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Directores Directors Marco Canale Manuel Díaz Asesoría Curatorial Curatorial Advisory Adriana Herrera, Ph.D. Museografía Museography Canale Diaz Art Center Fotografía Photography Bright Notes Productions Leo Di Tomaso Photography Producción Production US3 Media Services Traducción Translation Adriana Herrera, Ph.D.

© Canale Díaz Art Publications All rights reserved. Feb. 2016

Canale Díaz Art Center 146 Madeira Ave. Coral Gables, FL 33134 (786) 615-2622



DANNY ESQUENAZI, AURELIANO PARRA, AND REYMOND ROMERO: ALTERNATIVE ABSTRACTIONS – LUDIC GEOMETRIES The Colombian Danny Esquenazi (born 1975) as well as the Venezuelan artists Aureliano Parra (born 1980), and Reymond Romero (born 1979) all belong to a generation that might have seemed doomed to repetition, as they were preceded by the immense shadow casted by the great abstract geometricians and the kinetics. Their appearance in the art horizon was around the mid to late nineties, at a time when the great conceptual ruptures with the latter masters had already happened. In an era where there were no predominant trends, no artistic movements, and in which everything had already been done – originality as a synonym of forgetfulness – these artists received the influx of the pioneers of modernity without needing to counter-impose them, like the preceding generation had. However, the personal path taken by Esquenazi, Parra, and Romero demonstrates that it is possible to explore alternative trends in abstraction.


DANNY ESQUENAZI, AURELIANO PARRA, Y REYMOND ROMERO: ABSTRACCIONES ALTERNAS — GEOMETRÍAS LÚDICAS El artista colombiano Danny Esquenazi (n. 1975) así como los venezolanos Aureliano Parra (n. 1980) y Reymond Romero (n. 1979), pertenecen a una generación que hubiera podido estar condenada a la repetición porque los antecedía la sombra inmensa de los geométricos abstractos y de los cinéticos. Además, aparecieron en el horizonte del arte de mediados y fines de los noventa, cuando las grandes rupturas conceptuales con estos maestros ya se habían cumplido. En una era sin tendencias predominantes, sin movimientos, y en la que todo había sido hecho –la originalidad como sinónimo de olvido- estos artistas recibieron el influjo de los pioneros de la modernidad sin necesidad de contraponerse a ellos como la generación precedente. Pero sus caminos muestran que es posible explorar sendas alternas en la abstracción.




Devoid of all those transcendental aesthetic concerns that were present in the signers of the Manifesto No., or the prior defendants of the MADI and the Concrete Invention Art, or of the kinetics, movements that – especially the first two – had Utopian aspirations and/or iron-clad principles, the three of them share in their quests a sense of playing with tradition. This has yielded a passage into a free and productive dialogue with the art of the 20th century.

Ajenos ya a las preocupaciones estéticas trascendentales que tuvieron los firmantes del Manifiesto No, o los previos defensores del MADI y del Arte Concreto Invención, o del cinetismo, movimientos que sobre todo en los dos primeros casos tenían aspiraciones utópicas y/o férreos principios, Esquenazi, Parra y Romero comparten en sus indagaciones un sentido de juego con la tradición. Esto les ha abierto paso a un diálogo libre y productivo con el arte de siglo XX.

In doing so, they create ludic geometrical figures in which it is possible to find recognizable quotes and influxes, yet both the materials they use, and the artworks they build, renew the abstract language with a playful disobedience to what would otherwise be considered insurmountable principles. If the MADI artists searched for playfulness, they simultaneously declared  "the abolishment of all interference of the phenomena of expression, representation, and symbolism." This does not happen with these young artists. For example, they are not afraid of incorporating referential allusions to reality, as can be seen in Parra's work, inspired in urban movement and illuminations. It can also be perceived in the work of Esquenazi, which often alludes to constellations and sacred  architectures, along with other themes; and in Romero's, which evokes, in some series not exhibited, concrete objects like furniture, and which in general cite the legacy of the popular textile tradition. In this sense, they disobey that quest of their predecessors who sought, as stated in the MADI manifesto, to "create the piece in all its purity, without hybridizations or objects extracted of their essence."

Así, crean geometrías lúdicas en las que es posible hallar citas e influjos reconocibles, pero tanto los materiales que usan, como las obras que construyen renuevan el lenguaje abstracto con un feliz desacato a lo que fueran principios infranqueables para los primeros geométricos abstractos. Si los artistas MADI buscaban la lúdica, declaraban al tiempo “abolida toda injerencia de los fenómenos de expresión, representación y significación”, lo cual no sucede con estos jóvenes artistas. Por ejemplo, no temen incorporar alusiones referenciales a la realidad, como se advierte en las obras de Parra, inspiradas en el movimiento y las luces urbanas; en las obras de Esquenazi que en varias ocasiones aluden a constelaciones o a arquitecturas sagradas, entre otros temas; o en las de Romero que evoca en algunas series no expuestas objetos concretos como el mobiliario y que en general cita la herencia del aprendizaje textil popular. En este sentido desobedecen aquella búsqueda de sus antecesores que procuraban, como declararon en el manifiesto MADI, “crear la obra en toda su pureza, sin hibridaciones y objetos extraídos a su esencia”.


Esquenazi, Parra, and Romero are also not afraid to circumvent the border between art and craft. Manual work carried out with tools is essential to their work. Esquenazi boasts that his workshop is full of objects for this purpose, as well as assistants, in the manner of medieval craftsmen. The frames that Parra constructs with a plastic material are built with such detail that they require the dedication of the most patient of craftsmen. Romero, meanwhile, explicitly cites how he found inspiration in the tradition of the weavers of objects like nets of the Venezuelan Plains. The three insert craftsmanship into the contemporary world. They create unique artworks, in a close dialogue with the materials and the tools used by their own hands. Instead of brushes and canvases, Esquenazi, Parra, and Romero “paint” three-dimensional geometries by playing with cubes and wooden supports, Mylar acetate plastic tubes, and threads, respectively.

Harmonic Violet 2013 HPL, Steel, Acrylic glass & NC Lacquer 26” x 21" | 66 x 54 cms

Esquenazi, Parra y Romero no temen tampoco burlar la frontera entre arte y artesanía. El trabajo manual realizado con herramientas es esencial en su obra. Esquenazi se precia de su taller lleno de objetos para ello y de ayudantes, al modo de los artesanos medievales. Las tramas que Parra elabora con un material plástico están construidas con tal minuciosidad física que exigen la dedicación del más paciente de los artesanos. Romero, por su parte, cita explícitamente cómo encontró inspiración en la tradición de los tejedores de objetos como las redes de los Llanos venezolanos. Los tres insertan lo artesanal en lo contemporáneo. Crean piezas únicas, en estrecho diálogo con la materia y la herramienta que utilizan con sus propias manos. En lugar de pinceles y lienzos, Esquenazi, Parra y Romero “pintan”, geometrías tridimensionales jugando respectivamente con cubos y soportes de madera, plásticos tubulares de acetato de mylar e hilos.

Chromatic Incisions II 2015 Assemblage of painted Mylar acetate 57” x 61” | 145 x 154 cms


If like the kinetics, they are inspired by industrial processes and materials, a crucial difference is the freedom with which they express emotions, and cite even biographical aspects in their abstract works. We have already mentioned how Romero evokes the legacy from his region of origin in Venezuela, but Parra also evokes a precise vision of his hometown, Caracas. Meanwhile, Esquenazi has a whole theory of the relationship between color and psychic sensations. The three of them use, in their own way, forms of modular construction where serialization is a constant that is close to industrial production, but not devoid of emotion. The exhibition Alternative Abstractions - Ludic Geometries at Canale Diaz Art Center explores their most recent investigations, and sets forth a relationship between art and game that expands the observer's action and perception fields.

Si como los cinéticos, se inspiran en procesos o materiales industriales como el caso del plástico empleado por Parra, o de las paletas de colores fabricados de Esquenazi, quien también usa la madera que utilizaron sus antecesores, una diferencia crucial es la libertad con la que expresan emociones o citan incluso aspectos biográficos en sus obras abstractas. Ya hemos mencionado la evocación que hace Romero del legado de la región de su origen en Venezuela, pero también Parra evoca una visión precisa de su ciudad natal, Caracas, y por su parte Esquenazi tiene toda una teoría de la relación entre el color y las sensaciones anímicas. Los tres usan a su modo formas de construcción modular donde la serialidad es una constante cercana a la producción industrial, pero no ausente de lo emotivo.

Polychromy 2015 Textile and mixed media on canvas 24” x 24” | 60 x 60 cms

La exhibición Abstracciones Alternativas — Geometrías Lúdicas en Canale Díaz Art Center explora sus más recientes indagaciones y plantea una relación entre arte y juego que expande el campo de acción y percepción del espectador. 7


Affluent Fortress 2014 Wood & NC Lacquer 13” x 37” x 6” | 33” x 93” x 14 cms

Danny Esquenazi has updated geometric abstraction with works that bring together quite diverse elements: The playful pleasure of the child who puts together an erector set into infinite shapes; the expertise of a medieval craftsman of transmuting wood into an unheard form; the compositional and perceptual study and understanding of kineticism and of visual art; and the ability to convert a timeless fascination with the world’s color into hybrid works – from three-dimensional painting to abstract sculptures – constructed with mathematical precision.

En el caso de Danny Esquenazi, la renovación que propone reúne el placer lúdico del niño que arma un juego de mecano de formas infinitas; la pericia de un artesano medieval para transmutar la madera en una forma insólita; los aprendizajes compositivos y de percepción del cinetismo y el arte óptico; y la capacidad de convertir los colores del mundo industrial en obras híbridas –entre pintura tridimensional y esculturas abstractasfabricadas con precisión matemática.

Revitalizing Stress 2016 Wood & NC Lacquer 80” x 16” x 2” | 204 x 40 x 5 cms


Candid Joy 2013 Wood, Nylon & Acrylic 51” x 20” x 20” | 130 x 50 x 50 cms

Kaitz 2009 Wood, Acrylic & polyurethane 31” x 31” x 8” | 80 x 80 x 20 cms

Stress #3 2011 Wood & NC Lacquer 31” x 18” x 2” | 80 x 45 x 5 cms


Esquenazi crea ejercitando el poder del juego. Una de sus series se titula justamente Cinetismo lúdico. Cada serie ensaya una nueva definición subjetiva en el uso del color. En Tributo a la naturaleza, la adición del color era controlada milimétricamente para crear, banda a banda, el tipo de transiciones casi imperceptibles que van transformando el horizonte al alba y al ocaso hasta precipitar sorpresivamente la noche o la llegada del día. En cambio, en la serie Impulsos cromáticos, los cubos de madera pueden conjugar libremente múltiples colores sin sujetarse a las sutiles degradaciones de un tono a otro. Sus estructuras son una celebración del color hechas con la precisión de un ingeniero industrial y la infaltable imaginación lúdica. La curaduría en Canale Díaz permite apreciar el espectro de sus exploraciones y reúne obras de diversos años y formatos que de algún modo juegan con la herencia de artistas que van de Calder a Joseph Albers y Cruz-Diez. Incluye móviles que se completan con su propia sombra, insólitas esculturas abstractas de piso que funcionan como piezas sueltas en medio de sus obras seriales y por supuesto pinturas tridimensionales que rompen el uso minimalista de la paleta del color industrial para invitar a un modo de reinvención de las formas a partir del cubo.

Esquenazi creates by exercising the power of play. One of his series is precisely entitled Ludic Kineticism. Each series tries on a new subjective definition on the use of color. In his work Tribute to Nature, the addition of color was meticulously controlled in order to create, in a strip by strip, a series of almost non-perceptible transitions that transform the horizon into dawn or dusk, until it unexpectedly ends up in a full night or the arrival of a new day. In contrast, in his series Chromatic Impulses, the wooden cubes may freely summon a multiplicity of colors without being subjected to the subtleties of gradation of one shade into the other. His structures are a celebration of color made with the precision of an industrial engineer, and the ever-present ludic imagination. The curatorial vision at Canale Diaz allows for a full appreciation of the spectrum of his explorations, and gathers a collection of works across many years and formats that somehow play with the legacy of artists ranging from Calder, to Joseph Albers and Cruz-Diez. It includes mobiles that complete themselves with their cast shadows, unusual abstract ground structures that work as loose pieces amongst his serial works, and, of course, three-dimensional paintings that break from the minimalist use of the industrial color palette so as to call for a sort of reinvention of shapes starting from the cube.

Stirring Lucidity 2012 Wood, Stainless Steel & NC Lacquer 40" x 24" x 10" |102 x 60 x 25 cms


Passion and Joy 2015 Wood, Iron & NC Lacquer 19" x 33" x 8" | 49 x 85 x 20 cms

Ursa Major 2014 Wood, Acrylic & Polyurethane 16” x 71” x 6” | 40 x 180 x 16 cms

Circular-Bamboo 2013 Acrylic Glass, HPL & NC Lacquer 22" x 11" | 55 x 29 cms



Chromaticism of the setting sun 2015 Assemblage of painted Mylar acetate 50” x 51” | 127 x 130 cms

Por su parte, hay una conexión entre la obra de Parra y el vértigo de las grandes ciudades que provocó la aparición del futurismo: la percepción aérea y nocturna de la ciudad en movimiento es el punto de partida de sus piezas tridimensionales en acetato de mylar, instaladas en la pared como formas en cascada que parecen desprenderse. Así, él transforma la nerviosa geometría de los cuerpos urbanos iluminados y en perpetuo movimiento en el alfabeto de un lenguaje que renueva la tradición geométrica abstracta. Como Esquenazi y Romero, realiza esto con una nueva dimensión de juego. Parra construye campos dinámicos de colores en expansión separándose de los marcos rectangulares y cuadrados y buscando cada vez más la ilusión visual de la levedad.

Regarding Parra's work, there is a connection between it and the vertigo of the great cities that provoked the rise of futurism: The aerial and nightly perception of a city in movement is the starting point for his three-dimensional pieces in Mylar acetate, installed on the walls as shapes in cascade threatening to break loose. In doing so, he transforms the nervous geometry of the illuminated and perpetually moving urban bodies into the alphabet of a language that renews the tradition of abstract geometry. Like Esquenazi and Romero, he does this with a new dimension of play. Parra builds dynamic fields of expanding colors that separate from the enclosures of their rectangular and square frames in an ever-constant quest for the visual illusion of lightness.

Reflections on blue reflexes 2016 Assemblage of painted Mylar acetate 53” x 38” | 135 x 97 cms


El conjunto de sus obras conforma, como él señala, una suerte de “cartografías urbanas” que a diferencia de los grandes cinéticos tiene una referencia precisa: Parra asegura que la experiencia de contemplar su ciudad, Caracas, desde El Ávila, fue crucial para el cuerpo de una obra que el espectador percibe, ya sin esa referencia precisa, si bien sus estructuras emulan los elementos dinámicos y repetitivos de la urbe. Cada pieza es paralelamente una ciudad sin nombre cuyos colores reverberan ante nuestros ojos con el poder de tomarse cualquier pared del mundo.

The set of his works comprises, as he points out, a series of “urban cartography” that, in contrast to the great kinetics, has a precise reference. Parra assures that his experience of contemplating his home city, Caracas, from the El Ávila hilltop, was crucial for the body of a piece in which the spectator may perceive, even lacking such precise reference, insofar as his structures emulate the dynamic and repetitive elements of the metropolis. Each piece is a parallel of a nameless city whose colors reflect before our eyes with the power of taking over any wall in the world.

Reflections on water study I 2016 Assemblage of painted Mylar acetate 43” x 31” | 110 x 80 cms

En la exhibición en Canale Díaz, la idea de la visión contemplativa que en su obra ha sido siempre urbana –la mirada aérea sobre la urbe frenética- se traslada a una evocación de otro tipo de paisaje. Es, de hecho, un homenaje a los nenúfares que Monet pintó una y otra vez a lo largo del paso de las estaciones en el jardín de Giverni, con la idea de suspender cada óleo en el interior de una estancia circular, generando una visión de tiempo comprendido en la luz cambiante.

In the Canale Diaz exhibition, that idea of the contemplative vision that in his work has always been an urban one – the aerial look over a frantic metropolis – is transferred to a summoning of another sort of landscape. It is, as a matter of fact, an homage to the water lilies Monet painted again and again as the stations passed in Giverny's garden, with the idea of hanging each one of such paintings inside a circular receiving room, thus generating a vision of time comprised in the changing light.


La obra exhibida, semicircular, es una primera aproximación a un proyecto en construcción. Parra se toma el espacio de tal modo que, rompiendo con el plano de la pared usado hasta el momento, se aventura en una nueva experiencia instalativa tomándose una esquina de la galería: estamos ante colores flotantes que son tanto un residuo de los paisajes urbanos interiorizados como una reflexión sobre aquel momento crucial en que Monet quiso pintar la cambiante luz del mundo a lo largo de una estación. Reflexión sobre Monet tiene la cualidad de ser la primera obra de Parra que expande de este modo el diálogo con el espacio, separándose aún más del soporte de la pared y jugando con las fronteras entre pintura, escultura e instalación.

The exhibited work, semicircular, is a first approximation to a project under construction. Parra appropriates the space in such a way that he breaks the flatness of the wall used until now, and ventures into a new installation experience by appropriating a corner of the gallery: We are confronted with floating colors that are at the same time a residue of those urban landscapes embraced, and a reflection of that crucial moment in which Monet wanted to paint the changing light of the world throughout a season. Reflection about Monet has the quality of being Parra's first work that expands his dialogue with space, separating himself even more from the support of a wall, and playing with the frontiers between painting, sculpture, and installation.

Reflection about Monet 2016 Assemblage of painted Mylar acetate 73” x 114” | 185 x 290 cms



Polychromy 2015 Textile and mixed media on canvas 24” x 24” | 60 x 60 cms

As to the work of Reymond Romero, the thread stands in for the line. He thus dialogues with the legacy of the kinetic masters from the almost unperceivable three-dimensionality of this material, which in turn calls back to his memory the artisanal legacy. On the one hand, he transforms that knowledge of expert generations in weaving such differing objects like weighing nets, or quilts, extending the thread and its constructions towards the field of contemporary art. His relationship with craftsmanship is evocative of the Victorian William Morris, founder of the Arts & Crafts movement, as he initially created interwoven or embroidered fabrics that he ended metaphorically shredding in order to allow him the sheer experience of simply tensing lines or colored threads. En cuanto a la obra de Reymond Romero, el hilo ocupa el lugar de la línea. Dialoga así con el legado de los maestros del arte cinético a partir de la casi imperceptible tridimensionalidad de este material que a su vez se remonta en su memoria al legado artesanal. Por una parte, transforma ese aprendizaje de generaciones expertas en el tejido de objetos tan dispares como redes de pescar, o edredones, extendiendo el hilo y sus construcciones hacia el campo del arte contemporáneo. Su relación con lo artesanal puede evocarnos al victoriano William Morris, fundador del movimiento Arts & Crafts, pues inicialmente creó telas entretejidas o bordadas que acabaron deshaciéndose metafóricamente para permitirle la experiencia pura de tensar solo líneas o hilos de colores.

Pictographs 2015 Textile and mixed media on canvas 47” x 24” | 120 x 60 cms


On the other hand, he has a dialogue with a modernist inheritance in his quest for a “volumetry” in the tradition of color investigation. The experience of optical games, chromatic crisscrossing, and color in movement is evocative in his work to the tactility of thread. Luis Perez-Oramas has quite appropriately addressed this when he said that his work “should take us, again, and back, to the traps of fabric, to the threads of image.” Romero's “traps of fabric” are built in warp, with tensed colored threads. He thus recreates the modernist experience of color that changes under the observer's perception depending on his or her position relative to the piece. At the same time, that perceptive experience expands precisely because the image is made out of threads and contains the inseparable tactility of the weave.

Por otra parte, dialoga con la herencia modernista a partir de su búsqueda de una “volumetría” en la tradición de la investigación del color. La experiencia de juegos ópticos, entrecruzamientos cromáticos, y color en movimiento nos refiere además en sus piezas a la tactilidad del hilo. Luis Pérez-Oramas lo ha expresado con enorme acierto al notar que su obra “nos debería llevar, de nuevo, y de retornoa las trampas de la tela, a los hilos de la imagen”. Las “trampas de la tela” de Romero están construidas con urdimbre, con hilos de color tensados. Así recrea la experiencia modernista del color que cambia en la percepción del observador según su posición con relación a la pieza. Y al tiempo, esa experiencia perceptiva se expande justamente porque la imagen está hecha de hilos y contiene la tactilidad inseparable del tejido.


En cierto modo, el marco de sus obras es el de un lienzo que cobra existencia a partir del marco, a modo de un telar tradicional. Pictografías, una de las series elegidas para Abstracciones Alternativas — Geometrías Lúdicas, es el resultado de “una búsqueda de depuración y síntesis”. Evitó el uso de hilos horizontales, de tal modo que en sentido estricto no hay ya una trama, sino solo un juego de colores tensados que están superpuestos, siempre en direcciones verticales o diagonales creando la ilusión óptica de fuertes variaciones de colores. En algunas piezas usa naranjas o verdes casi fosforescentes provocando la sensación de una irradiación que se extiende. El espectador está frente a una suerte de tejido encantado de mil y un colores cambiantes, dependiendo de su posición. Romero ha logrado una fusión maravillosa entre tejido y pintura dando como soporte al hilo de las infinitas líneas que se encuentran en cada pieza, un marco de madera que hace las veces de imaginario bastidor.

In a way, the frame of his works is that of a canvas that gains its right to exist from the frame, like a traditional loom. The series chosen for Alternative Abstractions - Ludic Geometries, Pictographs, was the result of a search of purification and synthesis. He avoids the use of horizontal threads so, in a strict sense, there is no longer a warp, only a play of tensed colors that are superimposed, always in vertical or diagonal, creating the optical illusion of intersections with strong color variations. The viewer is in front of a kind of enchanted fabric of one or one thousand tones, depending of his or her position. In some of his pieces, he uses close to phosphorescent oranges and greens, creating the illusory sensation of an extending radiation. Romero has achieved a wonderful fusion between fabric and paint by giving as support to the thread of infinite lines found in each piece, a wooden frame that also serves as an imaginary stretcher.

Ideograms 2015 Textile and mixed media on canvas 47” x 24” | 120 x 60 cms ea.


We might say we are attending to the unfolding of fabric traps that are only threads, of paintings that are modular games in wood or industrial plastic, and that in the three cases of the gathered artists, reaffirm the fact that the paths for the renewal of abstraction lead to the appearance of ludic geometries. We can say Danny Esquenazi, Aureliano Parra and Reymond Romero open a passage into a renewal that extends the boundaries of geometrical art with the lightness Calvino asked for this millennium. The sense of playfulness and joy prevails over the idea of insurmountable principles, and the possibility of transgressing through boundaries between media, or of liberating the use of colors, opens alternative passages into abstraction.

Podríamos decir que asistimos al despliegue de trampas de telas que son solo hilos, de pinturas que son juegos modulares en madera o en plástico industrial, y que en los tres casos de los artistas reunidos nos reafirman que los senderos de renovación de la abstracción desembocan en la aparición de geometrías lúdicas. Podemos decir que Danny Esquenazi, Aureliano Parra y Reymond Romero propician una renovación que extiende los límites del arte geométrico con la levedad que Calvino pedía a este milenio. El sentido de juego y gozo prevalece sobre la idea de principios irrompibles y la posibilidad de traspasar fronteras entre medios o liberar el uso del color abre pasajes alternos en la abstracción.

Adriana Herrera Tellez, Ph.D.

Adriana Herrera Tellez, Ph.D.


CV Danny Esquenazi Danny Esquenazi (Bogota, Colombia, 1975) has updated geometric abstraction with works that bring together quite diverse elements: the playful pleasure of the child who puts together an erector set into infinite shapes; the expertise of a medieval craftsman to transmute wood into an unheard of form; the compositional and perceptual study and understanding of kineticism and of visual art; and the ability to convert a timeless fascination with the world’s color into hybrid works – from three dimensional painting to abstract sculptures – constructed with mathematical precision.

Collective Exhibitions


2014 – Collective Exhibit. Present Contemporary Art. Italy-China.

2016 – “Alternative Abstractions – Ludic Geometries”. Canale Diaz Art Center. Miami, USA. 2015 – “Parallel Dimensions”. Zenu Museum of Contemporary Art. Monteria, Colombia. 2015 – Group Show. Gallery 18. Panama City, Panama. 2015 – “Consequences”. Canale Diaz Art Center. Miami, USA.

2002 – Industrial Designer. Hadassah College of technology. Jerusalem, Israel.

2014 – “Soñar Salvajemente” (Dream Wildly). Pop Up Gallery. Cali, Colombia.

1996 – Architectural Studies. Bezalel Academy of Arts and Design. Jerusalem, Israel.

2014 – Collective Exhibit. Klauss Steinmentz Contemporary. Bogota, Colombia.

Individual Exhibitions

2014 – Collective Exhibit. LGM International Art Gallery. Bogota, Colombia.

2015 – “Danny Esquenazi: Movement and Color Journey”. Tolima Museum of Art. Bogota, Colombia.

2013 – “Línea y Figura” (Line and Figure). Creative Center Brief. Caracas, Venezuela.

2013 – “Kinocromía” (Kinochromy). LGM International Art Gallery. Bogota, Colombia.

2013 – Collective Exhibit. LGM International Art Gallery. Bogota, Colombia.

2012 – “Impulsos Cromáticos” (Chromatic Pulses). La Localidad Gallery. Bogota, Colombia.

2011 – Collective Exhibit. “Valle Arriba” Golf Club. Caracas, Venezuela. 2011 – “Latin-American Artists Exhibit”. “Camuri Grande” Club. Caracas, Venezuela.

2011 – “Danny Esquenazi”. Caridi Gallery. Miami, USA.

2011 – “Latin-American Artists Exhibit”. “Altamira” Tennis Club. Caracas, Venezuela.

2011 – “Diverso y natural” (Diverse and natural). High Studies in Management College (CESA). Bogota, Colombia.

2011 – Collective Exhibit. Arlex Gruber Gallery. Caracas, Venezuela.

2010 – “Tributo a la naturaleza” (Tribute to Nature). Montealegre Art Gallery. Bogota, Colombia.

2011 – “Ondulaciones” (Undulations). Arte Innovador Gallery. Caracas, Venezuela.

2006 – Individual Exhibition. Carmel Country Club. Bogota, Colombia.

2011 – Collective Exhibit. Expresarte Gallery. Caracas, Venezuela.


2011 – Collective Exhibit. Dimaca Gallery. Caracas, Venezuela.

2006 – Collective Exhibit. Art Room Gallery. Bogota, Colombia.

2010 – “Tributo a Leo Matiz” (Tribute to Leo Matiz). La Cometa Gallery. Bogota, Colombia.

2005 – Collective Exhibit. La casa Mauricio Ruiz Gallery. Bogota, Colombia. Honors & Awards

2009 - Collective Exhibit. Expreso del Arte Gallery. Bogota, Colombia.

2013 – Third Place. Sculpture and Installation Prize. Florence Shanghai Prize 2013. Present Contemporary Art. Italy-China.

2008 – Small format exhibition. Gallery 415. San Francisco, USA.

2012 – Finalist. Florence Shanghai Prize 2012. Present Contemporary Art. Italy-China.

2007 – “New Generation Latin-American Contemporary Art”. Contempo Corporate Art. Abu Dhabi, United Arab Emirates.

2007 – Finalist. Artecamara. Bogota International Art Fair. Bogota, Colombia.

2007 – Call for young artists. El Nogal Club Gallery. Bogota, Colombia.

2007 – Finalist. Third Call for Young Artists. El Nogal Club Gallery. Bogota, Colombia.

2007 – “Por Pintar” (To be painted). Cuarto Nivel Gallery. Bogota, Colombia.

2006 – Audience Award. Second Call for Young Artists. El Nogal Club Gallery. Bogota, Colombia.

2006 – Small Format Exhibition. El Nogal Club Gallery. Bogota, Colombia.

2006 – Finalist. Second Call for Young Artists. El Nogal Club Gallery. Bogota, Colombia.

2006 – Call for young artists. El Nogal Club Gallery. Bogota, Colombia.

Ursa Major, 2014. Wood, Acrylic & NC Lacquer. 16" x 71" x 6" | 40 x 180 x 16 cms


CV Aureliano Parra There is a connection between the body of the work of Aureliano Parra (Caracas, Venezuela, 1980) and the vertigo of the large cities that gave rise to the futurist moment a century ago: the origin of his three-dimensional pieces, installed on the wall as curtains of Mylar acetate, where a sort of light fading away interwaeves, and is in the aerial and nocturnal perception of the city in movement.

2015 – “Proposiciones Abstractas” (Abstract Proposals). D’Museo Gallery. Caracas, Venezuela.


2013 – “Signos del arte contemporáneo venezolano” (Signs in Venezuelan Contemporary Art). La Cometa Gallery. Bogota, Colombia.

2015 – “Art Motion”. Sala Mendoza. New York, USA. 2014 – “Caracas”. D’Museo Gallery. Caracas, Venezuela.

2005 – BA  in Fine Arts, Painting Major. "Armando Reveron" Fine Arts High Studies University Institute. Caracas, Venezuela.

2012 – “Dialogos del arte contemporáneo” (Dialogues of Contemporary Art). Museum of Contemporary Art. Caracas, Venezuela.

1997 – Fine Arts Studies. "Cristobal Rojas" Visual Arts School. Caracas, Venezuela. Individual Exhibitions

2012 – “Gego, obra abierta” (Gego, open work). Museum of Contemporary Art. Caracas, Venezuela.

2012 – “Incisiones Urbanas” (Urban Incisions). D’Museo Gallery. Caracas, Venezuela. 2008 – “Collage”. D’Museo Gallery. Caracas, Venezuela.

2010 – Supercable Youth with FIA (International Art Fair) Hall. Caracas, Venezuela.

Collective Exhibitions

2010 – Shanghai Art Fair. Shanghai, China.

2016 – “Alternative Abstractions – Ludic Geometries”. Canale Diaz Art Center. Miami, USA.

2010 – X “Francisco Narvaez” National Sculpture Biennal. “Francisco Narvaez” Museum of Contemporary Art. Porlamar, Venezuela.

2016 – Art Palm Beach. Canale Diaz Art Center. Miami, USA.

2010 – Pinta Latin American Art Fair. New York, USA.

2015 – Pinta Latin American Art Fair. Canale Diaz Art Center. Miami, USA.

2009 – “Miguel Otero Silva” Art Biennal. Ascaso Gallery. Caracas, Venezuela.

2015 – “Línea Fronteriza – Miradas Fotográficas” (Border Line – Photographic Glances). D’Museo Gallery. Caracas, Venezuela.

2008 – 33rd Aragua National Art Hall. “Mario Abreu” Museum of Contemporary Art. Maracay, Venezuela.


2007 – IX Cuenca’s International Painting Biennal. Cuenca, Ecuador. 2006 – “El hilo de Ariadna” (Ariadna’s thread). “Alejandro Otero” Museum. Caracas, Venezuela. 2005 – XIV “Carmelo Fernandez” Visual Arts Hall. San Felipe, Venezuela. 2005 – “Visiones desde la pintura” (Views from painting). UBS AG. Caracas, Venezuela. 2004 – “Vuelta al origen” (Back to origin). VII Youth with FIA (International Art Fair) Hall. Athenaeum of Caracas. Caracas, Venezuela. 2004 – First National Encounter of Young Artists with FIAAM (International Art and Craft Fair of Maracaibo). Fine Arts Center of the Athenaeum. Maracaibo, Venezuela. 2004 – 62nd “Arturo Michelena” Art Biennal. Athenaeum of Valencia. Valencia, Venezuela. Chromatic Incisions II 2015 Assemblage of painted Mylar acetate 57" x 61" | 145 x 154 cms

Honors & Awards 2013 – Honor Mention. XXIII Carupano Hall. Carupano, Venezuela. 2005 – IACENE (Autonomous Cultural Institute of the State of Nueva Esparta) Prize. X “Francisco Narvaez” National Sculpture Hall. Porlamar, Venezuela. 2005 – Painting Prize. “Carmelo Fernandez” Hall. San Felipe, Venezuela. 2004 – Second Prize. VII Youth with FIA (International Art Fair) Hall. Athenaeum of Caracas. Caracas, Venezuela.


CV Reymond Romero In Reymond Romero's artwork the thread is in the place of the line. His relationship with this material and its ways dates back to the artisan's heritage from the Venezuelan plains, where he was born, and where his ancestors are from. Romero (Mérida, Venezuela, 1979) He transforms the legacy of expert generations in weaving objects such as weighing nets, or quilts, and extends the use of the thread and its constructions into the contemporary art's field.

1998 – Haute Couture studies. Armando Gatto Workshop. Caracas, Venezuela.

His relationship with craftsmanship can bring to mind the Victorian William Morris, founder of the Art & Craft movement and a definitive figure in experimenting with textiles and reassessing the mastership legacy. In his case, that legacy brought him close first to confectioning with textiles: interwoven or embroidered cloths which he thought were destined for the fashion field, but which metaphorically were unwoven to allow for the sheer experience of just tensing lines or colored threads.

2014 – “Chromatic Readings”. Viloria Blanco Gallery. Maracaibo Venezuela.

1998 – Art Management studies. Polar Foundation. Caracas, Venezuela. 1998 – Contemporary dance studies. “Pissorrojo”, Central University of Venezuela. Caracas, Venezuela. Individual Exhibitions

2014 – “The color that will come”. D’Museo Gallery. Caracas, Venezuela. 2011 – “Turn”. D’Museo Gallery. Caracas, Venezuela. 2010 – “Free Fight”. D’Museo Gallery. Caracas, Venezuela.


2007 – “Notes on painting”. D’Museo Gallery. Caracas, Venezuela.

2008 – Residency Program. The Bronx Museum. New York, USA.

Collective Exhibitions 2016 – “Alternative Abstractions – Ludic Geometries”. Canale Diaz Art Center. Miami, USA.

2008 – Artists in the marketplace (AIM). Study Program for emerging artists. The Bronx Museum. New York, USA.

2015 – “Abstract prepositions”. D’Museo Gallery. Caracas, Venezuela.

2003 – Bachelor of Fine Arts. “Armando Reverón” High Fine Arts Institute. Caracas, Venezuela.

2015 – “Pathway to abstraction”. Agora Gallery. New York, USA.

1999 – Restoration studies. Obeso Gallery. Caracas, Venezuela.

2014 – Group Show. Viloria Blanco Gallery. Miami, USA.

1998 – Fine Arts studies. “Arturo Michelena” Fine Arts School. Valencia, Venezuela.

2014 – “To be determined”. Beatriz Gil Gallery. Caracas, Venezuela.


2007 – IX “Francisco Narváez” National Sculpture Biennial. “Francisco Narváez” Contemporary Art Museum. Porlamar, Venezuela.

2013 – “Parallels”. D’Museo Gallery. Caracas, Venezuela. 2012 – 66th “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela. 2012 – 57th Aragua National Art Show. Maracay, Venezuela.

2007 – 27th Municipal Painting Show. Municipal Art Gallery. Girardot Municipality. Maracay, Venezuela.

2011 – “Social Networks – Visual Networks”. “Jacobo Borges” Museum. Caracas, Venezuela.

2007 – “To Celebrate Reveron”. Exhibition Hall of the Metropolitan University’s Rectorate. Caracas, Venezuela.

2010 – 65th “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela.

2007 – 2nd “Demetrio Silva” Visual Arts Show. San Carlos, Venezuela.

2010 – V Edition of the Pixels Project. GBG Gallery. Caracas, Venezuela.

2007 – 3rd Baruta´s Arts Festival. Municipality of Baruta. Caracas, Venezuela.

2009 – “Historical, Memory and Territories”. Zulia Contemporary Art Museum. Maracaibo, Venezuela.

2007 – “Manoeuvres”. “Carlos Cruz Diez” Print and Design Museum. Caracas, Venezuela. 2007 – “Among boxes”. Benefit Auction for “Acción Solidaria” and to combat AIDS. Caracas, Venezuela.

2009 – “The thing; candid mutants”. Touring Exhibit. Venezuela.

2007 – “Renowned artists on a platter”. Benefit Auction for FUNDAPROCURA. Caracas, Venezuela.

2008 – 64th “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela. 2007 – X Young Artists National Show. CANTV, FIA and CorpBanca with the youth. Caracas, Venezuela.

2006 – “Echoes and contrasts: Contemporary Art in the Cisneros Collection.” Museum of Art of El Salvador. San Salvador, El Salvador.

2007 – “Reveron: Inspiration that leaves a trace”. Lee Group. Caracas, Venezuela.

2006 – 63rd “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela.

2007 – 32nd Aragua National Art Show. Maracay, Venezuela.

2006 – “New art as an universal language”. Art and Culture Center. Hollywood, USA.

2007 – “Ariadne's thread: Textiles in Venezuelan Contemporary”. “Alejandro Otero” Museum. Caracas, Venezuela.

2006 – 31st Aragua National Art Show. Maracay, Venezuela.


2005 – Young Artists National Show in association with CANTV, FIA and CorpBanca. Caracas, Venezuela.

2006 – “Juan Lovera” Municipal Art Show. Libertador Municipality. Caracas, Venezuela. 2006 – Sculptures Park. Trasnocho Cultural Center. Caracas, Venezuela.

2005 – “Contemporary Art in the Cisneros Foundation Collection 1990-2004”. “Lía Bermúdez” Art Center. Maracaibo, Venezuela.

2006 – “One x One”. D’Museo Gallery. Caracas, Venezuela.

2005 – “Art and Game”. Museum of Fine Arts. Caracas, Venezuela.

2006 – I Art and Fashion Meeting. The National Art Gallery. Caracas, Venezuela.

2005 – “Small Format”. Alternativa Gallery. Caracas, Venezuela.

2006 – “Serial”. La Carnicería Gallery. Caracas, Venezuela.

2005 – First Body-Art Festival of Caracas. The National Art Gallery. Caracas, Venezuela.

2006 – “Itinerants”. “Jacobo Borges” Museum. Caracas, Venezuela.

2005 – “Corporeal”. Miranda State Museum. Venezuela.

2006 – “Déjà-vu”. Espacio Zero Gallery. Caracas, Venezuela.

2005 – High Arts Contest. Contemporary Art Museum. Caracas, Venezuela.

2006 – High Arts Contest. Miranda State Museum. Venezuela.

2005 – The Mega Exhibition II. The National Art Gallery. Caracas, Venezuela.

2006 – “Among boxes”. Benefit Auction for “Acción Solidaria” Foundation. Caracas, Venezuela.

2004 – 62nd “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela.

2006 – I “Armando Reverón” High Fine Arts Institute Alumni Reunion. “Alejandro Otero” Museum. Caracas, Venezuela.

2004 – “Recapturing Volume”. “Alejandro Otero” Museum. Caracas, Venezuela.

2006 – Group exhibition. Espacio Zero Gallery. Caracas, Venezuela.

2004 – “Mutations in Space”. Miranda State Museum. Venezuela.

2005 – “Echoes and contrasts: Latinamerican Contemporary Art in the Cisneros Foundation Collection”. Contemporary Art and Design Museum. San Jose, Costa Rica.

2004 – “From 20 until 40”. Touring Exhibition. Venezuela. 2004 – “Sculpture and Photography”. Espacio Zero Gallery. Caracas, Venezuela.

2005 – “Threads”. Solar Gallery. East Hampton, USA.

2004 – “Art finances Art”. Museum of Fine Arts. Caracas, Venezuela.


2003 – “Personal Stories”. “Jacobo Borges” Museum. Caracas, Venezuela. 2002 – 60th “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela. 2002 – “Juan Lovera” Municipal Show. Industrial Bank of Venezuela Foundation. Caracas, Venezuela. 2002 – University Art Show. Central University of Venezuela (UCV). Caracas, Venezuela. 2002 – Ephemeral Art Show III. “Arístides Mata” Park. Caracas, Venezuela. Honors & Awards 2010 – Young Artist Prize and Honour Medal. “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela. 2007 – First Prize. Young Artists National Show. CANTV, FIA and CorpBanca with the youth. Caracas, Venezuela. 2007 – Painting Municipal Prize. “Mario Abreu” Contemporary Art Museum. Maracay, Venezuela.

Polychromy 2015 Textile and mixed media on canvas 24” x 24” | 60 x 60 cms

2006 – “Armando Reverón” Visual Arts National Prize. “Arturo Michelena” National Visual Arts Show. Valencia, Venezuela.


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Canale Diaz Art Center

Alternative Abstractions - Ludic Geometries  

Catalogue of the Group Show. Three Latin American artists present recent works in Contemporary Geometric Abstraction. On view until March 2...