Painting After | Omar Rodriguez-Graham
About the Artist
List of Works
Credits & Contributors
Introduction Painting After
After more than twelve years of trajectory, Omar Rodriguez-Graham’s practice is at an inflection point. Omar has developed a more-than-critical view of painting as a discipline of art, as a battleground of ideas about painting. He uses its own mechanisms to talk about its communicative effectiveness, and in the process, to expand its activity towards new experimental narratives, which are expressed through the combination of memory and desire.
Since the beginning of his work as a painter, Rodriguez-Graham has been devoted to the exploration of the processes and languages of painting. If his previous work established the premise that “painting should not function as a creation of images, but as a presentation of the fundamental language of painting”, his recent body of work tries, not to present, but to intervene —subvert? the reliable link between the sign and its world of referentiality.
His recent work is founded under the Platonic concept of anamnesis, which he builds through the cannibalization of iconic images taken from Western art. By appropriating and distorting the figures, marks, colors and space of these classic works, the artist creates a visual vocabulary shaped, under different parameters, in completely new compositions.
Painting After is set as a series of pictorial reminiscences, like past quotes passed down by the works’ own vision and admired thoughts, in order to examine its visual construction. Rodriguez-Graham proposes a revision —a proper way of measuring the work’s context— by digitizing, then vectorizing classic European paintings, and finally, returning them to the canvas. Weighing the way we construct our visions from the remnants of the original visual data.
Alegorian Post-Formalism Painting as image in the history of painting
to the explanation given by Tony Godfrey on the
Graham’s painting as a post-formalist practice of
status of painting today: “It has been established
disassembling and reassembling the tradition of
that the impulse to paint begins, first of all, in
painting. As a result, within this practice, we find
the desire to emulate a well-known painting,
two historically antagonistic poles. How then,
and, secondly, in the impulse to press a tube and
can the corporality that distinguishes painting
spread paint over the canvas. The first leads us to
from other methods of image reproduction be
a tradition; the second, to materiality”.
understood as a potent vehicle for considering the structure of painting as montage? In other words,
This apparently simplistic definition nevertheless
how can we relate painting to those practices
provides two paths which become pertinent when
usually associated with other disciplines involving
considering Omar Rodriguez-Graham´s recent
fragmentation, such as photomontage? Again, we
work. If on one hand we rethink formalism as
would need to create a dialectic for contradictory
a matter of preference for materiality itself,
art concepts, to analyze in what manner painting
we have to conclude that such materiality is
can be understood as putting images from the
also a condensation of images. Thus, the status
past into circulation.
of materiality, even when tending towards abstraction, is nurtured by sources which “carry
In this scenario, we could say that painting – before
us back” to tradition. First of all, one would need
being placed in the sphere of materiality which
to realize that the dialectic exercise in which the
was eventually invaded by minimalist objecthood
majority of debates on modern painting were
in the 1960s – reveals that its persistence today
founded, figuration vs. abstraction, are hardly
comes back to a reflection on the image. We refer
relevant in our search for an understanding of
how painting has outlived Modernism as well as
known as The Arcades Project. One should
Postmodern Historicism. Hence, the notion that
recognize that linking the concepts of allegory
in its ties to Formalism, the pictorial image can
and montage, as done by Benjamin, in terms of
show us other paths to explain the persistence of
Rodriguez-Graham’s paintings might at first
sight seem a risky exercise, however, it allows us to differentiate the meaning of pictorial allegory
Although the formalist narrative of painting
in this field from theoretical reflection on the
appears to have been exhausted in terms of a
teleological vision that would culminate in its own self-definition, in recent years we have
Still, it is worth clarifying that, in methodological
seen emerging practices that revive certain
terms, applying the allegory, as in Benjamin’s
aspects of abstract painting. Yet, far from
sense of the fragment, might seem a questionable
perpetuating an overlapping of planes according
effort. While, for the philosopher of modernity,
to the constructivist stereotypes of industrial
allegory would refer to fragmentation – in other
mechanization, inspired by theological beliefs,
words, ruin. In the painting of Rodriguez-Graham
or, presupposing the expression of subjectivity
the practice of assembling and disassembling
without external interference, these practices are
obeys pictorial principles whose outcome forces
more prone to those analytical exercises which
us to think in strict terms of the dialectics of
have characterized minimalist and conceptual
the image. Although there is fragmentation,
the images which he pictorially develops show a distinct character to that which Benjamin
Possibly, the key concept for understanding this
observed in Parisian passages, merchandise, or in
method of reinvention of pictorial materiality – in
the formalist sense – would have its corresponding dialectic in allegories. To mention this dialectical
In this regard, it must be understood that,
framework in terms of art theory brings to mind
in this series of paintings, the notions of
the concept of allegory that Walter Benjamin
assembly and disassembly of allegories refer
coined for reflecting on modernity and the
us to representations taken from the history
procedure of montage, themes fully developed
of painting. Thus, what must be taken into
in texts such as The Origin of German Tragic
account is that ‘the model’ from which the artist
Drama, and, later, in his unfinished manuscript
departs is a digital construction, or rather, a
fragmented assemblage of such historiographic
the allegorical figure is gradually erased from
references. These “constructions” created by
painting to painting until it becomes abstract and
the artist himself and based on the manipulation
flat – an evolutionary process which illustrates
of allegorical paintings with the end of painting
the transfiguration of an allegory into pictorial
them on a canvas, paradoxically turn back
materiality. We might say that this work of art –
towards the lexicon of abstraction. This practice
an example of the advent of conceptual painting
of deconstructing and reconstructing images
– is a precedent for those artists who practice
from original works of art enables the distancing
painting based on images from its own history.
of the ‘copy’ from the established canonic model. The notion of montage is therefore related to a
Nevertheless, the difference between Richter’s
paradoxical condition, that is to say, it is aligned
proposal and Rodriguez-Graham’s allegorical
with a tradition of formalist materiality as the
paintings, is that the digital fragmentation of the
pictorial consequence of fragmentation. This
latter brings them closer to the method of montage.
practice, in turn, opens up the possibility for the
The combination of allegorical images provides a
construction of a unique work of art on canvas,
glimpse of the contours of some foreshortened
which has historically legitimized painting as an
figures between forms delimited by color,
auratic, unrepeatable object.
sometimes a horse, or the suggestion of a lance. In these, allegories become abstract formations
Concerning this definition of classical allegory
recalling Baroque theatrical compositions where
– as differentiated from Benjamin’s notion – it
figures were stretched to heighten their dramatic
is hard not to mention artworks which similarly
impact. Paradoxically, this exercise turns back
invert the idea of reproduction, by referencing
digital reproduction towards the unique work
photography – an indexical medium – in terms of
of art. This is the moment when Benjamin’s
unrepeatable pictorial materiality, to the degree
references acquire meaning, given that we are
that the image dissolves within the language
faced with a pictorial-allegorical montage which
of abstraction. A paradigmatic case worth
– although linked to abstraction – is surprisingly
mentioning is Gerhard Richter´s polyptych in
conceived from the fragmentation of the image.
which he “reproduces” Titian’s Annunciation, in his painting Annunciation after Titian
On this basis, and when referring to certain
(1973), using a photographic reproduction of
practices of painting today, we could say that
the original painting as a “model”. In this work,
we undoubtedly find ourselves in the field of
image production. However, in this context,
way of participating in the stream of historical
said production goes back to the reproducibility
images. Unlike other eras that mark the history
of images with the end of returning them once
of art, the awareness of contemporary artists of
more to the unique work of art, which in turn
belonging to a tradition means that the game of
revives the ideology of the artist’s subjectivity
manipulating images for their eventual transfer to
and originality. It is here that we must clarify
the materiality of the painting becomes a pictorial
that although the myth of the genius is founded
analysis of images from the history of painting.
on the idea of originality, as if images appeared
The practice of painting is a millenary chain of
by magic in the psyche of a creator, it has today
the interpretation of the imaginary. We see this
become widely accepted that the configuration of
condition in the particular case of this series
the imaginary can be attributed to historic flows
of paintings, in so far as the pictorial gesture
in which such images reproduce, as in the case of
becomes an incessant exercise of reconstruction
ancient allegories. If the classical artist with his
of foundational allegories. If we take hold of
technical skills transformed myths or biblical texts
the concept pathosformel, coined by historian
into tangible forms of sculpture and painting, it
Aby Warburg, we will understand this linkage
should be understood that the configured images
were derived from distant sources, always subject
itself as the images travel in time. With this
to a transmutation in relation to the various
in mind, we can rethink the notion of image
ideological frameworks of the times.
fragmentation in Rodriguez-Graham’s analytic
Thus, historiography has shown the persistence
with Warburgian notions that, in strict terms,
of ancient art in Renaissance Classicism,
are opposed to the Hegelian or formalist
followed by successive reconfigurations of
understanding of history.
classicist imaginary in Baroque variegations and Nineteenth Century Neoclassicism. Within this
As Linda Baez explains, allegories, symbols or
same narrative scaffolding, hagiographic imagery
engrams enable the emotive charge for works of
has also been analyzed in the formation of new
art to travel in time. Supporting the engrams is
canons or visions within styles and epochs, along
Mnemosine, in other words, memory. According
with a resignification of Greco-Roman allegories.
to this theory, these inventories of symbols – such
With this standard in mind, the painting of Omar
as allegories – form the repertoire which the
Rodriguez-Graham could well be read as a
artist calls on “to reject or share, according to the
impulse provided by this conglomerate of images”.
as pictorial analysis. What is relevant in this
We can now begin to reflect on how Rodriguez-
procedure is how Rodriguez-Graham’s paintings
Graham’s work, although analytic, paradoxically
acquire expressivity without submitting to the
emerges as expressive. Before surmising that this
myth of romantic impulse which presupposes the
is due to the artist’s subjectivity embodied on
transfer of a tormented subjectivity of the artist
the canvas – as is presupposed in expressionist
onto the canvas.
language – perhaps it is convenient to understand that what is at stake is the journey of the old forms
Bringing Warburgian iconology to this analysis
that the artist manipulates in such a way that his
is appropriate, especially because of its interest
expressivity acquires a new pathos.
in the vestiges of Classical Antiquity. Hence the notion of “survivor image” (Nachleben), i.e., the
If we now view Warburg’s conception in terms
imprint of allegories before the objects themselves,
of those images which Omar Rodriguez-Graham
or rather “tradition before materiality”, acquire
selects from the past – such as François Boucher´s
a new relevance insofar as psychic formations.
Rococo painting The Triumph of Venus (after
This explanation of the journey of the emotional
1743); The Tower of Babel (1563), an allegory
charge over time through the surviving images
of hubris facing the divine, by Peter Brueghel the
that struggle in montage, is also closely related
Elder; the triptych of The Battle of San Romano
to the way in which Rodríguez-Graham confronts
(1456-60) by Fifteenth Century artist Paolo
images of the past to the point of constructing a
Uccello, which combines the perspectives and
new expressive symbol.
foreshortening characteristic of the Renaissance; The Turkish Bath (1863), the romantic painting
It is important to recall that Warburg, while
with Oriental theme by Jean-Auguste-Dominique
studying from an iconological perspective the
Ingres; the Venetian Giovanni Battista Tiepolo’s
resurgence of classical culture in the Italian
Rococo paintings of the allegories of Rinaldo and
Renaissance, unveiled the symptomatic and
Armida (1745) and Apollo, the Planets and the
unconscious manifestation of the flow of images
Continents (1752); as well as some references
as a phenomenon of collective emotionalism.
from modern painting such as Marcel Duchamp’s
Another verification of how little expressivity
Nude Descending the Staircase (1912) – we
has to do with individual subjectivity. At the
must rethink how these images travel and are
same time, with this appearance of symbols, the
reconfigured through what we have identified
notion of a linear history is dismantled. What
can we now say about Rodriguez-Graham’s work
process. Rodriguez-Graham’s paintings initiate
in relation to these assumptions of the psychic
the practice of the reformulation of ancient
charge of the reconfiguration of those images
pictorial images by revealing the formalist
in time? It should be noted that, contrary to the
language of abstraction. It is surprising how they
iconological exercise, the images return, but as a
are able to put in motion the “survival of the
tangle of forms and colors in which their iconic
images” of historic painting. This formalization
character gives way to post-formalist composition.
is nothing other than the essence of the pictorial
Nevertheless, with its basis in the theory of an
effect, the emotive charge of the formula now
artwork as a reactivation of expressive charges
reduced to the material experience of the
from other eras, it would be necessary to verify
painting which, even when abstract, submits to
if the formal materiality becomes an analysis,
the phantom traveler who carries the emotive
that is to say, one which is consistent with the
nature of the allegories.
concept of painting as medium; the expressivity of the paintings results directly from symbolic
Therefore, the exercise of creating anachronisms
procedures of the linkage of allegories. In this
is twofold. On the one hand, the psychic
sense, we could understand Rodriguez-Graham’s
transposition of expressive symbols persists, while,
painting as an analysis of the history of painting.
on the other hand, the reduction of emotionalism of the formalist archetype relativizes historical
Within Warburg’s conception of history there
narratives, to the point that pictorial analysis is
exists the idea of temporary disorientation, in
once again a scheme capable of transmigrating
which there can be no evolutionary meaning,
the sentiment of images. Upon reaffirming the
except for anachronisms. Therefore, the process of
anachronism of allegories, the history of painting
painting the history of painting, becomes a passing
can appear through an abstract engram where
gesture, which by relativizing the entrenchment of
a torrent of images and its expressivity are
the original, restores the symbol’s accumulation
condensed within a schematic formula. Which
of energy by making it anachronistic. But, what
we have here named: “allegoric post-formalism.”
is particular in Rodriguez-Graham’s artwork is not only that the images become anachronic,
Another way to understand how expressivity
but also the formalistic narrative, which – in the
becomes scheme, or formula, emerges in the
historiographic concept of the development of
process of overlapping images to the point of
painting – supposes an evolutionary, teleological
creating a new composition. By diluting figuration,
this operation takes away the narrative of the
called historic Avant-Garde and formalism – is
image, but without losing the expressivity of the
reformulated here in a synthesis which is only
allegories. If we think of this exercise in terms of
viable after the end of painting, in its classical as
the iconological study of art history – ergo, not
well as formalist sense.
linear – we note that, during the assembling of images, they undergo a transmutation to the point
Therefore, in the pictorialist restatement seen in
of losing their iconicity. This loss is the result of
this group of works, the baroque figures become
clear aesthetic conviction, determined to redirect
abstract, even while disturbingly reminiscent of
the symbolic charge of the images of a painting
allegorical themes. In this wager on “abstract
in a circularity that is nurtured by historical
allegorism,” the image loses iconicity in favor of
repertoires in order to take them apart and
the simplification of the figures in reconfigurations
reassemble them in an “abstract appearance”.
Broadly speaking, what is also blurred is the
refrains of baroque figures and Renaissance
Hegelian sense of a unique, universal narrative,
foreshortening. In this sense, it would be suitable
from which formalism is nurtured.
to state that this series reformulates classical
schemes from the perspective of assemblage and Such pictorial strategy also gains merit as it
material formalism. Hence the anachronistic
provides the opportunity of turning back to
characterization of the work indicates that these
classical repertoires without falling into a dead
paintings must be placed at the margins of history.
end that today tends to emulate academic virtuosity of old times. Twisting the repertoire of
In terms of these procedures, it is worthwhile
Great European Painting via an analytic process,
to refer to one more of Warburg’s concepts:
makes way for painterly forms that end up being
the “knot of anachronisms”; in other words,
more receptive in that that they avoid engaging in
a mixture of things past and present. In this
the effect-driven optics of chiaroscuro. The optic
respect, and moving past the narrative of painting
that Rodriguez-Graham proposes is not so much
as self-defined, the images break loose from the
a tendentious academic feat but, rather, the fruit
history of painting. If we take this thought to its
of disassembly and reassembly. This procedure –
final conclusion, a flat surface is primarily – prior
which in theoretical terms has been understood
to a reduction of the painting to its essence –
in a manner contrary to abstract painting, or,
an image of a modernist concept. Based on this
rather, as a tacit differentiation between the so-
analysis, the work of Rodriguez-Graham brings
forth an organization of flat colored surfaces
at the margin of tradition and materiality suppose?
for reassembly, a post-formalism heedless of
It seems that the artist today has no alternative
historicity defined by a teleology of painting.
except negotiating with the long history of the
In this sense it would be valid to conclude that
Western pictorial tradition. Or, rather, think that
upon detaching himself from worn-out uses
it is possible to paint without negotiating with the
of modernist telos, the artist “anachronizes”
history of art, but this is nonsense. Rodriguez-
classicism as well as the variants of abstraction.
Graham´s paintings are thus a reiteration which not only reaffirms the survival of ancient pictorial
We could also take into account that academic
symbols, but which also provokes reflection on
teaching, with so much copying of models, has
the persistence of painting beyond the exhaustion
unleashed the survival of images along with
of modern narratives.
their anachronic nature. The “great masters” of European painting have, in this respect, been
the canon of successive dismantling, which, in
understood by Warburg, does not offer us any
turn, have reaffirmed the persistence of tradition
possibility of simplifying history: “…it imposes
through continuous elaboration of new formulae.
a fearsome disorientation for all whims or
Didi-Huberman, referring to the Warburgian
attempts at dividing history or art into periods.
iconological thesis, explains: “To validate all of
It is a transversal notion to all chronological
this is to give into the evidence that the ideas
division”. This is when it is worthwhile to ask
of tradition and transmission are of fearsome
oneself again: What does the pictorial practice
complexity [….] they are made of conscious
which Rodriguez-Graham proposes mean? If we
think of it as an analytic exercise which opens the
forgotten and rediscoveries, of inhibitions and
possibility of restating painting in terms of image
destructions, of assimilations and inversions of
of the history of painting, we’d have to resume the
senses, of sublimations and alterations”. On this
idea that the opposition between formalism and
same path, the theorist asks himself “Won’t there
the procedures of montage, which we recognize in
be time for the phantoms, a return of images, a
the photographic processes of historic vanguards,
survival (Nachleben) which isn’t subject to the
are diluted. For a similar reflection, we would
transmission model which assumes imitation
have to understand that we are facing painting
(Nachahmung) of ancient works of art by more
after the end of painting, that is to say, a period
recent art works?”. So, what does creating a model
of disorientation for which there is no single
rule. We find ourselves now very far from the historical exhaustion of its modernist conception. For that reason, painting today is a practice that understands its own history, not as a condition for advancement, but as a self-conscious, analytic position, after postmodernity. In this sense, as Godfrey would say, “tradition and materiality coexist”. We verify this condition in the modus operandi of this series of paintings, in the sense that they reveal a synthesis between opposites which, for modernity, were irreconcilable.
The set of works that make up Omar RodriguezGraham’s Anamnesis are part of an era in which painting after history should be understood as painting history itself. But this approach should not be limited solely to an analytic reflection on the pictorial tradition, but in terms of an experience of aesthetic pleasure. The shifting of subjectivity through the gesture reveals how pictorial poetics can be a disorientating act, whose purpose lies in resignifying the meaning of the allegories in such a way that its emotive charge – psychic and mnemonic – finds new formulas of visual materialization. It is thus that Omar RodriguezGraham’s analytic works reveal how allegorical expression of the pictorial persists after the end of modernist and postmodernist painting. Proof that painting as a poetic gesture or allegorical impulse has no end.
In the Morning We Will Awake to Find Ourselves Devoured by Father Time Oil on linen 220 x 300 cm (86.6 x 118.1 in) 2017
Shall Star-Like Rise As Great In Flame Oil on linen 250 x 220 cm (98.4 x 86.6 in) 2017
Terremoto (Earthquake) Oil on linen 190 x 160 cm (74.8 x 63 in) 2016
In the Beginning there Was Flame Oil on linen Ă¸ 150 cm (59 in) 2017
Moire Oil on linen Ă¸ 140 cm (55.1 in) 2017
And the Waves... Oil on linen 200 x 168.5 cm (78.7 x 66.3 in) 2017
Science, Fiction, Memories Oil on linen 100 x 83 cm (39.4 x 32.7 in) 2016
As the Knights Dance Oil on linen 150 x 135 cm (59 x 53.1 in) 2017
Omar Rodriguez-Graham Mexico, 1978
Rodriguez-Graham graduated with a BA from Drew University in Madison, N.J., U.S.A. in 2003 and received his MFA in Painting from Tyler School of Art in Philadelphia, P.A., U.S.A. in 2005. Among the residencies he has atended are The Skowhegan School of Painting and Sculpture and The Banff Centre. He will be a resident at Casa Wabi during the spring of 2017.
His work has been shown both individually and collectively in México, the United States, Europe and South America. And is held in private and public collections in Brazil, Colombia, Germany, Mexico, Peru, Singapore, the United States of America and Venezuela among which are included The JUMEX Collection, Mexico; Museum of Modern Art, Mexico; The SPACE Collection (formerly known as Sayago & Pardon), USA; and the Jorge Pérez Collection, USA.
Rodriguez-Graham’s work is the result of an ongoing exploration of painting’s inherent language; hoping to find the meeting point between the recognizable and the abstract. His work begins with the use of recognizable images as an armature upon which to place marks: traces of the event of painting. Together, these marks construct a figure that acts not as a replacement or stand-in of this initial figuration, but as a memory. A amalgamation between the translation of a recollection and the construction of something neaw.
Within his recent work, Rodriguez-Graham has tackled a group of paintings based on physical constructions; sculptures that present a purely painterly experience. Which upon being re-presented upon a canvas, suggesting a new reality that presents a coexistence between the recognizable and the abstract.
Recent solo shows include: Anamnesis, Queretaro City Museum (Mexico); El Manto, Macca Gallery (Italy); Rafagas, Wu Gallery (Peru); Mise en Abyme, Nueve Ochenta Gallery (Colombia) and Pintura Construida, Libertad Gallery (Mexico).
MFA, Tyler School of Art, Temple University. Philadelphia, USA.
BA in Arts, Drew University. New Jersey, USA.
SOLO EXHIBITIONS 2017
(Upcoming), Drew University, Madison, USA. Painting After, Arróniz Arte Contemporáneo. Mexico City.
Anamnesis, Querétaro City Museum. Queretaro, Mexico. El Manto, Galleria Macca. Cagliari, Italy. Anamnesis, Casa del Lago, UNAM. Mexico City.
Ráfagas, Wu Gallery. Lima, Peru.
Eternal Return, Arróniz Arte Contemporáneo. Mexico City.
Mise en Abyme, Nueveochenta. Bogota, Colombia.
Pintura Construida, Galería Libertad. Queretaro, Mexico.
Variaciones Sobre un Tema, Arróniz Arte Contemporáneo. Mexico City.
Reposo, Museo de la Ciudad de Querétaro. Queretaro, Mexico. La Muerte Reina Bella y Melancólica, Galería Hilario Galguera. Mexico City..
Live.Work Thesis Exhibition, Temple Gallery. Philadelphia, USA.
GROUP EXHIBITIONS 2015
El futuro no está escrito / The Future is Unwritten, Giorgio Cini Foundation. Florence, Italy. Pararrayos, Mexico’s Embassy in Germany. Berlin, Germany.
El Hombre al Desnudo, Dimensiones de la masculinidad a partir de 1800, Museo Nacional de Arte (MUNAL). Mexico City. DOPPELGÄNGER, Arróniz Arte Contemporáneo. Mexico City.
Rudimentum, Christinger De Mayo. Zurich, Switzerland. Yo.Contenido, CECUT. Tijuana, Mexico. After the Object, Y Gallery. New York, USA. Ensamble, DIAGRAMA. Mexico City.
XV Bienal de Pintura Rufino Tamayo, Museo Tamayo. Mexico City. Resistencia, DIAGRAMA. Mexico City. Sugar and Wood: New Paintings by Anna Membrino and Omar Rodriguez-Graham, Marty Walker Gallery. Dallas, USA. Casa de Empeño, Anonymous Gallery. Mexico City. Espacios Quebrantados, Arróniz Arte Contemporáneo. Mexico City.
XV Bienal de Pintura Rufino Tamayo, Museo de Arte Contemporáneo. Oaxaca, Mexico.
Entre el Arte y el Diseño, Galería Mexicana de Diseño. Mexico City. Naturaleza Muerta: Contemporary Mexican Painting, The Laundromat. Brooklyn, NY, USA. Creación en Movimiento de Jóvenes Creadores Generación 2006 - 2007, Biblioteca Vasconcelos. Mexico City.
Bella y Terca, Nueve Argumentos Sobre la Pintura, Museo de Arte Moderno. Mexico City. Luna: Una expresión artística 5a Edición, Auditorio Nacional. Mexico City.
There are false problems more than there are false solutions more than there are false solutions for true problems. Or The Fist time is already the second. Or Being must have a fundamental lapse of memory., Proyectos Monclova at NRML. Monterrey, Mexico. IMPERIVM Capitulo I: Que Viva México!, Galeria Hilario Galguera. Spinerei, Leipzig, Germany.
Bienal De Queretaro, Julio Castillo, Galería Libertad. Queretaro, Mexico. Index 2 : Pulsional, Galería Hilario Galguera. Mexico City. The U.S. Contemporary Artist in México, Museo Británico. Mexico City. Una Imagen, Dos Interpretaciones, Obra de Oscar Rodriguez y Omar Rodriguez-Graham, Salon de la Plástica Mexicana. Mexico City. Artistas Por El Medio Ambiente, Galería Metropolitana. Mexico City. Bienal Pedro Coronel, Museo Pedro Coronel. Zacatecas, Mexico. La Llegada de los Bárbaros, Galería Hilario Galguera: Leipzig. Leipzig, Germany. Artistas Por El Medio Ambiente, Galería Hecaro. Mexico City. Group Exhibition, Arcaute Arte Contemporáneo. Monterrey, Mexico. Luna: Una expresión artística 4a Edición, Auditorio Nacional. Mexico City. Salta La Liebre, Casa del Lago Juan José Arreola. Mexico City.
Index: Esperando A Los Bárbaros, Galería Hilario Galguera. Mexico City. Creación en Movimiento de Jóvenes Creadores Generación 2006 - 2007, Museo Francisco Cossio. San Luis Potosi, Mexico. Realidad: Pendiente Galería 13, Galería 13. Mexico City. El Acoso de las Fantasías, El Casino Metropolitano. Mexico City.
Another Fucking Collective Art Show, Arcaute Arte Contemporáneo. Monterrey, Mexico.
Melbourne Vs. New York, Technikunst Festival. Sydney, Australia.
The Brewster Project. Brewster, USA.
AWARDS, GRANTS & RESIDENCIES 2017
(Upcoming residency), Casa Wabi, Puerto Escondido, Mexico.
Residence, Skowhegan School of Painting & Sculpture. Skowhegan, USA. FONCA Jovenes Creadores grant 2013-2014, CONACULTA. Mexico.
Residence, The Banff Centre. Banff, Canada.
Grant FONCA / The Banff Centre Residency. Mexico.
FONCA Jovenes Creadores grant 2006-2007, CONACULTA. Mexico.
Residence, Sumei Art Centre. Newark, NJ, USA.
PUBLIC COLLECTIONS The Jumex Collection, Mexico. Museum of Modern Art, Mexico. SHCP Collection (Secretaría de Hacienda y Crédito Público), Mexico. SPACE Collection (formerly known as Sayago & Pardon), USA. Jorge Perez Collection, USA. Fondazione Luciano Benetton Studi Ricerche, Italy.
Arróniz Arte Contemporáneo
Arróniz emerged from a particular interest to work with a new generation of artists from Mexico and Latin America. Our main drive is to support and closely follow the careers of our artists both locally and internationally. A key element to our labor are the multiple exchanges with other galleries from other countries and participation in art fairs around the world.
Our local program is composed by exhibitions of our represented, or invited artists, and a parallel presentation in the projects room where a specific piece or project –created with the space in mind– is showed. This allows us to expand our cultural offer to new audiences while working in collaboration with other artists, curators and institutions.
Daniel Alcalá José Luis Landet Marcela Armas Almudena Lobera Omar Barquet Nicola López Christian Camacho Reynoso
Pablo López Luz
Moris (Israel Meza Moreno)
Mónica Espinosa Mark Powell Taka Fernández Iván Puig Fernando García Correa
Mauro Giaconi Ricardo Rendón Agustín González Omar Rodriguez-Graham Sergio Gutiérrez Jaime Ruiz Otis
List of Works
Pages 48-51 In the Morning We Will Awake to Find Ourselves Devoured by Father Time Oil on linen 220 x 300 cm (86.6 x 118.1 in) 2017
Pages 52-55 Shall Star-Like Rise As Great In Flame Oil on linen 250 x 220 cm (98.4 x 86.6 in) 2017
Pages 65-67 Moire Oil on linen Ă¸ 140 cm (55.1 in) 2017
Pages 69-71 And the Waves... Oil on linen 200 x 168.5 cm (78.7 x 66.3 in) 2017
Pages 57-59 Terremoto (Earthquake) Oil on linen 190 x 160 cm (74.8 x 63 in) 2016
Pages 61-63 In the Beginning there Was Flame Oil on linen Ă¸ 150 cm (59 in) 2017
Pages 73-75 Science, Fiction, Memories Oil on linen 100 x 83 cm (39.4 x 32.7 in) 2016
Pages 77-79 As the Knights Dance Oil on linen 150 x 135 cm (59 x 53.1 in) 2017
Painting After Omar Rodriguez-Graham Contributors & Credits
Painting After, a solo exhibition by Omar Rodriguez-Graham.
Main Room, Arróniz Arte Contemporáneo, Mexico City. February 7 - April 8, 2017.
Contributors All artworks by Omar Rodriguez-Graham. Introduction by María Álvarez (adaptation). Essay by Willy Kautz. Design & photography by Otmar Osante Mariel.
Publication © 2017, Arróniz Arte Contemporáneo & Otmar Osante Mariel.
The moral rights of the authors have been asserted.
All rights reserved under international copyright conventions.
This publication may not be reproduced or utilised in any form or by any means, including photocopying, printing or reproducing in any medium or by any method, in whole or in part, without the written permission of its contributors.
Introduction Adaptation of the text ‘Anamnesis or the Pictorial Essayism of Rodriguez-Graham’ © María Álvarez First published in Anamnesis, co-edited by Casa del Lago UNAM, the BBVA Bancomer Foundation and the Queretaro City Museum. Sicomoro Ediciones, 2017.
Essay Alegorian Post-Formalism: Painting as image in the history of painting © Willy Kautz First published in Anamnesis, co-edited by Casa del Lago UNAM, the BBVA Bancomer Foundation and the Queretaro City Museum. Sicomoro Ediciones, 2017.