Viviana Zargón

Pleagado de Grand Palais

2017

Palais des machines plegado, 2015 Digital photography printed on Hahnemuhle paper 9h x 35.50w x 3d in Edition 2/5 Using photography as the starting point, Viviana Zargón constructs a pictorial universe of industrial imagination. In an exploration of abandoned empty spaces, Zargón portrays an exhaustion of hope as she incorporates traces of manufacturing artifacts from the Industrial era. Through the medium of photography and painting, Zargón creates a semantic configuration of reality as she reflects on the relationship between production, work, and social progress to greater understand the present. Vivana Zargon was born in Buenos Aires in 1958. She Studied at the University of Barcelona, School of Fine Arts and was awarded the annual scholarship from Government of Catalunya, Spain given to young artists. She has been the subject of several solo exhibitions including : Galería Ruth Benzacar (Buenos Aires, 1985); Galería Julia Lublin (Buenos Aires, 1993); Brazil Art Space (Houston, Texas, USA , 1995); Galleria Banchi Nuovi (Roma, Italia, 1996); Filo Espacio de Arte (Buenos Aires, 1997); Sicardi Sanders Gallery (Houston, Texas, USA, 1998); Centro Cultural Borges (Buenos Aires, 1998); Galería Arteconsult (Panamá, 2005, 2009, 2012); Museo Calderon Guardia (San Jose de Costa...

Scompte 1, 2017 Digital photography printed on Hahnemuhle paper 19.69h x 29.42w in Edition 2/5 Using photography as the starting point, Viviana Zargón constructs a pictorial univers...

Printed on Acrylic Jean-Charles Mandou is a French photographer born in 1962 who lives between France & Brazil. He studied at Ecole du Louve in Paris. He works also in theater & cin...

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...