CODE JCB-008
José Campos Biscardi COLOMBIA
B.1944
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
ÁVILA EXPLOTANDO EN UN INCENDIO
118X78
1990 / 69/120
SERIGRAPHY / HAND SIGNED
Painter. He studied at the School of Fine Arts of Cúcuta (Colombia) and at the School of Plastic Arts of San Cristóbal. Since 1953 he has resided in Venezuela. In 1964 he made the exhibition "Pinturas" (House of Culture, Cúcuta, Colombia) and a year later exhibited a series of oil paintings in the Exhibition Hall of the Public Library of San Cristóbal. From its beginnings to the present, figuration has worked: fragmented forms covered with meshes over flat spaces combined with images of clouds with calligraphic inscriptions, similar to comic balloons. This iconography has found in the acrylic with template a highly efficient technique. In 1968 he exhibited at the Museum of Contemporary Art in Bogotá, where Marta Traba met his work: "Campos is set
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up alongside a number of young artists who have achieved a very viable amalgam of pop surrealism, after rejecting with equal determination both the literal transfer of American pop as the historical concept of European surrealism and Dadaism [...] The sources where these new products are fed are, in most cases, the English painted pop and surrealism via Magritte, a 'rescued' 'that grows day by day, a feeder of clouds and precious and precise objects, a dreamer of concrete situations, whose lyrical veracity has sensibly touched that youthful tendency that he wrote down ... Campos Biscardi's work is based on such foundations , but then it is structured alone with an inventive firmness that is its greatest merit, because the invention is firm and planned, it can lead back to the meaning: there the new form is defined as a unquestionable but impregnated with mystery "(1968). This same year he organized a group show at the Nueva Generación Gallery (Caracas), as a confrontation between young artists who represented a neofigurative vanguard. In 1974, with the day they inaugurated the World Soccer Championship, he won the Arturo Michelena Prize at the XXXII Arturo Michelena Hall, incorporating for the first time the sports theme to his work, an ironic critique of the entire environment present in such event: godmother, the referee, the player and the spectators. It is relevant the treatment of the legs of the soccer player, as well as the pants of the referee. This work by Campos Biscardi, as well as the successive ones, integrates