthea Gallery, Buenos Aires Argentina 1967 Arca Gallery, La Paz, Bolivia La Artística Gallery, Lima, Perú Centro Ecuatoriano-Norteamericano, “Camilo Egas”, Quito, Ecuador Casa Argentina, Mexico City, Mexico Van Riel Gallery, Buenos Aires, Argentina 1968 Espacio Gallery, Rosario, Argentina Witcomb Gallery, Buenos Aires, Argentina 1969 Espacio Gallery, Rosario, Argentina Museo Municipal de Bellas Artes, Tandil Argentina Museo Municipal de Arte Moderno, Mendoza, Argentina 1970 Rubinstein Gallery, Mar del Plata, Argentina Centro Azuleño de Artistas Plásticos, Azul, Argentina Witcomb Gallery, Buenos Aires Argentina Intituto Panameño de Arte, Panama International Gallery, Bogota, Colombia Instituto Calatán de Cultura Hispánica,Barcelona, Spain 1971 Atica Gallery, Olivos, Argentina Municipalidad de Morteros, “Semana de Morteros”, Córdoba, Argentina 1972 Ateneo Barcelonés, Barcelona, Spain Arthea Gallery, Buenos Aires Argentina 1973 Apia, Art Salon, Bahia Blanca, Argentina 1976 Casa de la Cultura, Ayuntamiento de Huelva, Spain 1977 Sagazola Gallery, Buenos Aires, Argentina L’Atelier Gallery, Acassuso, Buenos Aires, Argentina 1978 Sheridan Gallery, New York, NY Gallery Worth Avenue, Palm Beach, FL 1980 Keane Mason Gallery, New York, NY Cayman Gallery, New York, NY 1982 Lincoln Gallery, New York, NY Estevez Vilas Gallery, Cincinnati OH Banco Interamericano de Desarrollo, Washington D.C.
1983 Palace Hotel, San Juan, Puerto Rico Kaber Gallery, New York, NY 1984 Kristen Richard Gallery, New York, NY Raquel Real, Rosario, Argentina 1986 Club Nautico Hacoj, Tigre, Argentina 1988 Museo Eduardo Sivori, Buenos Aires, Argentina 1991 Retrospective Gallery, San Diego, CA Centoira Gallery of Art, Buenos Aires, Argentina 1992 Editorial Bonum, Buenos Aires, Argentina 1993 Fundación San Rafael, Buenos Aires, Argentina Vermeer Gallery, Buenos Aires Argentina 1995 Vista Gallery, New York, NY 2000 Arte Privado Gallery, Rosario, Argentina 2001 Museo Saavedra, Buenos Aires, Argentina 2004 Galeria Mediterránea, Buenos Aires, Argentina Art Point Gallery, Acassuso Buenos Aires, Argentina Metrovías, Buenos Aires, Argentina Museo Provincial de Bellas Artes “Ramón L. Vidal”, Corrientes, Argentina Museo Provincial de Bellas Artes “René Brusau”, Resistencia Chaco, Argentina 2004 ArteBa, Buenos Aires, Argentina 2005 Banco de la Nación Argentina, Galería de Arte “Alejandro Bustillo”, Buenos Aires, Argentina 2006 Galería de Arte “Isabel Anchorena”, Buenos Aires Argentina 2007 2008 - 2009 - 2010 Expotrastienda, Buenos Aires Argentina 2008 Galería “Mediterránea”, Buenos Aires Argentina 2008 Galería “Empatía”, Buenos Aires, Argentina 2010 Museo Provincial de Bellas Artes “Emilio Pettoruti”, La Plata, Argentina 2011 Galería “Ángel. Guido. Art. Project, Buenos Aires, Argentina 2013 Galería “Mediterránea”, Buenos Aires Argentina 2012 2013 Consulate General of Argentina Art Galleries - New York. 2014 Espacio de Arte -AMIA, Buenos Aires Argentina 2014 Galería “Art Gallery”, Buenos Aires, Argentina 2014 “Gallery of the president” of the University of Rochester, New York 2014 Hobart & William Smith Colleges, Geneva, New York 2015 Exposición permanente en “Galería Magna, Arte Argentino”, Buenos Aires, Argentina. 2016 “Galería Magna, Arte Argentino” - Septiembre/ Octubre, Buenos Aires, Argentina 2016 Art & Art November/ December Miami, USA
Group Exhibitions 1965 Crítica 65, Rosario, Argentina La Reja, “25 Pintores”, Rosario, Argentina 1966 Ciencia Gallery, “Por la Liberación de París”, Rosario, Argentina
1967 Pintura del Litoral, Canal 3, Rosario, Argentina 1968 Teatro El Círculo, Pintores Rosarinos, Rosario, Argentina Krass Artes Plásticas, Rosario, Argentina Planeta Hall, “Mijalichen & Conti”, Rosario, Argentina Carrillo Gallery, Rosario, Argentina 1969 Banco Popular Argentino, “5 Pintores”, Buenos Aires, Argentina Museo Municipal de Artes Visuales, Santa Fe, Argentina Museo de Bellas Artes, “Pedro Martínez”, Paraná, Argentina Club Americano, “7 Pintores Argentinos”, Buenos Aires, Argentina 1970 Banco Popular Argentino, Buenos Aires, Argentina 1972 Gran Hotel Dora, “4 Pintores”, Buenos Aires, Argentina “Homenaje a Van Gogh”, Centro Cultural San Martín, Buenos Aires, Argentina Museo de Arte Moderno, “Exposición Nacional del Arte en Madera”, Séptimo Congreso Forestal Mundial, Buenos Aires, Argentina 1973 Sala Nacional de Exposiciones, “Canción Estampa”, Buenos Aires, Argentina 1975 Museo de Arte Moderno, “Imagen de América”, Buenos Aires, Argentina 1976 Museo de Artes Visuales, Buenos Aires Argentina Salas Municipales de Exposiciones, Mar del Plata, Argentina 1977 Van Riel Gallery, “20 Exposiciones del Tapiz Argentino”, Buenos Aires, Argentina Cooperativa Haedo en la Cultura, “Muestra de Plásticos Argentinos”, Bs. As, Arg. Hoy en el Arte, Pinamar, Argentina 1979 Heiman Gallery, Johannesburg, South Africa Queens Museum, “14 Latin American Artists”, Queens, NY Signo Gallery, “Artistas Latinoamericanos”, El Salvador Washington World Gallery, Washington, D.C. Casa de España, “4 Argentinian Artists”, New York, NY Cayman Gallery, “7 Artists”, New York, NY 1980 Centro de Bellas Artes, Maracaibo, Venezuela Museo Municipal de Guayaquil, Ecuador Museo de Ponce, Puerto Rico Ramapo Collage, “Contemporary Latin American Artist”, New Jersey Ollantay Gallery, “Raices”, Queens, NY Piramides Gallery, Caracas, Venezuela 1981 Equitable Life Assurance Society of de United States, “Hispanic Artist in New York”, NY City Gallery, New York, NY Rutgers University, New Brunswick, NJ 1982 5 Bienal de Grabado, Puerto Rico Long Beach Museum of Art, Long Beach, NY Museo de Cultura Puertorriqueña, San Juan, Puerto Rico 1983 6 Bienal de Grabado, San Juan, Puerto Rico 2 Bienal de Grabado Latinoamericano, Cayman Gallery, New York, NY
1984 Museum of Contemporary Hispanic Art, New York, NY 1986 Arch Gallery, New York, NY 1987 “Semana Cultural Iberoamericana”, Casa de España, New York, NY 1988 Arch Gallery, “Argentine Art 1988”, New York, NY 1989 Art Expo, New York, NY 1990 Art Expo, New York, NY 1991 Newark Museum, NJ Bergen Community College Museum, Homage to the Conti Family, NJ 1992 Museo de Bellas Artes, “Fernán F. de Amador”, Lujan, Argentina Museo Nacional de Arte Decorativo, “Los Murales de Caritas”, Bs.As. Arg. 1995 The Museum of Paterson, “4 Argentine Artists”, New Jersey Feria Internacional de Arte, Mexico City, Mexico 1996 Exposiciones en Ciudades de Campeche, Sonora, Mexico Studio 64, New York, NY 1997 Contemporary Latin American Art, Kulturcentrum Ronneby, Sweden 1998 AT&T Latino Art Festival, Queens Theater in the Park, New York 1999 Solo Exhibit at Mapuche Country Gallery Museo de la Escultura, “Luis Perlotti”, Buenos Aires 2000 ARTEBA, Mayo 2000, Buenos Aires
Public and Private Collections National Fund for the Art, Buenos Aires, Argentina Museo de Arte Moderno, Buenos Aires, Argentina Organization of American States, Washington, DC. National Library, Paris, France Museum del Barrio, New York, NY Museo de Bellas Artes, Caracas, Venezuela Museo de Ponce, Puerto Rico Museo de San Juan, Puerto Rico Instituto Panameño de Arte, Panamá Long Beach Museum, Long Beach, NY Instituto de Cultura Hispánica, Barcelona, Spain Museo de Chivilcoy, Buenos Aires, Argentina Museo Histórico de Bellas Artes, Corrientes, Argentina Museo Provincial de Paraná, Argentina Monsanto Collection, Buenos Aires, Argentina Bárbara Duncan Collection New York, NY Papel Carton de Venezuela Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico St. Joe Minerals Corporation, New York, NY Lilian Pagani Collection, Cincinatti, Oh Greger Olsson Collection, Sweden Laura Kaye Stewart Collection, New York, NY
Minetti Collection, Rosario, Argentina Museo Sívori, Argentina Betsabe Reisin, Buenos Aires, Argentina Ashkenazy Galleries, Los Angeles, CA Carrie Curtis Collection, Connecticut Mario Broeders Collection New York, NY Elizabeth Estrin Collection, New York, NY Ellen Vanden Broeck Collection, Colorado, EEUU Museo Omar Rayo, Colombia Museo Regional, Morteros, Cordoba, Argentina Museo Provincial de Bellas Artes, Ramón L. Falcón, Corrientes Argentina Simón Sandler, Collections, Buenos Aires Museo de Bellas Artes, “Emilio Pettoruti”, La Plata Argentina Museo Saavedra, Buenos Aires, Argentina Plaza “Bob”, New York, NY. Hobart and William Smith Colleges and the Davis Gallery - Geneva -New York “Gallery of the President” of the University of Rochester, New York Boulevard Zencity, Complejo Infinity, Puerto Madero, Buenos Aires, Argentina Country “El Carmel”, Pilar, Buenos Aires, Argentina.
BIBLIOGRAFIA – BIBLIOGRAPHY Juan Genaro Gonzalo Bedoya – La Mañana, 1954. “1ª Exposición Individual”. Prof. Francisco Manzi – Prólogo catálogo, 1965, Rosario, Santa Fe. Prof. Eugenio Castelli – Prólogo catálogo, 1965. Rosario, Santa Fe. Luján Carranza – La Tribuna, 1965. Rosario, Santa Fe. Horacio Correa – Diario La Capital, 1965, Rosario, Santa Fe. Pedro Giacaglia – Prólogo catálogo, 1966, Buenos Aires. Cordoba Iturburu – Prólogo catálogo, 1966, Buenos Aires. Ernesto Ramallo – La Prensa, 1966, Buenos Aires. Diario El Mundo – 1966, Buenos Aires. Edgardo Perez Luna – Correo, 1967, Lima, Perú. Eduardo Baliari – Prólogo catálogo, 1967. Buenos Aires. Diario El Tiempo – 1967, Ecuador. Guillermo Daly Romero – Revista “Oiga”, 1967, Lima, Perú. Cesar Magrini – El Cronista, 1968, Buenos Aires, Argentina Eduardo Baliari – Diario Clarín, 1968, Buenos Aires. Ernesto B. Rodríguez – Prólogo catálogo, 1969, Buenos Aires. Diario La Nación – 1969, Buenos Aires. Ernesto Ramallo – La Prensa, 1969, Buenos Aires. Sonia Marsal – Prólogo catálogo, 1969, Buenos Aires. Olga Pareja Nuñez – Diario La Capital, 1969, Rosario, Santa Fe. Francisco Galli – La Vanguardia Española, 1970. Barcelona, España. José Yepes Lema – El Espectador, 1970. Bogota, Colombia.
Osiris Quirico – “El Paisaje y el Símbolo”, Pluma y Pincel, 1977. Buenos Aires. Cesar Magrini – El Cronista Comercial, 1977. Buenos Aires. Millie Worth – Palm Beach Daily New. 1977. FL. USA Geo Mundo Magazine. Luis R. Cáceres, 1979, 5 Pintores Argentinos Palmer Poroner – Artspeak, 1980. New York. Abby Zito – Artspeak, 1980, New York. Sassana Sakel – Artspeak, 1981, New York. Rosemary Munsen – The Cincinnati Enquirer, 1981. Ohio Cordoba Iturburu – “80 Años de pintura Argentina”, Edición Librería de la Ciudad. Buenos Aires. Arte 80 – Correo Editorial. Buenos Aires. Ana Hernandez Porto - Prólogo “Hispanic Artists in New York”, 1981 New York. Juan Bujan – La Voz Hispana, 1982. New York. Graciela Parral – Imagen Magazine. 1983. Miami. FL. Omar Rivabella – Diario La Prensa, 1983 New York. Diana Cautelar – “El arte de vivir del arte”. Clarín Revista, 1984. Buenos Aires. Jorge Feinsilber – Ámbito Financiero. 1984. Rosario. Patricia Martínez Dufour – Diario La Capital, 1984. Rosario. Santa Fe. Alberto Collazo – Diario Clarín, Buenos Aires. Diccionario de Artistas Plásticos en la Argentina – 1988, Buenos Aires Hector Cartier – “Raul Conti” – Prólogo, 1988. Buenos Aires. Olga Pareja Nuñez – “Raul Conti: Una comprometida propuesta”, Prólogo. 1988. Buenos Aires. Rosa Faccaro – “Símbolos”, Diario Clarín, 1991. Buenos Aires. Aldo Galli – “La Conciencia Americana”, La Nación, 1991. The Light Newspaper, 1991. San Diego. California. Aldo Galli – “Un definido americanismo”, Diario La Nación, 1993, Buenos Aires. Konst Varlden – “Latin Américan Collection”, 1997 Sweden. Ulla and Greger Olsson: Prólogo catálogo: “Contemporary Latin American Art”, Brussels. 1997. Eduardo Marceles – Prólogo catálogo: “Latin American Artists at the End of the Century”, 1998 New York. Marcelo D. Fernandez – “Desde Itatí a New York”. Magazín Semanal, 1999, Corrientes. Horacio Chávez Paz – “Raul Conti, un argentino continental”. Revista Médica de Arte y Cultura. 1999, Mexico. “20 Pintores”, Ensayo. Sonia Marsal Argentina, 2001. Sue Littleton - Libro - “Mujer Maíz” Colaboración Plástica. 2004. El Federal, “Cuando la raíz está en la Síntesis” 2011 Ignacio Gutiérrez Zaldívar. Anuario de Arte Argentino, Argentine Art Yearbook Ninth International Artist. 2013 Greger Olsson, Prólogo Libro - Raúl Conti “Mi vida - mi obra”, 2014 Raúl Conti, Autobiografía Libro - “Mi vida - mi obra”, 2014
333 NW 23rd Street, Miami | FL 33127 | USA | T. +1 (786) 362 5165 |
[email protected]
www.artnartgallery.com
They collaborated Poesía Edith Fariña Conti Edición Silvia Belmonte Fotografía María Victoria Bonadeo Atelier Escultura RAUL FARCO They collaborated Marcelino A. Ruiz Díaz Enrique M. Ruiz Díaz Miguel E. Perez Thank
SOLAPA CONTRA TAPA
CONTRATAPA
TAPA
SOLAPA TAPA
They collaborated Poesía Edith Fariña Conti Edición Silvia Belmonte Fotografía María Victoria Bonadeo Atelier Escultura RAUL FARCO
RETROSPECTIVA
333 NW 23rd Street, Miami | FL 33127 | USA | T. +1 (786) 362 5165 |
[email protected]
www.artnartgallery.com
They collaborated Marcelino A. Ruiz Díaz Enrique M. Ruiz Díaz Miguel E. Perez Thank
RETIRACION SOLAPA TAPA
RETIRACION TAPA
RETIRACION CONTRATAPA
RETIRACION SOLAPA CONTRA TAPA