Francisco Toledo - Gerardo Chávez - Carlos Runcie

(October 4 - November 8, 2006)

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Installation / Just Fourteen
Installation / Just Fourteen Them

ENLACE ARTE CONTEMPORÁNEO Gallery (Av. Pardo y Aliaga 676, San Isidro) announces the opening of the solo exhibition from Mexican master FRANCISCO TOLEDO, next Thursday, October 5, at 7.30 p.m. This exhibition will also include the participation, in the rooms attached to the new locale, of two outstanding proponents of Peruvian visual arts, the painter Gerardo Chávez and the potter Carlos Runcie Tanaka, both with creative stylings akin to that of the Mexican artist. Located in the district of San Isidro, this new space will be especially dedicated to fostering Peruvian and Latin American visual arts through a dynamic international promotion program. This show has been made possible thanks to the sponsorship of Nextel, the Deputy Secretariat of Foreign Culture Policy of the Ministry of Foreign Affairs, and the Mexican Embassy in Peru. ENLACE ARTE CONTEMPORÁNEO has a locale in the seaside resort of Asia, to the south of Lima, where it operated for two consecutive summers. The gallery’s director is Roberto Ascóniga. ABOUT FRANCISCO TOLEDO Born in Juchitán, Oaxaca, in 1940. He began his artistic training in Arturo García Bustos’ workshop and continued his studies in the print workshop at the Escuela de Diseño y Artesanía de la Ciudadela in Mexico City. He inaugurated his first solo exhibition in 1959 at the Galería Antonio Souza in Mexico. That same year, he traveled to Europe for the first time, returning to Mexico in 1965. He traveled to New York in 1979, and lived in Paris and Barcelona from 1984 to 1988, as well as residing in Los Angeles in 2001 and 2002. He currently lives and works in Oaxaca. His most important solo exhibitions include those held at Galería Antonio Souza, Mexico (1959); the Kart Flinker Gallery, Paris (1963); the Haaken Gallery, Oslo (1965); and the Daniel Gervis Gallery, Paris (1967). He has also held solo shows at the Museo de Arte Moderno in Mexico, the Museo de Arte Moderno in Bogota, the Mexican Cultural Center in Paris, Whitechapel in London, the Museo de Arte Reina Sofía in Madrid, Nippon Gallery in Tokyo, the Museo de Arte Contemporáneo de Buenos Aires, and the Museo Sofía Imbert in Caracas, among others. He has taken part in group shows at the Museum of Contemporary Art in Tokyo, the Picasso Museum in Paris, the Art Institute of Chicago, the Centre Georges Pompidou, and the Venice Biennale, among other noted art centers. He has received the following awards: Fellbach Museum; Premio Adquisición; Premio Nacional de Arte; Prince Claus Award, the Netherlands; and the Annual Federico Sescosse Annual Prize from UNESCO. Recently, he received the Honorary Right Livelihood Award, or “Alternative Nobel Prize,” “for his commitment and his art in favor of the protection, development, and renewal of the architectural and cultural heritage, the environment, and the community life of his native Oaxaca.” "If I forget Toledo’s obsessions, I am being biased again. Ultimately, his figures and subjects are a touching part of his aesthetic conviction. They are not artificial messages or literature; they are not add-ons or pretexts, but rather the arrangements of an indivisible order, comprising complementary materials, colors, forms, and fragmented images… His honesty is based on surprise. Surprise as an integrating action. Toledo, animist, rational, fiercely sexual, enamored of nature’s abstractions, capable of a hallucinated brusqueness and a timid shyness, considers his themes to be a continuation of his expressive media. In his incisive fables, form is part of the tale and the tale is compressed into images and color. In this way, one immediate precursor of his fables is Aesop, moral tales without normative consequences. Look, too, for Toledo’s own tradition, in the artist’s awareness of the unique value of each figure, each tale, each word.” Carlos Monsiváis "…Full of unexpected elements, his work establishes a merry restlessness. He broke the monotony of art in Mexico. His apparitions, soaked in anxiety, are inventories of an invisible world that belongs to him alone. ‘What does it depict?’ is a sorry question. Something more than his esoteric world, with its unmistakeable form, line, color, and composition. He copies nothing and imitates nothing, always inventing. Toledo cannot be understood using reason alone.” Luis Cardoza y Aragón "Since the very beginning, Toledo has been a graphic artist. He has succeeded in taking the techniques of lithography, metal engraving, and xylography to the highest point of expressive refinement. Perhaps it was his discipline in this field that taught him how to cultivate his materials. He paints and draws not from an abstract form imposed upon the paper or canvas, but by making the materials speak. He listens to the voice of the stone’s granulations, the eloquence of the wood’s streaks, or the bite marks of acid. He infuses the possibilities of each one of his instruments with life, treating his materials as if they were alive. At times, it seems that man is not the one who draws, but rather that these materials manifest themselves all on their own.” Verónica Volkow. ABOUT THE PARTICIPATION OF CHÁVEZ AND RUNCIE TANAKA In addition to hailing from nations of similarly great historical import, there are multiple elements that link the careers of the three artists brought together in this inaugural exhibition. Among these is their “prospecting” gaze, if you will, of the past as a source for the construction of a contemporary visual language; an intimate valorization of their respective home countries, both geographic and cultural; an undying fidelity to the manual approach, work done freely by hand, centimeter by centimeter; as well as their conception of the artist’s trade as a philosophy of life. Of course, there are almost formal aspects that engage in a dialogue, whether in the linework that connects Francisco Toledo and Gerardo Chávez, or the earthiness and textures of the pottery of Carlos Runcie Tanaka and the Mexican master, all rooted in a marked contemporaneity.