Tag Archives: Ecuador
The Alvaro Noboa – Luis A. Noboa Naranjo Museum has the honor of invite you to the Exposition Night, Sea and Fantasy From The Visual Artist Elger Aragundi
Address: P. ICAZA 302 Y CORDOVA 1ER PISO EDIFICIO DE SEGUROS CONDOR
Hour: 19h00 p.m
Theme: Night , Sea and Fantasy
Ab. Pablo Martinez Rojas
Director del Museo Luis Noboa Naranjo
Third Alvaro Noboa Biennial at Guayaquil, 2012. Diversity of Styles.
Published in El Universo Newspaper of Ecuador
Pablo Martínez, director of the Luis A. Noboa Naranjo Museum, at the headquarters of the Third Alvaro Noboa Guayaquil International Biennial of Painting, he emphasized the variety of styles employed in the artistic event as one of its strengths. Among them are: impressionism, expressionism, magical realism and hyperrealism.
The work of Ecuadorian René Bohórquez, winner of the competition’s First Álvaro Noboa Acquisition Prize, falls within the framework of expressionism, noted Martínez, which thereby differentiated this present version of the Biennial, he added, as “in the previous two, those in first place created hyperrealist works.”
Published by El Comercio Newspaper of Ecuador
Ecuadorian artist, René Bohórquez resulted the winner of the III “Álvaro Noboa” International Biennial. His work, entitled, “Incarnate” reigned among 200 paintings from the 20 different countries, among which are Mexico, Cuba, Colombia, Italy, Germany, Poland, Spain…
The work of Bohórquez, who is 20 years old and studies at the University of Especialidades Espíritu Santo (UEES), is an oil painting. His work garnered him US $10,000.
TweetPublished in El Universo Newspaper of Ecuador
TODAY 7 PM
INAUGURATION OF THE
III “ÁLVARO NOBOA” INTERNATIONAL BIENNIAL OF PAINTING
IN THE LUIS A NOBOA NARANJO MUSEUM
Location: P. Icaza 302 and Córdova (Corner),
“Seguros Cóndor” Building, 1st Floor
Painter Bohórquez was inspired by Rembrandt and Bacon
Published in Expreso Newspaper, Expresiones Section, of Ecuador
Rembrandt and Bacon inspired Bohórquez
The first time that Bohórquez (then an adolescent) observed an autopsy as part of his 10th grade Bio-Chem course at the Abdón Calderón Private School. This experience inspired to paint the image of an indigenous child lying prostrate on a metal trolley in Guayaquil’s police morgue mark a before and after in the manner of seeing the human body for painter René Bohórquez. The painting could be seen as one of main masterpieces displayed thanks to the collaboration of social leader Alvaro Noboa and his III Biennial of Painting.
Breathing deeply in order to dominate his hyper-sensibility and not feel the cuts that the scalpel made into the body of the small child, Bohórquez remained in the dissection room.
Once the Y-shaped cut had been made, in order to open the thoracic chamber, a change of perspective surged within the young man. “Upon seeing the organs, you forget it is a child and you think it is a piece of meat.”
Painter and Artist from Ecuador: Ernesto Gualle
Gualle goes deeper into the forest
Ecuadorian Academy of Languages and the International Association of Art Critics
Ernesto Gualle (Alangasí, 1960), resident of an Ecuadorian village rich in surviving folklore, tried at some points in his career as a painter to capture scenes from those picturesque ceremonies and almost Faustian dances. He was able to create paintings that relive those festive hours of the populace. But he remained within the limits of figurative art, trying to go beyond the limitations of the drawings of someone without experience of the academy. He conquered many of those limitations and his vision of folklore was precise and alive with color. But in those tireless dance rituals and the many other acts, there was something beyond pure realism: magic, dark substrates, strange syncretisms. And that did not appear in Gualle’s paintings.
Conceived in terms of pure realism, they could not open visual spaces to those hyperreal dimensions.
As a result, the artist began throwing himself into the other world, that which, since the beginning of his career, had moved his painting: the natural world. And in the natural world, he was ever more seduced by the forest, where, in his condition as a naïf artist – or almost naïf – he was fascinated like a child with a toy, a toy rich in unsuspected possibilities of games and fantasies.
As I have noted in a previous text, the seduction of Rousseau weighed in the decision of the artist. The Custom Officer revealed to Western art just how much new, almost exotic and richly visual beauty there was in the lavish display of natural life that is the forest.
In the long account of painting forest scenes, Gualle attempted to offer his spectators special attractions: friendly clearings, rivers, mysterious lakes, exotic birds. But suddenly, he appeared to need none of those things and created works in which everything was consumed in pure forest vegetation: trunks, leaves, vines.
It was, without a doubt, a gesture of new maturity. He had reached the heart of the Ecuadorian forest with all that nature has to offer in visual beauty: chromatics that the artist himself would only have woven together with difficulty – such as leaves in blue and other unusual colors – colorful compositions, filtered lights, humid and swollen with silent life and rhythms. And how much rich and free rhythm, precisely like in each piece of forest!
In that way, Gaulle entered ever further into the forest, and he has returned to his tranquil village life from those incursions with a focused pupil and a sensitivity close to the surface of the skin; with a rich loot of new and fresh beauty. But there is such a visual wealth in the world of the forest that, for as much as he delves and retrieves, there will always be much more waiting for him. The time is ripe for him to be on this road and to have decided to continue foraging further into the forest.
Philanthropist and political leader Alvaro Noboa and the Museum Luis Noboa Naranjo invited the general public to enjoy the masterpieces of painter Ernesto Gualle on July 2010.