{"id":1836,"date":"2015-10-26T02:30:15","date_gmt":"2015-10-26T07:30:15","guid":{"rendered":"https:\/\/archive.santiago-reyes.com\/?page_id=1836"},"modified":"2016-08-24T12:03:22","modified_gmt":"2016-08-24T17:03:22","slug":"monochrome-undone","status":"publish","type":"page","link":"https:\/\/archive.santiago-reyes.com\/en\/noticias-news\/monochrome-undone\/","title":{"rendered":"Monochrome Undone"},"content":{"rendered":"

\"Monochrome \"Monochrome \"Monochrome \"Monochrome<\/p>\n

\"Ventana-2012-Santiago<\/p>\n

Window, 2012 (Sayago & Pardon Collection) is part of the exhibition\u00a0Monochrome Undone<\/em><\/strong> curated by\u00a0Cecilia Fajardo-Hill.<\/strong><\/p>\n

October 24, 2015 \u2013 April 1, 2016
\nSPACE, Irvine, California, E.U
\n<\/strong><\/p>\n

The monochrome as a focus in the Sayago & Pardon Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art. If we think about its origins or meaning, we find that the monochrome is many contradictory things. The monochrome is neither a movement nor a category; it is not an \u201cism\u201d or a thing. It may be painting as object, the material surface of the work itself, the denial of perspective or narrative, or anything representational. The monochrome may be a readymade, a found object, or an environment\u2014anything in which a single color dominates. The monochrome can be critical and unstable, especially when it dialogues critically or in tension with modernism. This exhibition is organized into four different themes: The Everyday Monochrome, The White Monochrome, The Elusive Monochrome and The Transparent Monochrome. These themes have been conceived to create context and suggest interpretations that otherwise might be illegible.\u00a0 These may overlap at times, pointing to the multiplicity of content in many of the works. The unclassifiable and variable nature of the monochrome in Latin America today is borne of self-criticality and from unique Latin contexts, to exist within its own specificity and conceptual urgency.<\/p>\n

Artists:
\nRicardo Alcaide, Alejandra Barreda, Andr\u00e9s\u00a0Bedoya, Emilio Chapela, Eduardo Costa,\u00a0Danilo Due\u00f1as, Magdalena Fern\u00e1ndez,\u00a0Valentina Liernur, Marco Maggi, Manuel\u00a0M\u00e9rida, Gabriel de la Mora, Miguel Angel\u00a0R\u00edos, Lester Rodr\u00edguez, Eduardo Santiere,\u00a0Emilia Azc\u00e1rate, Marta Chilindr\u00f3n, Bruno\u00a0Dubner, Rub\u00e9n Ort\u00edz-Torres, Fidel Sclavo,\u00a0Renata Tassinari, Georgina Bringas, Abraham\u00a0Cruzvillegas, Thomas Glassford, Jos\u00e9 Luis\u00a0Landet, Jorge de Le\u00f3n, Bernardo Ortiz, Martin\u00a0Pelenur, Teresa Pereda, Pablo Rasgado,\u00a0Ricardo Rend\u00f3n, Santiago Reyes Villaveces<\/span>,\u00a0Mariela Scafati, Gabriel Sierra, Jaime Tarazona,\u00a0Ad\u00e1n Vallecillo, Horacio Zabala.<\/p>\n

http:\/\/abstractioninaction.com\/monochrome-undone\/<\/a><\/span><\/span><\/p>\n

Catalog<\/strong>
\nMonochrome Undone
\nCecilia Fajardo-Hill, Carlos E. Palacios (texts)
\nRM + Sayago & Pardon
\nHardcover with dust jacket
\n230 pages
\n108 photographs
\n7.8 x 10.2 in
\nDesign: Carlos Garc\u00eda
\nBilingual edition
\nISBN: 978-607-8295-24-1
\nISBN RMV: 978-84-16282-09-8<\/p>\n

http:\/\/www.editorialrm.com\/2010\/product.php?id_product=334&id_lang=1<\/a><\/span><\/p>\n

 <\/p>\n

\"detalle-ventana\"<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Window, 2012 (Sayago & Pardon Collection) is part of the exhibition\u00a0Monochrome Undone curated by\u00a0Cecilia Fajardo-Hill. October 24, 2015 \u2013 April 1, 2016 SPACE, Irvine, California, E.U The monochrome as a focus in the Sayago & Pardon Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the […]<\/p>\n","protected":false},"author":1,"featured_media":2301,"parent":424,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1836","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/pages\/1836","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/comments?post=1836"}],"version-history":[{"count":7,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/pages\/1836\/revisions"}],"predecessor-version":[{"id":2305,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/pages\/1836\/revisions\/2305"}],"up":[{"embeddable":true,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/pages\/424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/media\/2301"}],"wp:attachment":[{"href":"https:\/\/archive.santiago-reyes.com\/en\/wp-json\/wp\/v2\/media?parent=1836"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}