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
CODE JCB-008
José Campos Biscardi COLOMBIA
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
ÁVILA EXPLOTANDO EN UN INCENDIO
118X78
1990 / 69/120
SERIGRAPHY / HAND SIGNED
INTERVIEW WITH MAESTRO CAMPOS BISCARDI IN SPAIN
https://www.youtube.com/watch?v=y-6T--v2y9Y&feature=youtu.be http://vereda.ula.ve/wiki_artevenezolano/index.php/Campos_Biscardi,_Jos%C3%A9
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INDIVIDUAL EXPOSITIONS 1964 "Pinturas", House of Culture, Cúcuta, Colombia / "Pinturas", Centro Colombo Americano, Cúcuta, Colombia 1965 "Óleos", Public Library, San Cristóbal 1967 "Drawings", Piccola Art Gallery, Cúcuta, Colombia / "Aphrodisiacs to watch over a table", Hall of Architects, Cúcuta, Colombia / "Drawings", La Mansarda Gallery, Bogotá 1968 "Themes of love and themes of war", Reading Room, San Cristóbal / "Love themes and themes of war", Pío Tamayo Library, Barquisimeto / "Larvas", Museum of Contemporary Art, Bogotá 1970 "Larvas", Institute of Artistic Orientation, Caracas 1971 "Larvas", College of Internationalists, Caracas 1973 "Larvas", Museum of Contemporary Art, Bogotá / "Pinturas", Living Art Gallery, Caracas 1974 "The visits S.A.", Banap Gallery, Caracas / "Pinturas", Unicornio Rojo Gallery, Cumaná 1975 "The tunnel", Viva Mexico Gallery, Caracas / "Los astros", Ocher Room, Caracas / "Paintings and drawings", Elbano Méndez Osuna Gallery, Tovar, Edo. Mérida / "Paintings and drawings", Ateneo de Barcelona, Edo. Anzoátegui 1976 "Pinturas", Estría Gallery, Maracay / "Pinturas", Galería Nuevos Valores, Maturín / "Sin Color", Librería Cruz del Sur, Caracas / "Pinturas", Bogarín Printmaking Workshop, New York / "Pinturas", Ateneo del Litoral , Macuto, Edo. Vargas / "Paintings and drawings", Lea Gallery, Barquisimeto / House of Culture Napoleón Sebastián Arteaga, Barinas / Galería Serra, Caracas 1977 "Paintings and drawings", Ateneo de Valencia, Edo. Carabobo / "Pinturas", Durban Gallery, Caracas 1978 "Pinturas", Luis Ángel Arango Library, Bogotá / Consulate of Venezuela, New York 1979 "Paintings", Gallery of Visual Arts, LUZ 1980 "With El Ávila to another part", Galería Serra, Caracas 1981 "With El Ávila to another part", Galería El Arca de Noé, Merida / "Con el Ávila a otra parte", Eloy Palacios School of Plastic Arts, Maturín / Galería de Armas, Miami, Florida, United States / "With the Ávila to another part ", Núcleo
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fantastic landscapes with balloons, clouds, umbrellas and boxes on green grass. Series of works inspired by the New York subway, Manhattan Project, grouping numerous sections of cylinders cut at different heights, on which he distributed the symbols that characterize his work: clouds, legs, striped stockings, umbrellas, boxes, landscapes, etc. The artist continued working in two dimensions, only from that moment he went from flat surfaces to curves. The fabric stretched on a rectangular frame, which is the usual support of the painting, appears in a two-dimensional way as the face of a die or parallelepiped that accepts various visual points. In 1980 he exhibited at the Serra Gallery in Caracas and, in 1981, he was selected along with other artists, to represent Venezuela at the XVI Bienal de São Paulo. Also this year exhibits in the Gallery De Armas (Miami, Florida, United States), 40 works made in acrylic on canvas, among which includes The bureaucrats, Los antros and El Avila, and participates in the 1st Regional Biennial of Plastic Arts of the East (Municipal Art Gallery, Puerto La Cruz). In his latest works, Campos Biscardi uses color based on an atmosphere that highlights the juxtaposition of planes in his work, characterized by a fantastic climate in which the human figure and some elements of nature -like clouds, fields and dense grass- , they are integrated into a symbolic unit. Between 1980 and 1990, its theme did not vary significantly. He participated in numerous individual and collective exhibitions; in the II Chamber Festival of Colonia Tovar (1988) he made a poster, The Phantom of the stradivarius that rounds the Colonia Tovar, based on a legend of the colonists. In 1990 he created the set design for the theatrical work Dead Men Prefer Blacks, by Andrés Eloy Blanco, performed by the National Theater Company. For its treatment and elements, the work of Campos Biscardi is a mixture between the real and the oneiric. The artist does not paint paintings in the traditional sense, but makes posters of different dimensions. His work is an image conceived to be reproduced and has a peculiar graphic technique: the use of templates for defined contours, flat inks, acrylics, precise masses, halftones and industrial colors. From his work, the GAN has in the collection of serigraphs dating from 1987.
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B.1944
CODE JCB-008
José Campos Biscardi COLOMBIA
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
ÁVILA EXPLOTANDO EN UN INCENDIO
118X78
1990 / 69/120
SERIGRAPHY / HAND SIGNED
AWARDS 1964 Prize for engraving for students, Casa de la Cultura, Cúcuta, Colombia 1965 Second prize of painting, San Sebastián Hall, San Cristóbal 1966 Second prize, University Hall, Cúcuta, Colombia 1967 First prize in painting, Salón San Sebastián, San Cristóbal 1969 Third Prize, XII Salon Julio T. Arze / Creole Award, XII D'Empaire Hall / Honorable Mention, XXVII Arturo Michelena Room 1972 Andres Perez Mujica Award, XXX Arturo Michelena Hall / First Prize, National Salon of Young Artists, Maracay 1973 First Prize, Salón Centro Plaza, Caracas / Cristóbal Rojas Prize, XXXI Arturo Michelena Salon / First Prize, National Salon of Young Artists, La Rinconada Hippodrome, Caracas / First Prize, Alejandro Otero Room, Ciudad Bolívar 1974 Arturo Michelena Award, XXXII Arturo Michelena Room 1975 Mention Municipal Hall, Municipal Council of the Federal District, Caracas COLLECTIONS Ateneo de Coro / Ateneo de San Cristóbal / Luis Ángel Arango Library, Bogotá / GAN / Mamja / Contemporary Art Museum, Bogotá / Ciudad Bolívar Museum / Graphic Museum, Rome / Soto Museum
The awards of DOCUMENTA 2013 3rd ANDEAN FRANCO DOCUMENTARY FILM PRIZE
DOCUMENTA 2013
Yesterday night the prizes that closed the 3rd Andean documentary film competition within the framework of the 8th Documentary Film Festival of Caracas DOCUMENTA 2013 were awarded.http://www.cinefrances.net/festivaldes.asp?idf=123&tipo=documental
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https://www.youtube.com/watch?v=jLgorf-OKUU
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del Litoral, USB, Naiguatá, Edo. Vargas 1982 "With the Avila to another part", Caraballeda Gallery, Hotel Meliá Caribe, Caraballeda, Edo. Vargas / "With El Ávila to another place", Galería Braulio Salazar 1984 "Paintings, drawings and graphics", Orinoco Cultural Foundation, Puerto Ordaz / Costa Rican Art Museum, San José de Costa Rica / Medical Association of the Federal District, Caracas 1985 "Fields of Fields", Acquavella Gallery, Caracas 1986 "The return to Táchira in 30 paintings", Sin Límite Gallery, San Cristóbal 1987 "The fields of Biscardi", Francisco Narváez Museum 1988 "A very particular look", La Rinconada Art Museum, Caracas / "An ecological issue", Sotage Gallery, Puerto La Cruz 1989 "With all the iron the Ávila arrives in Puerto Ordaz", Art Room of the South, EAP, Puerto Ordaz 1993 "Ecological volumes or Ávila is decubito", Galería Muci, Caracas 1994 "El Ávila at the table of Guanipa", El Tigre, Edo. Anzoátegui 1995 "Nature split", Art Nouveau Gallery, Maracaibo 1996 "Nature escindida", Orinoco Cultural Foundation, Puerto Ordaz 1997 Mérida Art Museum 2001 "Campos Biscardi in small format", Centro Arte Metropolitano, Valencia, Edo. Carabobo 2002 "El Ávila a todos partes", LPG Gallery, Caracas
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B.1944