Page 1

Embassy of Uruguay in the United Kingdom

Pablo Atchugarry

espíritu OLíMPICO

July 25 - September 8, 2012

Essay by David Lee




Pablo Atchugarry by David Lee

11 Journey through matter

34 Monumental sculptures

51 Plates

75 Biography

77 Selected solo and group exhibitions

79 Selected bibliography


Pablo Atchugarry “My images are a search for the possibility of living in harmony with each other and with nature, in which contrasts and contradictions should be cherished.” Unwitting victims of the modern age must burrow a way back to an almost ancient mindset in order to deal with the sculptures of Pablo Atchugarry. Irrepressibly, he continues a tradition recognisable since the beginning of carved sculpture but which has recently fallen into neglect and desuetude. At the foundation of all his work is what has been for centuries considered the basic motivation for making all art; namely, the sharing with others of the beautiful and imagined through demonstration of unique practical ability. In my view, this remains a valid reason for making art today, although you might not think so upon entering that charlatan’s paradise where so much of fashionable contemporary art resides. Carving in marble is not subversive or ephemeral, clever or ironical, glib or throwaway. It is not the chosen art form of the theorist or the contemporary art scribbler. On the contrary, the unblemished white marble used by Pablo Atchugarry is inappropriate for the quick or catchpenny. Built-in obsolescence or the conspicuously sensational are alien to it. Marble implies permanence and the addressing of a message to a distant future. It requires absolute belief by the artist in the permanence of the meaning it contains. As little as thirty years ago it would have been inconceivable to propose that a day was imminent when artists would no longer need to exhibit their slowly acquired skill in order to be taken seriously, let alone a day when such artistry might be considered a positive encumbrance. Indeed, it is worse even than that; craft skill in sculpture has become a cause for superior derision dispensed by those who have found a way around it and whose own “skills” have largely to be taken on trust. It would have been doubly inconceivable a generation ago that an artist might delegate the craft component to another before passing off the resulting artefact as his own on the dubious pretext that the idea behind the work was all that mattered and that the mere execution of it was of negligible account and virtually unworthy of mention. Thus it was that the ‘idea’ in the form of the written statement became king, and art schools have been rendered more or less redundant as anything but talking shops peddling casuistical theories little more convincing than medieval relics. Sculpture of any ancestrally recognisable description has more or less ceased. Few are left to keep the flame alight, and those who do are precious indeed. Of course, the delegation of execution in the artist’s studio is not the invention of your average post-modern chancer. The famous left hand of a youthful Leonardo has been found in Verrocchio’s panel paintings and the imprint of a juvenile Michelangelo are regularly proposed in assorted frescoes and statues. Those two contemporary studio boys, Giorgione and Titian, conspicuously assisted Giovanni Bellini, who, presumably, couldn’t believe his luck in acquiring two 6

such apprentices at the same time. There are even those who can find the signature flourishes of a teenage Van Dyck in studio pictures by Rubens. And, of course, in 18th century London the works of jobbing portrait painters so often looked more alike than dissimilar because the same drapery painter had been employed by different face painters. But at least then the unifying, finishing touches were applied by the master and the buyer received a work conceived, executed in whole or in part, and certainly completed by the person whose name was on the cartellino. And as for sculpture, we know the author of the Parthenon marbles as Phidias, but on this massive project swiftly executed he was in truth little more than a foreman overseeing scores of masons, some poor, some average and some others possibly as highly regarded as himself. In recent decades so many corners have needed to be cut in order to meet the voracious appetites of a ready market for a score of internationally promoted artists, that the artist has become little more than a commissioning agent, his works more akin to the tradeable securities and bonds of investment. It was recently calculated that a well-known conceptual artist enjoyed an exhibition somewhere in the world every six weeks. Every six weeks! How might an artist whose work must gradually mature compete with such ubiquity? What might a carver by hand like Pablo Atchugarry realistically achieve in a month and a half? One smallish piece? In order to satisfy investor demands for their work, few of the big brand names in contemporary art need little more skill or dedication than is required to operate a mobile telephone, first to commission a work’s making and then to arrange its despatch. At their most hands-on, many contemporary artists are clerks-of-works supervising factories with the results showing all the hallmarks of soulless, mechanised industrialism. The notion of uniqueness, of the unrepeatable, is one entirely antagonistic to the modern market and the greed underpinning it. Such an approach is not comparable to the product of an artist’s hand. The idea that craft skills can be taught is virtually dead, not least because so few students are prepared to allocate the time, the years, required to evolve mastery. The fledgeling artist today requires quick results for a minimum of effort and a maximum of short-term gains: there is in many young artists a distasteful urgency for acclaim at all costs. A recommendation to hone skills patiently over a traineeship of years would elicit gales of laughter among today’s art students who have seen their immediate predecessors lauded for reproducing ad nauseam nothing very much. We have become lazy; lazy makers and lazy lookers. The few who transcend this stand out. As a result of the practices and attitudes here described, at least one crucial ingredient in sculpture has been downplayed or sacrificed; this is the touch of the artist, the sense that the artist gave life to this thing, this inert block of stuff, here, with his own hand. The loss of the artist’s charged touch has never seemed as important as it does at a time when shallowness and vulgar superficiality reign and disappoint. In sculpture, the proximity of the artist is there in every detail and makes for precious encounters beloved by any devotee of sculpture. 7

Moore, arguably the last of the great carvers in British sculpture. His intense attention to form and surface is almost tangible in the tiniest maquettes he made with his hands and fingers in later life while sitting semi-invalided at his work table. As these autograph maquettes were passed down a line of workmen for scaling up, the greater the expansion of the bronzes the further from the artist’s wellspring of touch the object became. Brittle, fragile precision in the original was first thinned then lost, sacrificed on the altar of demand and turnover. Thus, in late Moore an exponential inverse relationship establishes itself between the size of the work and its aesthetic impact. Another example of the crucial ingredient of touch inducing reverence occurs in the sculpture of Degas. Few finer examples of feeling and sensing the proximity of the master exist than in the tiny sculptures of dancers cast after his death from wax models discovered in his studio. As a student in the early 1970s I came upon an exhibition of these pieces only previously having seen them in unhelpfully small, black and white reproductions. In the originals Degas’s fingerprints were visible on the surface, prodding, kneading, forcing, sliding, curving. On one supporting ankle a taut achilles tendon had been pinched into life between finger and thumb. This small observation delivered an electrifying moment. It was as though one was stood at the alchemist’s elbow, watching him demonstrate how base stuff is fingered into the gold of life. I beg to differ with those who claim that skill, craftsmanship and personal touch play no part in an aesthetic response to a work of sculpture. Their arguments are mere sophistry and far too much is sacrificed by neglecting these qualities. And how honestly could it be otherwise? Admittedly skill is not everything, and the artisan’s raw craft is nothing beside the expressiveness of the virtuoso. But, for many, skill is still the essential without which scarcely anything remains. It is the securest base from which every ingredient – vision, insight, poetry – rises like a building from its foundation. Remove this fundamental dexterity and the carrier of expression is lost, the one presupposing the other. Imagine the casual eschewing of skills in other arts and activities: the tone deaf tenor; the illiterate wordsmith; the uncoordinated dancer; the poet addicted to cliché; the designer whose wheels are not quite round; the architect without structural nous; an opening batsman with a sloth’s reactions; the footballer with two left feet... This would all be intolerable. Such people would be politely invited to take up another profession on the grounds that they lacked the necessary basics for their preferred vocation. Mockery is the only response to all of this, except apparently in art, where the sculptor who can’t model, carve or draw is a lauded reality. In 2001 the preeminent living British playwright Tom Stoppard, speaking at the Royal Academy annual dinner, annoyed the entire contemporary art establishment when he argued persuasively that the skill quotient in making art


What has all of this to do with Pablo Atchugarry? Well, in truth, nothing at all except that it serves to highlight his extraordinary abilities and faith in conventions dismissed as dead and unworthy by so many. He is the exemplary exception to the above criticisms and it is the reason why he deserves to be encouraged and cherished. He makes his own work, responding to what he finds in the stone.You can see this is the case, and once you become attuned to the particularities and vocabulary of his style, you can even feel that he makes it. No one else could commune with the material in the instinctive, peculiar way he does. For such is the very essence of serious artistry. His sculpture is entirely authentic and made to last in an undying material. To seek such permanence presupposes a resolute belief by the artist in his personal ability to communicate with others, not just today but in fifty or five hundred year’s time. Atchugarry’s process would be recognisable to Praxiteles, let alone to Bernini, Gibson or Rodin. His material would be personally recognisable to most sculptors from ancient imperial Rome onwards. Emperor Augustus opened the marble quarries in the mountains above Pisa. He called them Luna; we call them Carrara. Like Michelangelo and Canova before him, Atchugarry treks up the mountain and scales the terraces to select his material. Such reverence for the tradition of his medium and the respect for the materials he uses is at the heart of his practice. And as with the work of all considerable artists, Atchugarry’s sculptures make light of the enormous physical and mental efforts expended to make them. The essence of any serious art is that it won’t be seen, solved, worked out and parcelled up in a matter of seconds. What would be left for a second look? Where would the great works of sculpture be if they were so superficial there was nothing left to find in them for tomorrow. Discovery through looking won’t be rushed and affecting sculptures, like Atchugarry’s, are the slowest burning of all possible artistic fires. This is surely one definition of art: that to which one is required to return time and again, and no matter how many times you visit there is yet more left. These pieces deserve patience because they refuse facile solutions and meanings. Atchugarry’s pieces suggest stories and emotions in abundance. Their forms equate to those of human subjects and invite speculation. More organic shapes thrive and compete as in Nature. Symbols and narrative echoes demand that these pieces be taken seriously and refute all attempts to see them as merely pretty or ornamental, for abstract they are not. These sculptures need no grandiloquent explanation of fine words. Sculptures point, strive, escape, dance, embrace, display, entwine, sit, stand, reach, unfold, ripen, love, relax, strain. Some are acquiescent and resigned, others are anxious, pained, struggling, even oppressed. In a few one suspects heartbreak and tragedy. But through all of them runs a deep vein of tenderness in the making. David Lee 9

Journey through matter







Carrara’s quarry

Pablo selecting marble blocks at the quarry


Carrying and finishing first marble sculpture, La Lumière, Brescia, Italy,1979

Atchugarry working on Pietà, Lecco, Italy, 1981


Installation at the Venice Biennale 2003

Working on Dreaming of Peace, lecco, Italy, 2003

Carrara, 2002


Atelier, Lecco, Italy, 2010

Groeninge Museum, Bruges, Belgium 2010


Working on black marble, Fundaci贸n Pablo Atchugarry, Uruguay, 2007

Monument to the Civilization and Culture of Work in Lecco, Italy, 2002 18

Cosmic Embrace, Lecco, Italy, 2010


Handling a 47 ton marble block, Lecco, Italy, 2012


Finishing Dreaming New York, Lecco, Italy, 2011


Installation Dreaming New York, Times Square, NYC, 2012

Times Square, NYC, 2012



2006,bronze, h91x26x23 in (231x65x59 cm)

Different phases of bronze casting,Verona, Italy, 2012



Working on bronzes at the foundry,Verona, Italy


Assembling Espíritu Olimpico I and Espíritu Olimpico II, Parma, Italy, 2012


Installation of Espirítu olímpico II, St James’s Square Gardens, London

Installation of Espirítu olímpico II, St James’s Square Gardens, London


Phases of wood processing, Lecco, Italy




In the way of light, Loris Fontana Collection,Veduggio, Italy, 2006



Installation The forest of life, 2005-2012, Statuary Carrara



Pomona, 1994, Italy

Obelisco del terzo millennio, 2001, Italy



Untitled, 1999, Groeninge Museum Collection, Bruges, Belgium

Camino Vital, 1999, Berardo Collection, Lisbon, Portugal


Dreaming of Peace, 2003, Uruguayan Pavilion,Venice Biennale


The Great Angel, 2006, Italy 43

Light and Energy of Punta del Este, 2009, Punta del Este,


Untitled, 2008, S達o Paulo, Brazil 45

Sails of South, 2009, Montevideo, Uruguay 46

Untitled, 2011, Oklahoma, USA 47

Dreaming New York, 2011


Cosmic Embrace, 2006-2011, Italy




Untitled, 2011, Pink Portugal marble, h 13x9.3x8.3 in (33x23,5x21 cm)


Untitled, 2011, Statuary Carrara marble, h 52.8x9.8x7.5 in 53

Untitled, 2001, Pink Portugal marble, h 47.2x16.9x9.8 in (120x43x25 cm)


Untitled, 2012, Statuary Carrara marble, h 30.5x11.8x10.4 in (77,5x30x26,5 cm)


Untitled, 2012, Statuary Carrara marble, h 55.7x11.8x7.9 in (141,5x30x20 cm) 56

Untitled, 2012, Statuary Carrara marble, h 55.9x11.4x7.5 in (142x29x19 cm) 57

Untitled, 2012, Olive wood, h 53.2x25.6x25.6 in (135x65x65 cm)


Untitled, 2012, Pink Portugal marble, h 31.5x15.8x9.2 in (89x40x23,5 cm)



Inspiration I, 2012, steel, h 22.6x8.3x8.3 in (58x21x21 cm)

Inspiration II, 2012, steel, h 19.7x8.3x8.3 in (51x21x21 cm)


Untitled, 2012, Pink Portugal marble, h 30.7x13x7.1 in (78x33x18cm)


Untitled, 2012, Pink Portugal marble, h 19.3x7.5x7.1 in (49x19x18 cm)


Untitled, 2001, Statuary Carrara marble, h 24x5.9x4.3 in (61x15x11 cm) Right: Untitled, 2012, Statuary Carrara marble, h 78.7x11.8x7.9 in (200x30x20 cm) 64



Untitled, 2012, bronze, h 59.8x18.5x14.6 in (152x47x37 cm)

Untitled , 2012, bronze, h 27x5.5x4.3 in (68,5x14x11 cm)


Untitled , 2012, bronze, h 27x5.5x4.3 in (68,5x14x11


Untitled, 2012, Statuary Carrara marble, h 55.5x11.8x6.7 in (141x30x17 cm)


Untitled, 2012, Statuary Carrara marble, h 21.6x11x4.7 in (55x28x12 cm)


Untitled, 2012, Sttuary Carrara marble, h 24.8x8.6x6.3 in (63x22x16 cm)



Esprítu olímpico I, 2012, steel, h 232.3x86.6x86.6 in (590x220x220 cm)

Espíritu olímpico II, 2012, steel, h 230.3x86.6x86.6 in (585x220x220 cm)




Pablo Atchugarry was born in Montevideo, Uruguay, on August 23, 1954. His father Pedro, an art lover, perceived Pablo’s skills and interest and stimulated him to take up art from childhood. In his early days he expressed himself through painting, and gradually discovered other materials, such as cement, iron and wood. At the end of the 70’s, after staging several exhibitions in Montevideo, Buenos Aires, Porto Alegre and Brasilia, he made several trips to study in Spain, France and Italy, where he organised his first personal exhibition in 1978 in the city of Lecco (Lake Como). His painting work was subsequently exhibited in several cities, such as Milan, Copenhagen, Paris, Coira, Bergamo and Stockholm. In 1979, after experimenting with different materials, he discovered marble as an extraordinary and fascinating material, and created his first sculpture called “La Lumière”, in Carrara. In 1980-81 he continued to travel, and exhibited his pictorial work in Stockholm, Lucerne, Lugano, Munich, Zurich, London, Malmö, Paris and Bogota. In 1982, he continued to work in marble in Carrara and decided to settle in Lecco, Italy, as a result of his sculpture “La Pietà”, executed in a block of 12 tonnes in statuary Carrara marble, which he finished in 1983. In 1987 he held his first individual sculpture exhibition in the Bramantino Crypt in Milan, which was presented by Raffaele de Grada. As of 1989, he also made some monumental pieces which are now part of private and public collections in America and Europe. In 1996 he executed the sculpture “Semilla de la esperanza” [The seed of hope] for the park of the Libertad Building, the seat of the Government of Uruguay. In 1999, the Pablo Atchugarry Museum was founded in Lecco, exhibiting work spanning his whole career, and which also houses all the artist’s bibliographic documentation and work archive. In 2001, the Province of Milan organised a retrospective exhibition of his work “Le infinite evoluzioni del marmo” [The infinite evolutions of marble], in the Isimbardi Palace in Milan. That same year, he sculpted the monument titled the “Obelisco del terzo millennio” [Obelisk of the Third Millennium], a 6-metre high sculpture in Carrara marble for the Italian city of Manzano (Udine), and he was commissioned to make the “Monumento alla Civiltà e Cultura del lavoro Lecchese” [Civilisation and the work ethos of Lecco], a 6-metre high sculpture in Carrara marble that weighs in at thirty tonnes. In 2002, in Carrara, he was honoured with the “Michelangelo” award, in recognition of his career as an artist, and he continued to work on different pieces, including the “Ideali” [Ideals] sculpture, which stands on Princess Grace Avenue in Monaco, created for the occasion of the 50th anniversary of the coronation of Prince Rainier of Monte Carlo. In 2003 he participated in the 50th Venice Biennal with the work “Soñando la paz” [Dreaming of Peace], a sculptural work consisting of eight pieces, five of them in statuary Carrara marble and three in Bardiglio marble from Garfagnana. That same year he sculpted the “Ascención” [Ascension] work for the Franc Daurel Foundation of Barcelona. In 2004 he made the “Energía Vital” [Vital Energy] sculpture in Rosa Portugal marble for the Davidoff Cancer Hospital of the Belinson Centre in Petak Tikva, Israel. In 2005, the Museo National de Bellas Artes of Buenos Aires organised an exhibition of his work. 75

In June 2006, the Groningen Museum and Concert Hall of Bruges, Belgium, organised a major retrospective exhibiting of work from private international collections. The Berardo Collection of Portugal purchased the “Camino Vital” [Vital Path] (483 cm high) piece, carved in 1999 in statuary Carrara marble for the Belén Cultural Centre of Lisbon. In 2007 he created the Pablo Atchugarry Foundation in Manantiales, Uruguay, with the intention of stimulating the arts and creating a meeting point for artists of all disciplines, an ideal nexus between nature and art. In 2007, he also completed the work “Nella luce” [Under the spotlight], 8 metres high, sculpted in a block of 48 tonnes for the Fontana Collection in Italy. Between 2007 and 2008, a retrospective and travelling exhibition of his work was organised in Brazil. The exhibition, titled “Lo spazio plastico della luce” [The plastic space of light], presented by Luca Massimo Barbero, was exhibited in the Banco do Brazil Cultural Centre in Brasilia, the MUBE (Brasilian Sculpture Museum) of São Paulo and the Oscar Niemeyer Museum of Curitiba. In 2008, the National Museum of Visual Arts of Montevideo organised an exhibition of his body of work over the last 15 years. In 2009 he made the sculpture “Luz y Energía de Punta del Este” [Light and Energy of Punta del Este], a 5-metre-high piece in Carrara statue marble for the city of Punta del Este. Between 2009 and 2011 he developed the Pablo Atchugarry Foundation in Manantiales, creating an international sculpture park, new exhibition and didactic spaces for the dissemination and teaching of art, which is visited by thousands of students. In 2011, the Groningen Bruges Museum purchased the 3-metre-high work executed in the course of 1999 in statuary Carrara marble. His work is exhibited at the following museums and public institutions: the National Museum of Visual Arts of Montevideo, Parco Museum of Portofino, Lercaro Museum of Bologna, Collection of the Province of Milan, Palazzo Isimbardi, Collection of the Province of Lecco, the Ticozzi Room, Lecco, Fatebenefratelli Centre of Valmadrera, Groningen Museum in Bruges, etc. His sculptural work has been exhibited in London, New York, Miami, Montevideo, Buenos Aires, Paris, São Paulo, Curitiba, Brasilia, Panama, New Orleans, San Francisco, Madrid, Cologne, Frankfurt, Maastricht, Amsterdam, Bruges, Brussel, Gant, Zurich, Basel, Abu Dhabi, Milan,Venice, Turin, Stockholm, etc. His works are auctioned at Christie’s and Sotheby’s in London, New York, Paris and Amsterdam. His sculptures are part of public and private collections in the United States, England, Mexico, Italy, France, Argentina, Brazil, Portugal, Belgium, Holland, Columbia, Luxembourg, Panama, Chile, Russia, Saudi Arabia, Arab Emirates, Israel, Lebanon,Venezuela, Peru, Germany, Poland, Uruguay, Dominican Republic, Japan, Korea, Principality of Monaco, etc. In November 2011 he had his first solo exhibition in New York held by the Hollis Taggart Gallery. The sculpture Dreaming New York has been exhibited in occasion of the Armory Show in Times Square, March 2012. The Electa - Mondadori publishing house is preparing the artist’s sculpture catalogue, which is scheduled to be distributed by the end of 2012 He is currently living and working in the city of Lecco, Italy, and in Manantiales, Uruguay.


Selected solo exhibitions 2011 Holllis Taggart Galeries New York 2010 Albemarle Gallery London Bienvenu Gallery New Orleans 2008 Albemarle Gallery London Museo Nacional de Artes Visuales Montevideo 2007 Museu Oscar Niemeyer Curitiba Museu Brasileiro de Escultura São Paulo Centro Cultural Banco do Brasil Brasilia Lagorio Arte Contemporanea Brescia Frey Norris Gallery San Francisco 2006 Albemarle Gallery London Groeninge Museum Bruges Galeria Sur Punta del Este - La Barra Gary Nader Fine Art Miami 2005 Museo Nacional de Bellas Artes Buenos Aires Park Ryu Sook Gallery Seoul Gary Nader Fine Art Miami 2004 Galeria Tejeria Loppacher Punta del Este - Uruguay Galleria Rino Costa Valenza Villa Monastero Varenna Albemarle Gallery London 2003 Fondation Veranneman Kruishoutem 50° Biennale di Venezia- Padiglione dell’ Uruguay Venezia Fondazione Abbazia di Rosazzo Rosazzo - Udine Galleria Les Chances de l’Art Bolzano 2002 Ellequadro Documenti Genova 2001 Palazzo Isimbardi Milan Albemarle Gallery London Fondazione Il Fiore Firenze 2000 Galerie Le Point Monte Carlo 1999 Inter- American Development Bank Washington 1998 Ellequadro Documenti Genoa Fondation Veranneman Kruishoutem 1996 Valente Arte Contemporanea Finale Ligure 1997 Centro Fatebenefratelli Valmadrera 1994 Galleria Nuova Carini Milan 1992 Galerie L’Oeil Bruxelles 1991 Galleria Carini Milan 1989 Biblioteca Civica di Lecco Lecco 1988 Galleria Carini Milan Museo Salvini Coquio Trevisago 1983 Villa Manzoni Lecco

1982 Galeria Felix Caracas Galleria Visconti Lecco Galleria Comuale Monza 1981 Ibis Gallery Malmo Galerie L’ Art et la Paix Paris Galeria la Gruta Bogota 1979 Maison de l’ Amerique Latine Paris 1978 Galleria Visconti Lecco Galleria La Colonna Como 1974 Galeria Lirolay Buenos Aires 1972 Subte Municipal Montevideo Selected group exhibitions 2012 ArteBa Buenos Aires SP Arte São Paulo The Armory show New York Tefaf Maastricht Art First Bologna 2011 Art Basel Miami Miami Fiac Paris ArteBa Buenos Aires SP Arte São Paulo Tefaf Maastricht Art First Bologna 2010 Fiac Paris SP Arte São Paulo Tefaf Maastricht Art First Bologna 2009 Fiac Paris ArteBa Buenos Aires Art First Bologna 2008 Arco Madrid 2007 Art First Bologna Arco Madrid Galeria Sur Punta del Este 2006 Hollis Taggart Galleries New York ArteFiera Bologna Art London London Gallery Bienvenu New Orleans 2005 ArteFiera Bologna Art Basel Miami 2004 Art London London Miart Milan Arco Madrid Arte Fiera Bologna 2003 Arco Madrid Artefiera Bologna


2002 Galerie Le Point Monte Carlo Tefaf Mastricht Arco Madrid Artefiera Bologna 2001 Tefaf Mastricht Arco Madrid Artefiera Bologna 2000 Xenobio Exhibition- a cura di Idehiro Ikegami Bologna Tefaf Mastricht Arco Madrid Artefiera Bologna 1999 Orion Art Gallery Bruxelles Art Basel Basel Tefaf Mastricht Arco Madrid Artefiera Bologna 1998 Biennale di Aldo Roncaglia San Felice Sul Panaro Scultura 98 Sondrio Castle of Bourglinster Luxembourg Artefiera Bologna 1997 Gildo Pastor Center Monte Carlo Artefiera Bologna 1996 Palazzo Ducale Genoa 1995 Ellequadro Documenti Genoa 1994 4a Biennal de Sculpture Contemporain Passy 1992 Palazzo Crepadona Belluno 9° Salon d’ Art Contemporain Bourg en Bresse 1991 Contemporary Art International Milan 1990 Simposio di sculture - Castello di Nelson Bronte 1989 IX Bienal de Arte Internacional- Chile Valparaiso 1987 Esibizione Internazionale di sculture Castellanza Esibizione di Arte Sacra- San Francesco Como Esibizione Internazionale Como “ Como Illustrazioni” 7a Esibizione d’ Arte SacraMilano Basilica San Sempliciano 1984 XIX Esibizione Internazionale di Scultura Legnano 1a Esibizione di piccole sculture Castellanza 1983 3a Esibizione d’ Arte SacraMilan Basilica San Sempliciano 1980 Taormina concorso ( 1º Premio) Taormina 1979 “ Alessandro Volta “ Pittura internazionale Como 1977 XL Salón Nacional - Premio Adquisicion Montevideo International Exhibition of Copenhagen Applied Arts Bella Center

1976 Galeria Aramayo Montevideo Salón de Miniescultura Montevideo 1975 XVI International Salón Paris -Sud Juvisy 1974 XXII Salón Municipal Montevideo XV International Salón Paris- Sud Juvisy 1973 XXVI Salón Nacional de Artes Plásticas Montevideo 1972 XXVI Salón Municipal de Artes Plásticas Montevideo 1965 IGE Salón de Artes Plásticas para la juventud Montevideo

Selected public commissions 2011 Cosmic embrace, Belgium 2010 Untitled 1999, Groeninge Museum, Bruges, Belgium 2009 Light and Energy of Punta de l’Este, Uruguay 2004 Vital Energy, Davidoff Hospital, Petah Tikva, Israel 2003 Ascencion, Franc Daurel Foundation, Barcelona, Spain 2002 Ideals, Monte Carlo, Principality of Monaco Feeling of beauty, Province of Lecco, Lecco, Italy 2001 Untitled, Lercaro Museum, Bologna, Italy 2000 Woman,Therme Palace hotel, Ostende, Belgium 1998 Caryatid, Therme Palace hotel, Ostende, Belgium 1996 Seed of hope, Goverment Palace garden, Montevideo, Uruguay 1994 Untitled 1992, Portofino Museum, Italy 1992 Embrace , Province of Milan, Milan, Italy

Selected Bibliography Jonathan Goodman, Heroic Activities, New York , Hollis Taggart Galleries, 2011 Edward Lucie-Smith, Atchugarry, Pablo Atchugarry. The spirit of Marble, Albemarle Gallery, London 2010. Luca Massimo Barbero, Lo spazio plástico della luce- in Atchugarry, Lagorio Arte Contemporanea, Brescia ,Shin Edizioni 2007. Carlo Pirovano, “Tra terra e cielo”- in Pablo Atchugarry, Nella Luce,Valmadrera, Editoria Grafica Colombo, 2007. Till Holger Borchert, “Between material and immaterial, amidst history and the present, some remarks on the sculptures of Pablo Atchugarry”, Groeninge Museum + Forum plus, Bruges 2006.

Prof.Willem Elias, Pablo Atchugarry of wanneer marmer levend wordt, Veranneman Foundation, Kruishoutem 1998. Hidehiro Ikegami, Pablo Atchugarry, Nikkei Art, Japan 1997. Paolo Frasson, Nel Giardino di Pomona, Pablo Atchugarry e la voce del marmo,Venezia 1997. Angel Kalenberg, Esculturas al aire libre, Parque de esculturas de la casa de Gobierno, Montevideo 1996. Julio María Sanguinetti, Un parque para el arte, Parque de esculturas de la casa de Gobierno, Montevideo, 1996. Marisa Vescovo, Atchugarry, Valente Arte Contemporanea, Finale Ligure 1996. Paolo Levi, Pablo Atchugarry, Lecco 1994.

Lieve Desmidt, Pablo Atchugarry, Museum Groeninge Bulletin N° 2, Bruges 2006.

Raffaele De Grada, Il lineare percorso dello scultore Pablo Atchugarry, Edizioni Guelfi,Verona 1992.

Nelly Prazzo, Atchugarry, Museo Nacional de Bellas Artes, Buenos Aires 2005.

Nicoletta Colombo, Gli ideali mistici di Atchugarry, Arte, Milano 1991.

Carol Damian, “ The marble of Deception”, Gary Nader Gallery, Miami 2005. Alfredo Torres, “La persecución de la diferencia”, Galeria Tejeria Loppacher,, Punta del Este 2004.

Raffaele De Grada, Un documento del nostro tempo: la scultura di Pablo Atchugarry, Galleria Carini, Milano 1988. Raffaele De Grada, Pablo Atchugarry, Cripta del Bramantino à SS.Apostoli e Nazaro, Lecco 1987. Marino Colombo, Pablo Atchugarry e pensieri sull’arte, Lecco 1981.

Paolo Frasson, “Antiche pietre nuove pietre”, Abbazia di Rosazzo, Rosazzo 2003.

Mario Radice, Alla Colonna, ottime chine del pittore scultore uruguaiano Atchugarry, La Provincia, Como 1978.

Luciano Caramel, Scultura come “arte di simboli, per la comunità”, 50° Biennale di Venezia 2003. Arnau Puig, Il mundo escultórico de Pablo Atchugarry, catalogue Atchugarry, Barcelona 2002. Carlo Pirovano, Atchugarry, in Monumento alla civiltà e cultura del lavoro lecchese, Lecco 2002. Carlo Sgorlon, Il monumento della sedia in Obelisco del terzo Millennio, Manzano 2001. Paolo Frasson, Titanismo nella scultura di Pablo Atchugarry, Obelisco del Terzo Millennio, Manzano 2001. Julio Maria Sanguinetti, Una obra con vocación clásica, Palazzo Isimbardi, Milano 2001. Nicoletta Colombo, Le infinite evoluzioni del marmo, Palazzo Isimbardi, Milano 2001. Carlo Pirovano, Atchugarry, Galerie Le Point, Monte Carlo 2000. Tiziana Leopizzi, Pablo Atchugarry, Museo Pablo Atchugarry, Lecco 1999. Luciano Caprile, Alla ricerca del sublime, Museo Pablo Atchugarry, Lecco 1999. Luciano Caprile, Pablo Atchugarry, in Atchugarry,Veranneman Foundation, Kruishoutem 1998.


Photography: Daniele e Bruno Cortese Fundaci贸n Pablo Atchugarry Oscar Insua - pages 22-23 Artan Shalsi . page 7 (4th image) Design:

Serena Frizzera

Printed by: Tipolitografia Campisi Arcugnano - Vicenza (Italy) June 2012

Pablo Atchugarry : Espiritu Olimpico  

Unwitting victims of the modern age must burrow a way back to an almost ancient mindset in order to deal with the sculptures of Pablo Atchug...

Pablo Atchugarry : Espiritu Olimpico  

Unwitting victims of the modern age must burrow a way back to an almost ancient mindset in order to deal with the sculptures of Pablo Atchug...