Now playing in the film nook: Verónica Vides

We are very excited to have on loan from the Mario Cader-Frech Collection the artist film- La Barrida. Now showing through October 25. Introduced to us by curator Clair Breukel, from Yes Contemporary

Veronica Vides
La Barrida
Video
Duration: 3 mins
On loan from the Mario Cader-Frech Collection

“La Barrida” depicts a group of twenty ex-combatants, each of whom suffered immense hardship during the Salvadoran Civil War (1979-1991), sweeping the ruins of the Aguacayo church. The church is in ruins, and is one of many living examples of the destruction caused by armed conflict in the country. The video proposes that the activity of cleaning could somehow improve the situation, but in the end the action only serves to absurdly multiply the dirt, adding to the burden.  

Verónica Vides
La Barrida
Video
Duración: 3 minutos
Préstamo de la Colección Mario Cader-Frech

"La Barrida" representa a un grupo de veinte excombatientes, cada uno de los cuales sufrió enormes dificultades durante la Guerra Civil Salvadoreña (1979-1991), barriendo las ruinas de la iglesia de Aguacayo. La iglesia está en ruinas, y es uno de los muchos ejemplos vivientes de la destrucción causada por el conflicto armado en el país. El video propone que la actividad de limpieza podría de alguna manera mejorar la situación, pero al final la acción solo sirve para multiplicar absurdamente la suciedad, lo que aumenta la carga.

 About the artist:

Verónica Vides (El Salvador, 1970) 

Veronica Vides is a Salvadoran artist with a background in Graphic Design. An early accolade included winning first place at the JUANNIO art contest in Guatemala in 2003. That same year she was invited to participate in Arte Paiz Biennial and HABITART in El Salvador. In 2004, Vides received honorable mention at the IV Central American Biennial, and in 2010 was selected to participate in the 1st Triennial of the Caribbean, Dominican Republic as well as the VII Central American Biennial. In 2011, Vides participated in CHANGE at the World Bank in Washington, D.C., USA , and in 2014 was awarded the Honor Prize at Salón Artes Plásticas in Esquel, Argentina. In 2016 she participated in the Plan de Evasion residency at the Tunca Foundation, and the X Biennial of Central America in Costa Rica.  In 2018, Vides participated in the exhibition Donde hubo fuego… at Museum of Art in El Salvador (MARTE).

Her artwork is part of many public collections, including: Ministerio Relaciones Exteriores, México; World Bank, USA; MADC and TEOR/éTica in Costa Rica; Museum of Art in El Salvador Collection; and the Ortiz Gurdián Foundation Collection, Nicaragua.  Currently, she lives and works in Patagonia, Argentina.

Verónica Vides (El Salvador, 1970)

Verónica Vides es una artista Salvadoreña con experiencia en Diseño Gráfico. Uno de los primeros galardones que recibió  fue ganar el primer lugar en el concurso de arte JUANNIO en Guatemala en 2003. Ese mismo año fue invitada a participar en la Bienal Arte Paiz y HABITART en El Salvador. En 2004, Vides recibió mención honorífica en la IV Bienal Centroamericana, y en 2010 fue seleccionado para participar en la 1ra Trienal del Caribe, República Dominicana, así como en la VII Bienal Centroamericana. En 2011, Vides participó en CHANGE en el Banco Mundial en Washington, D.C., EE. UU., Y en 2014 recibió el Premio de Honor en Salón Artes Plásticas en Esquel, Argentina. En 2016 participó en la residencia Plan de Evasion en la Fundación Tunca y en la X Bienal de América Central en Costa Rica. En 2018, Vides participó en la exposición Donde hubo fuego... en el Museo de Arte de El Salvador (MARTE).

Su obra de arte es parte de muchas colecciones públicas, entre ellas: Ministerio Relaciones Exteriores, México; Banco Mundial, Estados Unidos; MADC y TEOR / éTica en Costa Rica; Museo de Arte en la Colección El Salvador; y la Colección de la Fundación Ortiz Gurdián, Nicaragua. Actualmente, ella vive y trabaja en la Patagonia, Argentina.

Considering color and aesthetics in the artwork of Nicole Galluccio.

Looking at a painting by Nicole Galluccio induces a feeling of calmness and joy. With everything going on in the world right now, this is exactly what I needed to see. When you walk into her studio you walk into a bold, bright flower garden [evoked by her paintings] with a hot pink floor, and leave unexpectedly, with a smile on your face.

This is no accident. The work is process oriented. She established her painting practice on Color theory, which is the combination of art and science that determines what colors look good together. The bold designs mimic the color wheel and are rooted in the philosophy of aesthetics; studying how the mind and emotions appreciate beauty.

Her work references nature. Emerson said, “The simple perception of natural forms is a delight.” Nature dazzles the senses (Popejoy). Galluccio relies on this by using reoccurring motifs of flowers, sunshine rays, and character art based on wildlife. Everyone loves a good Disney film and her bird characters could be plucked right out of a Snow white picture. She relies heavily on geometric structure and often references the mandala, which denotes the universe in Buddhist symbolism.

Flowers have been one of the most beloved subjects to paint throughout art history.  From Bosschaert and Cassatt to Warhol and Quinn you can find many styles and techniques using flowers. The latter most resembling Galluccio’s intentions. Investigating contemporary artists, and looking at some of Galluccio’s older works [that include collage], my mind immediately references Brazilian artist Beatriz Milhazes. Mihazes also utilizes a rigorous geometric structure with recurring motifs. Like Galluccio, Milhazes feels her technique is most important to the work. Milhazes work intentionally creates a visual dissonance so the “viewer has something to do” when looking at the work. Galluccio’s work has the opposite, calming effect, but has similar qualities.

Moving on to Galluccio’s newer works, which include a smiling sun and flowers, I am of course instantly reminded of Takashi Murakami’s work. His work has historical techniques but heavily references pop culture, anime and cartoons which is directly in line with what I see in Galluccio’s work. I am drawn to the flatness of her work. The comic, printmaking techniques she achieves with a paintbrush are impressive. No one does a black line [freehand] better than she does. Murakami coined the term "superflat", which describes both the aesthetic characteristics of the Japanese artistic tradition and the nature of post-war Japanese culture and society. The artwork of Nicole Galluccio fits nicely into this contemporary art movement.

In the modern world artists are pushed to market themselves and sell their artistic output [Conversation]. Marketing yourself is now a necessity. Galluccio is well on her way to establishing herself as a brand. She not only paints, but also does an array of products [jewelry, furniture, and clothing]. Murakami has established himself as a pioneer of promoting art as a brand (Artnet). It will be interesting to see her development and collaborations if she continues moving in this direction.

For more information about Nicole Gallucio you can find her at the following

Instagram:  @nicolegalluccioart

Website: Www.nicolegalluccioart.com

The John D. MacArthur Campus Library will be hosting a small exhibition of her work 

Nov 15 – Jan 10, 2019(20)