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© Eduardo Grossman

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MINISTARSTVO KULTURE REPUBLIKE HRVATSKE

SPLITSKO-DALMATINSKAŽUPANIJA

GRAD SPLIT

HRVATSKO DRUŠTVO UMJETNIKA

Nakladnik kataloga / Catlogue published byKULTURNA USTANOVA GALERIJA KULA Kralja Tomislava 10, Splittel./fax: + 385 (0)21 385 193gsm: + 385 (0)91 454 6666 E-mail: galerija.kula@gmail.comwww.galerija-kula.hr

Za nakladnika / Published byStanko MRDULJAŠ

Urednik / EditorDuje MRDULJAŠ

Kustos izložbe / Curator of exhbitiondr. Tonko MAROEVIĆ

Tekst / Textdr. Tonko MAROEVIĆ

Likovni postav / Exhibition designAntonio SEGUÍ i Duje MRDULJAŠ

Prijevod na engleski jezik / English translationDunja DRMAĆ

Marketing / MarketingEmina MRDULJAŠ

Fotografije / Photographs byChristophe des Brosses, Patrick Chapuis Eduardo Grossman, Béatrice Hatala Jean-Louis Losi, André Morain Karl Morisset, Jean-Claude Planchet

Grafičko oblikovanje / Graphic designNeven MARIN

Tisak / Printed byDALMACIJAPAPIR – Split

Naklada / Printed in600 primjeraka / Copies

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice u Splitu pod brojem xxxxxxxxxxxxx

ISBN xxxxxxxxxxxxxxxxxxxxx

TURISTIčKA ZAJEDNICA GRADA SPLITA

SPLITSKO LJETO

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tekst Tonk o Maroević

14. s rpanja - 14 . k o lovoza 2014 .

Spl i t - Zavod HAZU - Pa lača M i les i

Galer i ja Kula

s l i k e , o b j e k t i , g r a f i k e , 1 9 6 1 . - 2 0 1 3 .

a n t o n i o

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ŠEŠIR U GUŽVI DOBRO SE DRŽISlikarski svijet Antonia Seguía

Dobar glas Antonia Seguía dopirao je i do južnoslavenskih strana

već krajem šezdesetih godina prošloga stoljeća. Osim što smo

njegova djela mogli vidjeti reproducirana u katalozima, u ino-

zemnim časopisima i u pregledima novijih likovnih tendencija,

on je nagrađen na ljubljanskom Biennalu grafike 1969. godine,

imao je samostalnu izložbu u Beogradu 1967. godine, a njegovi

su radovi pokazani i u Zagrebu 1969. godine na izložbi „Dimen-

zije realnog“. Osim toga, sudjelovao je i na međunarodnoj ljetnoj

izložbi u Veloj Luci početkom sedamdesetih godina. Opus toga

argentinskog umjetnika, odavno djelatnoga i uspješno prihva-

ćenoga u Parizu, obilježio je jedan značajan trenutak fenomena

tzv. nove figuracije i održao se do dana današnjega kao vrlo ori-

ginalno, satirično i neravnodušno viđenje suvremenoga svijeta i

čovjekova položaja u njemu.

Splitska publika sad ima priliku vidjeti pravu sažetu Saguíevu re-

trospektivu, pregled djela raznih tehnika, formata, ciklusa i faza,

a koji obuhvaća punih pola stoljeća – od 1961. do 2010. Kroz

to oduže razdoblje slikar je pokazao vrlo široke raspone vlastite

izražajnosti i iznimne metjerske vještine, a ujedno potvrdio ja-

san kontinuitet – ili barem naglašenu dominantu – figurativne

orijentacije, zaokupljenosti ljudskim likom i neposrednom mu

okolinom, znatiželje za iskošenim aspektima običnosti, ljubavi

za svakodnevno gledano istodobno s porugom i simpatijom, da

ne kažemo i s empatijom, pa čak i s ponekom autobiografskom

referencijom.

Koliko god nam Seguíevo nadahnuće izgledalo isključivo aneg-

dotsko i narativno, vezano uz epizode i fabule stilizirane zbilje,

njegova misao eminentno je likovna, a njegova izvedba uvijek

vođena vrlo određenim kompozicionim načelima, jasnom svi-

ješću o svojstvima korištenih materijala i podloge, te izrazito

individualiziranim grafizmom, odlučnim rukopisom koji čvrsto

konturira oblike i izdvaja pojedinačne likove iz labirinta i prepleta

zgusnute okoline. Dobro je znati kako je slikar u svojim počet-

cima bio bliži apstrakciji i materičkom doživljaju kadra, kako se

bavio istraživanjima odnosa planova i slojeva, te kako je tek na-

kon svladane akademske građe (visokog modernizma) u njemu

prevladala potreba predstavljanja opsesivnih prizora, javio se na-

gon kritičkog preispitivanja nezadovoljavajuće realnosti, izronila

želja za humornim nadmašivanjem ili sublimacijom negativnih

vidova otuđenih građanskih i velegradskih ambijenata.

Kad je početkom šezdesetih godina Seguí ušao u dinamičan di-

jalog s prepoznatljivom stvarnošću, u svoje je radove unio tako-

đer iskustva vlastitih „apstraktnih“ početaka, naime autonomne

vrijednosti crte, mrlje, nanešene tvari. Dio je slika radio na podlo-

zi starih fotografija ili pak novinskih stranica. Osim što su na po-

vršinu izvirivala slova ili dio snimljenog filma, lijepljenjem je tako-

đer dodavao nove elemente, a ispisivanjem tekstova uvećavao

semantički naboj. Prema osobnom priznanju pretrpio je utjecaj

niza značajnih slikara, od Rembrandta do baroknih Španjolaca, a

posebno ga se je dojmila njemačka ekspresionistička – zapravo:

dadaistička i Neue Sachlichkeit – linija Grosza i Dixa. Da i hoće, ne

može sakriti ni stanovitu inkubaciju stripovima, specifičnu parce-

laciju kadra i standardizaciju tipova.

Spomenuli smo da Seguíev start koincidira s pojavom tzv. nove

figuracije, odnosno fenomena kojim je Europa reagirala na pop-

artistički obrat, nastojeći afirmirati suvremenu ikoničnost, ali

unutar zahtjeva kreativne preobrazbe motiva, te u sprezi s nekim

tradicionalnim vrijednostima osobno obilježene stilistike. Ovaj je

umjetnik u navedeno usmjerenje unio neospornu vještinu asimi-

lacije klasičnih umijeća, a pritom i neodoljivu svježinu ironičnog,

grotesknog i sardoničnog pogleda. Najraniji ovdje izloženi rad

„Obitelj de Felicitas“ (Familia de Felicitas, 1961) svojom je atmos-

ferom i kromatskom homogenošću gotovo hommage starim

majstorima, no s evidentnom parodičnom nakanom. „Kutija s

gospodom“ (Caja con Señores III, 1963) već je korak dalje s pseu-

doiluzionizmom planova i naglašenom karikaturalnošću zgrče-

nih obraza. Crtež „Mala povijest“ (Una pequeña historia, 1963-4)

svjedoči gipkost slikareve ruke i elastičnost njegove kombinato-

Tonko Maroević

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Cabezas 2008 List / Sheet: 65 x 50 cmKarborundum na papiru / Carborundum on paper

rike, gdje se organičnost linija spaja sa svjesnom stereotipizaci-

jom varijanti.

Djelom „Žestoki prijepor“ (Acalorada Discusión, 1966-67) već je

sasvim na svojem putu stisnutih grupnih prizora i smiješnih tipi-

ziranih likova, koje je izrezao iz drvenih ploča i zbio između dva

monokromna pravokutnika. Komičnost prizora naglašena je time

što u donjem dijelu prizora soliraju noge ispod koljena (pretežno

ženske, na visokim štiklama) dok su u gornjem dijelu pretežno

muški likovi. U žaru prijepora pojedinci se vuku za (točkaste i

isprugane) kravate, a čak četiri lika diferencirana su velikim muš-

kim šeširima. Malo koja će slika ili crtež iz umjetnikovih potonjih

godina biti bez likova sa šeširom; naći će se barem jedan takav

ponešto izdvojeni lik, kojega autor naziva gospodinom Gusta-

vom, a koji služi kao amblem, svojevrsna maskota ili čak alter ego,

idealni zastupnik autorova mikrouniverzuma.

Naslovivši ovaj tekst rečenicom „Šešir u gužvi dobro se drži“ ne

smjeramo na priču ili spektakl. Uostalom neki Seguíevi naslovi i

sami su u tom smislu vrlo eksplicitni: „Povijest bez priče“ (Una hi-

storia sin cuento, 1966) ili „Na vama je da načinite priču“ (A vous de

faire l’histoire, 1967). S druge strane, odustajući od likova, slikar se

povremeno odavao nefigurativnim ili „konstruktivističkim“ moti-

vima. Primjerice, rad „Preklapanje šešira“ (Piegamiento de cham-

bergos, 1967) ili, na ovoj izložbi predstavljena, „Projekcija kapa“

(Proyección de Gorras, 1967). Pozvali smo se na atribut šešira i na

stanje gužve kao na koordinate unikatnosti i mnoštvenosti ele-

menata, a „dobro držanje“ za nas ovdje znači primjerenost kom-

pozicionih rješenja, usklađenost inače proturječnih svojstava.

Radove kao što su „Vila na jezeru“ (Villa del Lago, 1969) i „Papuča“

(El Zapato, 1969) možemo shvatiti kao parodični ustupak lijepim

motivima i konvencionalnim solucijama, kromatskim harmonija-

ma i sugestivnosti tonske modelacije. Ali natpisi i okviri koroziv-

no upućuju na merkantilnu funkciju, denotiraju „razgledničku“,

potrošačku narav kodificiranih oblika. „Pravi“ Seguí je međutim u

nesputanoj levitaciji i karikaturalnoj deformaciji likova, u slikama

„Očigledno suučesništvo“ (Complicidad Evidente, i „Papuča“ (El

Zapato, 1970), a valjda još i više u radovima „Svakidašnji reljef“

(Relief quotidien, 1971) i „Okrajci stvari“ (Pedazos de Cosas, 1971).

Ako se u prvonavedenima zadovoljio grotesknim izduživanjem

udova i nesputanim lebdenjem tijela u neutralnom, anonimnom

prostoru, u drugonavedenim ostvarenjima prepustio se pravoj

„dekonstrukciji“ naznačenih manekena ili marioneta, gustoj zbrci

i miješanju odsječenih, razdvojenih udova, akcesorija, odjevnih

predmeta, među kojima, dakako, šeširi zauzimaju istaknute po-

ložaje i mjesta.

Nešto smirenije, standardnom kadriranju i komponiranju bliže,

razdoblje je poodmaklih sedamdesetih godina. Premda je izrazita

disproporcija čovjekove figure i kuće, „Pušač“ (Fumeur, 1974) čvr-

sto stoji na tlu, a „Daleko i odavno“ (Allá Lejos y Hace Tiempo, 1975)

sasvim realistički postavlja dvije figure u krajoliku, s minuciozno

naznačenim planovima polja što se gubi na obzorju. Očuđenje i

neobičnost naći ćemo u slici „Ti si bio a da nismo vodili računa“

(Te Fuiste sinque Nos Diéramos Cuenta, 1977), gdje je pretežan dio

krajolika s arhitekturom dan mimetički, samo što su položaji ne-

kih sudionika vrlo neobični, a pogotovo izdvojena samostojeća

velika glava po sredini gornjega dijela, još okružena žućkastim

uokvirenjem poput svetokruga.

„Parodirajući Rembrandta“ (Parodiando Rembrandt, 1978) zapra-

vo je vrlo suzdržana replika glasovitoga „Sata anatomije“, da bi

slično iskustvo, s naglašavanjem svjetlosnih efekata nekog nu-

tarnjeg obasjanja, prodrlo i u sliku „Kazališna klasa“ (Clase Teatral,

1979). S „Dubokim pogledima“ (Miradas Profundas, 1979) Seguí

se vraća svojoj humornoj, ironičnoj motivici uličnih prizora. U ne-

kom fantastičnom parku hridinastih nakupina i neobičnog rasli-

nja (vrlo dugačkih stabala kuglastih krošnji) dva su uspravljena

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šetača i jedan koji sjedi na klupi promatrajući nagu prolaznicu.

Sjedeći lik je ne samo ostentativno okrenut prema objektu svo-

jega promatranja, nego je od njegova oka prema pozadinskom

dijelu ženskoga akta povučena ravna crvena crta, dijagonala koja

kao da presijeca smirenu atmosferu smeđkaste zemljane podlo-

ge i tamnoplavog neba.

Od osamdesetih godina nadalje teče Seguíevo razdoblje gustih

anglomeracija urbanih prizora, neopisiva gužva ljudskih figura

i stisnutih kućica. U slikama „Podnesi ako možeš“ (Subí si Podés,

1983) i „Kad te ponovo vidim“ (Cuando te Vuelvo a Ver, 1985) aku-

mulacija likova svedena je na samo gornju polovicu kadra, dok je

donja „ispražnjena“, odnosno tretirana isključivo monokromnim

plošnim nanosom pigmenta. U jednom i u drugom slučaju me-

đutim, donju zonu slike presijeca naglašena vertikala, u prvome

je to visoka uspravljena drvena „skala“, a u drugome neproporcio-

nalno velika čovječja prilika, naravno pokrivena šeširom.

Ravnomjerna gustoća ispunjenosti kadra karakterizira radove

s početka devedesetih godina. Opet su to čovječuljci i kućice:

muški pretežno u građanskim odijelima (sa šeširima), u užurba-

nim kretnjama ali sasvim neujednačenih veličina (neki su i samo

torza), dok su žene mnogo rjeđe, no predstavljane raznolikije, od

šarenih haljina do aktova. Slika „U jesen počinje hladnoća“ (En

Otoño Empieza el Frio, 1990) posebno je karakterizirana malim

oblačićima dima što izlaze iz uskih kućeraka, vitkih poput kula

ili zvonika, a „Veliki petak“ (Viernes Santo, 1992) diferenciran je od

ostalih sličnih prizora učestalom interpolacijom lubanja među

inim figurama.

Svojevrsnim diptihom mogli bismo smatrati radove „Uvjetni re-

fleksi“ (Reflejos Condicionados, 2001) i „Iznenađeni čovjek“ (Hom-

bre Sorprendido, 2001). Naime, opet je riječ o ljudskim gomila-

ma i nesuvislim kretanjima mase, o užurbanim građanima (sa

šeširima) i začudnim reakcijama i relacijama, ali sve se zbiva na

ujednačenim praznim površinama gotovo pustinjskoga karak-

tera (smeđkasta boja tla pojačava taj dojam), a sasvim smanjeni

broj građevina u odnosu na prethodeće radove kao da svjedoči

apokalipsu. Među ljude su umiješani brojni psi, tu i tamo poneki

automobil, ili čak avion. Likovi su dani crtežno, crnom bojom, a

samo je u središtu jedne i druge slike istaknut pojedinac oboje-

noga odijela i šešira (nazovimo ga Gustavom), koji reagira u duhu

postavljenoga naslova – grčenjem, odnosno začuđenošću.

Grafička dionica Seguíeva opusa nije manje zanimljiva, prem-

da je motivski uglavnom analogna i koherentna sa slikarskim

parcelama. I u grafičkim tehnikama prevladavaju grupni prizori,

masovke, gužve, kadrovi gusto ispunjeni čovječuljcima nanizani-

ma mimo svakog poretka. Karakteristični su naslovi „Život je ka-

zalište“ (La Vida es un Teatro, 1991), a pogotovo „Kazalište života“

(El Teatro de la Vida, 1991-92), što se odnosi na ciklus s brojnim

varijacijama. U „Sportskom životu“ (Faire du Sport, 1986) imamo

iste sićušne likove stisnute jedne uz druge, ali u dresovima i s re-

kvizitima raznih disciplina (te odgovarajućim stavovima). Kako u

tom radu imamo samo jedan šešir, moramo se brzo pozvati na

„Velikog gospodina“ (Gran Señor, 1990), gdje su isključivo muškar-

ci, skoro svi sa šeširima, a pogotovo uvećani središnji lik.

Istina, u radovima što su prethodili strukturalnim kompozicija-

ma i grupnim viđenjima Seguí je eksperimentirao i s drugačijim

oblikovnim postupcima, pa i s drugačijom ikonikom. Bliži je bio

pop-artu s apostrofiranjem jednoga predmeta – stopala, primje-

rice („Šuljevi su nevažni“ – Los Callos no tienen importancia, 1968)

ili pak smjelim multipliciranjem fotografije iz popularne kulture

(„Bez muke i slave“ – Sin pena ni gloria, 1966). Ali i u toj je fazi uče-

stalo znao izviriti šešir, kako u kadru „Košulja“ (Los Saquitos, 1965-

68), tako – još više – u prizoru zvanom „Yes“ (Yes, 1968), gdje se

dvoje svlače iza velikog otomana, po kojemu odbacuju intimne

odjevne predmete, a na muškarčevoj glavi – posred koje piše YES

– i dalje je veliki plavi šešir.

Šešire imaju i zločinci iz novijega ciklusa „Ljudi sa sela“ (Gente de

campo, 1999), okrutni duelanti, naoružani noževima. U tim crno-

bijelim grafikama Seguí se okreće motivima iz zavičaja, što nas

– kad je već autor Argentinac – podsjeća na Borgesove kronike

bešćašća ili priče iz predgrađa („Evaristo Carriego“). Konačno, sa

šeširom je „Slikar“ (Pintor, 2002), crna silhueta uhvaćena u činu

nanošenja boje na platno. Moćni obrisi i sažeti oblici najrecen-

tnijih Seguíevih listova („Otvarajući prozor“ – Ouvrant la fenetre,

2008 i „Pukovnik“ – Coronel, 2010) svjedoče nesmanjenu žestinu

i čak dosegnutu sintezu lapidarne kritičke vizije neravnodušnog

moćnog slikara.

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FEISTY HAT IN A CROwDThe artwork of Antonio Seguí

Tonko Maroević

Antonio Seguí’s reputation has reached the Southern Slavic re-

gion already at the end of the ‘60s in the prior century. In ad-

dition to his artwork being reproduced in catalogues, interna-

tional magazines, and reviews on the recent art aspiration, Seguí

was also awarded in the Biennal of graphic work from 1969 in

Ljubljana, had a solo exhibit in Belgrade in 1967, and his artwork

was also shown in Zagreb in 1969 at the exhibit “Dimensions of

reality”. Moreover, he also took part at the international summer

exhibit in Vela Luka at the beginning of the ‘70s. The Argentinian’s

opus, who is well accepted in Paris, has been marked by a signifi-

cant phenomenon of new “figuration” and has been present as

a very original, satiric, and with a partial perspective of today’s

world and human’s existence.

Split now has an opportunity to see a shorten Seguí’s retrospec-

tive, a review of artwork techniques, formats, cycles, and phases,

which encompasses the entire half of a century—from 1961 to

2010. During this time frame, the artist has shown a quite array of

his self-expression to thematic skills, but he has also confirmed

to have a clear continuity—or perhaps an emphasized dominant

trait—of figurative orientation, preoccupation with human be-

ing and the environment, curiosity for crosscutting aspects of or-

dinary, passion for everyday life with taunt and sympathy at the

same time, not to mention almost empathy with autobiographic

traces.

Despite Seguí’s inspiration seeming anecdotal and narrative,

linked with episodes and stories from stylized reality, his idea is

eminently artistic and his performance always guided with cer-

tain compositional rules, clear awareness of the nature of mate-

rial and surface, and particular individualistic graphics, confident

manuscript which firmly defines shapes and secludes certain

characters from the labyrinth and intertwines condensed sur-

roundings. It is noteworthy to mention the artist’s abstractive

beginnings and cadre experience, his research on planes and lay-

ers, and that after he mastered the academic construction (late

modernism), he started to critically rethink the unsatisfied real

world, and wish for humorous outperformance or sublimation

of negative aspects of distant city and metropolitan elements.

when Seguí got introduced with the known reality at the begin-

ning of the ‘60s, he also mixed his “abstract” beginnings to his

artwork, such as independent lines, stains, inflicted things…A

part of his artwork was done on old photographs or newspa-

pers. In addition to letters and photo films, he also added new

elements by attachment and with text writing he emphasized

the semantic obsolete. He has been influenced by a number of

famous artists such as Rembrandt or Spanish barocco, but he

was especially impressed by the German expressionists—actu-

ally: Dadaistic style and Neue Sachlichkeit—series of Grosz and

Dix. Even if Seguí wants to, he cannot hide the elements of comic

strips, specific subdivision of cadres and types standardization.

we already mentioned that Seguí’s beginning coincides with

the so called new figuration, a phenomenon with which Europe

reacted on pop-art reversal with the aim to affirm the contem-

porary iconicity, but inside he requires creative motif transforma-

tions and additional fit into traditional characteristics of personal.

This artist has introduced an indisputable skill of assimilating

classical traits, but also refreshing traits of ironical, grotesque, and

sardonic. The earliest work “Family de Felicitas” (Familia de Felici-

tas, 1961) is almost a hommage to previous artist with its atmos-

phere and chromatic homogeneity but with an evident parody

purpose. “Box with Gentlemen” (Caja con Señores III, 1963) is

already a step forward with pseudo-illusionary plans and em-

phasized caricature of stiff cheeks. “Little History” (Una pequeña

historia, 1963-4) presents the flexibility of the artist’s hand and

places where lines meet stereotypic of variations.

“Fierce Dispute” (Acalorada Discusión, 1966-67) is already on its

way of tight collection of scenes and funny characters which the

artist craved from wood and placed between two monochro-

matic rectangles. what is humorous about the scene are female

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Coronel, série “Perfiles” 2010 List / Sheet: 57 x 46 cmKarborundum na papiru / Carborundum on paper

legs in high heels located in the bottom while the upper part

mostly includes male characters. In the wake of the dispute,

certain individuals are pulling striped and dotted ties, and even

four characters are defined with enormous male hats. Very little

paintings and drawings from the artist’s later period will not have

characters with big hats; there will always be one character like

that called Gustav, which serves as an emblem, even as a mascot

or alter ego, an ideal presenter of the author’s micro-universe.

The aim of the title “Feisty hat in a crowd” is not to focus on a story

or spectacle. Moreover, some of Seguí’s titles are indeed explicit:

“History without a Story” (Una historia sin cuento, 1966) or “It’s on

You to Make up a Story” (A vous de faire l’histoire, 1967). On the

other side, stepping away from characters, the artist sometimes

gave himself in to non-figurative or “constructive” motifs. For ex-

ample, the work “Overlapping of Hats” (Piegamiento de cham-

bergos, 1967) or, the current “Projection of Hats” (Proyección de

Gorras, 1967). The attribute of the hat and crowded momentum

are symbols of uniqueness and multitude of elements, while

“good standing” for us mean the use of compositional solutions,

matching of traits usually not compatible.

works such as “Villa on the Lake” (Villa del Lago, 1969) and “Slip-

per” (El Zapato, 1969) can be taken as a parody to beautiful mo-

tifs and conventional solutions, chromatic harmonies, and tone

modulation. However, titles and frames are weakly suggesting

the mercantile function, denoting a consumer trait in codes. The

“real” Seguí is actually unconstrained in his deformation of char-

acters, in paintings such as “Obvious Company” (Complicidad

Evidente) and “Slipper” (El Zapato, 1970), and perhaps in works

such as “The usual Relief” (Relief quotidian, 1971) and “Selvedge

of Things” (Pedazos de Cosas, 1971). In the former, the author let

himself to enjoy in grotesque elongated legs in a neutral and

anonymous world, in the latter he gave himself into a real “recon-

struction” of the mentioned mannequins and models, disarray

of cut out and separated limbs, accessorizes, clothing materials,

among them being hats as the most prominent detail. The later

time in the ‘70s marks a more relaxed period with the standard-

ized cadres and composing. Despite the emphasized dispropor-

tion of human figure and home, “Smoker” (Fumeur, 1974) stands

firmly on the ground, while “Far and Long ago” (Allá Lejos y Hace

Tiempo, 1975) realistically presents two figures in its environ-

ment, with minutely emphasized planes of fields that disappear

in the horizon. Estrangement and extraordinary can be found in

the painting “That was You and we Did not Take it into Account”

(Te Fuiste sinque Nos Diéramos Cuenta, 1977), where most of the

environment with its architecture is mimetic, however, posture

of certain characters is very strange, especially the lonely big

head in the middle of the upper part, and even surrounded by a

yellow frame like a halo.

“Parodying Rembrandt” (Parodiando Rembrant, 1978) is actually a

replica of “An Hour of Anatomy”, while the same experience with

inner shining appears in the painting “Theater Class” (Clase Tea-

tral, 1979). with “Deep Insights” (Miradas Profundas, 1979), Seguí

bring back his humorous and ironic motivation for street views.

In some fantasy park with rocky clusters and strange vegetation

(elongated trees with ball shaped tree-tops) there are two plung-

ing walkers with another one sitting and looking at a naked pas-

serby. The sitting character is not only turned towards the object

but there is an actual straight line from, diagonally positioned

towards the female object—almost like it cuts out the calm at-

mosphere marked with warm brown colors and deep blue sky.

The beginning of the ‘90s is signified by a harmonious density of

cadres in the upcoming works. Again, little people and houses

reappear: men usually in city attire (with hats), with fast move-

ments but different in sizes (some of them with just torso ap-

pearing), while women rarely appear, but vary in physical look,

from colorful dresses to nudity. The painting “The Cold Starts in

11

Autumn” (En Otoño Empieza el Frio, 1990) is emphasized with

little clouds of smoke coming from the narrow houses, elongat-

ed like towers or belfry, while “The Great Friday” (Viernes Santo,

1992) is differentiated from other similar views by often present-

ing an interpolation of skulls among all the figures.

works such as “Conditional Reflexes” (Reflexos Condicionados,

2001) and “Surprised Man” (Hombre Sorprendido 2001), can be

considered as a diptych. Moreover, we are again talking about

crowds and movements of masses, citizens in a rush (with hats)

and astonished reactions and relations, but everything is hap-

pening on uniform empty surfaces of almost desert character

(brown colored surface emphasizes this experience). However,

there are less buildings almost like it signifies a certain kind of

apocalyptic event. There are also many dogs among people,

sometimes an airplane, and even a car. Characters are depicted

graphically, colored in black, while in the middle of the paintings

there is an individual with colored suit and hat (let us call him

Gustav) who seems astonished—in the wake of the painting’s

title.

The graphic part of Seguí’s opus remains interesting, although it

is analogous and coherent with motifs of paintings’ parcels. In the

graphic techniques there are a lot of team sights, crowds, masses,

cadres with a lot of little people next to each other. works such

as “Life is a Theater” (La Vida es un Teatro, 1991), especially “The

Theater of Life” (El Teatro de la Vida, 1991-92) have typical titles

which imply to the cycle of many variations. In “Sports Life” (Faire

du Sport, 1986) we see similar little characters crammed next to

each other, but dressed in different athletic uniforms and appro-

priate attitudes. In this work we only have one hat, however, in

“The Great Mister” (Gran Senor, 1990) are mostly men prevailing,

almost all with hats, especially the enlarged man in the middle.

It is noteworthy to mention that works before structural com-

positions had an experimental trait, even experimental iconic-

ity. Seguí was more close to pop-arts with emphasizing one ob-

ject—for example, feet (“Blisters are Unimportant”—Los Callos

no tiene importancia, 1968) or with bold multiplication of pho-

tographs from pop culture “Yes” (Yes, 1968), where two individu-

als are taking off their clothes behind a large ottoman, and one

of them (male character) still wears a blue hat with a writing YES.

Hats are prevalent among negative characters (criminals) from

the newer cycle “People from the Village” (Gente de campo,

1999), cruel duelists armed with knives. In these black and white

graphics Seguí focuses on motifs from his birthplace which re-

minds us on Borges’ chronicles of dishonor or stories from sub-

urbs (“Evaristo Carriego”).Finally, the hat in “The Painter” (Pintor,

2002) is a black silhouette during color application on canvas. The

most recent of Seguí’s works (“Opening the window”—Ouvrant

la fenetre, 2008 and “Colonel”—Coronel, 2010) depict a force and

almost a synthesis of lapidary and critical vision of a great artist.

12

Familia de Felicitas1961

106,5 x 161 cmUlje i fotografija na drvu /

Oli and photography on wood

13

14

Caja con Señores III 1963

250 x 196 cm Ulje na platnu / Oil on canvas

15

16

Sueño Plegado de un Italiano Medio1967 58,5 x 66,5 x 8,5 cm Ulje i grafit na izrezanom drvu / Oil and graphite on cut out wood

17

Proyección de Gorras196759 x 66,5 x 8,5 cmUlje i grafit na izrezanom drvu / Oil and graphite on cut out wood

18

Acalorada Discusión1966-6758,5 x 64,5 x 10,5 cmUlje na izrezanom drvu / Oil on cut out wood

Detalj / Detail >

19

20

Pedazos de Cosas197164,7 x 79,5 x 4,7 cmPastel na kartonu / Pastel on cardboard

21

Relief quotidien197165,3 x 80 x 4 cmPastel na kartonu / Pastel on cardboard

22

Villa del Lago1969

195 x 250 cm Ulje na platnu / Oil on canvas

23

24

El Zapato197057 x 65,5 x 8 cmUlje i grafit na izrezanom drvu / Oil and graphite on cut out wood

25

El Tropezón196957 x 65,5 x 8 cmUlje i grafit na izrezanom drvu / Oil and graphite on cut out wood

26

El Zapato1969

195 x 250 cm Ulje na platnu / Oil on canvas

27

28

29

Allá Lejos y Hace Tiempo1975190 x 190 cm Pastel i ugljen na platnu / Pastel and charcoal on canvas

30

Te Fuiste sin que Nos Diéramos Cuenta1977200 x 250 cmPastel i ugljen na platnu / Pastel and charcoal on canvas

Detalj / Detail >

31

32

Clase Teatral1979200 x 200 cmPastel i ugljen na platnu / Pastel and charcoal on canvas

33

Parodiando Rembrandt1978200 x 200 cmPastel i ugljen na platnu / Pastel and charcoal on canvas

34

35

Miradas Profundas1979200 x 200 cmPastel i ugljen na platnu / Pastel and charcoal on canvas

36

Cuando te Vuelvo a Ver1985200 x 200 cmUlje na platnu / Oil on canvas

37

Subí si Podés 1983 200 x 200 cm Ulje na platnu / Oil on canvas

38

39

En Otoño Empieza el Frío1990 200 x 200 cm Ulje na platnu / Oil on canvas

40

Viernes Santo1992120 x 120 cmKombinirana tehnika i kolaž na platnu / Mixed media and collage on canvas

Detalj / Detail >

41

42

Reflejos Condicionados2001200 x 200 cmKombinirana tehnika na platnu / Mixed media on canvas

43

Hombre Sorprendido2001200 x 200 cmKombinirana tehnika na platnu / Mixed media on canvas

44

45

Sentirse Perseguido2010200 x 200 cmAkril na platnu / Acrylic on canvas

Detalj / Detail >

46

47

48

Mano Larga2013200 x 200 cmAkril na platnu / Acrylic on canvas

49

Sentirse Diferente2013200 x 200 cmAkril na platnu / Acrylic on canvas

50

51

Una pequeña historia1963 - 1964List / Sheet: 50,2 x 66,4 cm Litografija / Lithograph

< Detalj / Detail

52

Diálogo en carrera1965List / Sheet: 56,1 x 76,1 cmLitografija u boji / Lithograph in color

53

Diálogo incómodo1964List / Sheet: 56,4 x 70,5 cmLitografija u boji / Lithograph in color

54

Sin pena ni gloria1966List / Sheet: 63,2 x 89,7 cmLitografija u boji / Lithograph in color

55

Yes1968List / Sheet: 56,7 x 76,3 cmLitografija u boji / Lithograph in color

56

Los Callos no tienen importancia1968List / Sheet: 90 x 63,8 cmFotolitografija u boji / Photolithography in color

57

Los Saquitos1965 - 1968List / Sheet: 76,1 x 56,6 cmLitografija u boji / Lithograph in color

58

Los Nervios están visibles1990List / Sheet: 111,7 x 166,2 cmBakropis, akvatinta i akvarel / Etching, aquatint and watercolor

59

La Vida es un teatro1991List / Sheet: 111,9 x 165,4 cmBakropis, akvatinta i akvarel / Etching, aquatint and watercolor

60

Paisaje urbano1992

List / Sheet: 74,5 x 105,5 cm Serigrafija u boji / Color serigraph

61

62

El Teatro de la vida VII1992 List /Sheet: 62,8 x 89,9 cmLinorez u boji / Lino-etching in color

El Teatro de la vida XII1991List / Sheet: 62,2 x 85,5 cmLinorez u boji / Lino-etching in color

63

El Teatro de la vida VIII1992List / Sheet: 62,6 x 89,9 cmLinorez u boji / Lino-etching in color

64

Duelo criollo, série “Gente de campo”1999List /Sheet: 36 x 42 cmBakropis, akvatinta i akvarel / Etching, aquatint and watercolor

65

Duelo criollo, série “Gente de campo”1999List /Sheet: 36 x 42 cmBakropis, akvatinta i akvarel / Etching, aquatint and watercolor

Tomado por sorpresa, série “Gente de campo”1999 List / Sheet: 36 x 42 cmBakropis, akvatinta i akvarel / Etching, aquatint and watercolor

66

Mañana2012List / Sheet: 45,5 x 63 cmKarborundum na papiru / Carborundum on paper

De frente2012List /Sheet: 45,5 x 63 cmKarborundum na papiru / Carborundum on paper

Viento2012List /Sheet : 45,5 x 62,5 cmKarborundum na papiru / Carborundum on paper

67

Mañana2012List / Sheet: 45,5 x 63 cmKarborundum na papiru / Carborundum on paper

De frente2012List /Sheet: 45,5 x 63 cmKarborundum na papiru / Carborundum on paper

Viento2012List /Sheet : 45,5 x 62,5 cmKarborundum na papiru / Carborundum on paper

Pintor2002List /Sheet: 50 x 65,5 cmKarborundum na papiru / Carborundum on paper

68

Životopis / Biography 1934Antonio Seguí rođen je u Cordobi (Argentina). 1951-1954Putuje u Evropu i Afriku.Studira slikarstvo i kiparstvo u Francuskoj i Španjolskoj.1957Prva samostalna izložba u Argentini. Putuje Južnom i Cantralnom Amerikom.Provodi neko vrijeme u Meksiku gdje proučava sve tehnike graviranja. 1961Vraća se u Argentinu. 1963Seli u Pariz, poslije u Arcueil, gdje i danas živi.

1934Antonio Seguí born in Córdoba (Argentina). 1951-1954Travels in Europe and Africa. Studies painting and sculpture in France and Spain. 1957First solo exhibition in Argentina. Travels throughout South America and Central America. Spends time in Mexico where he studies all the techniques of engraving. 1961Returns to Argentina. 1963Moves to Paris, then Arcueil, where he lives currently.

Nagrade i priznanja / Prizes and honors 1957Premio Universidad Nacional de Córdoba, XXII Salón Nacional de Artes Plásticas de Córdoba, Argentina.19583° Premio Primer Certamen de Artes Visuales Contemporáneas, Córdoba, Argentina. 4° Premio Adquisición, III Salón Nacional de Tucumán, Argentina. Premio Adquisición, I Salón I.K.A. de Artes Visuales, Córdoba, Argentina. 19602° Premio Salón Internacional de San Miguel Allende, Mexico. 19612° Premio werthein de Pintura Rioplatense, Buenos Aires, Argentina. 1° Premio, III Salón Anual de Pintura del A.C.A., Buenos Aires, Argentina. 1962Premio Remorino, Salón Nacional de Córdoba, Argentina. 5° Premio, I Bienal Americana de Arte, Córdoba, Argentina. 1963 1° Premio, XXII Salón de Arte, Mar del Plata, Argentina. 1966 Premio Construcciones I.K.A., Bienal Americana de Arte, Córdoba, Argentina. Grand Prize, “National Museum of western Art”, V Tokyo International Print Biennial, Japan. 1967Gran Premio, Salón Latinoamericano de Dibujo y Grabado, Caracas, Venezuela.

Prix Musée de Lodz, Biennale Internationale de Cracovie, Poland. Gran Premio, Salón Internacional de La Habana, Cuba. Gran Premio, Salón Latinoamericano de San Juan, Puerto Rico. 1° Prix International de la Ville de Darmstadt, Germany. 1968Grand Prix, Biennale de Gravure de Cracovie, Poland. 1969Prix Transturist Skofja Loka, VIII Exposition Internationale de Gravure, Ljubljana, Slovenia. 1976Prix Salon International de Frechen, Germany. 19771° Premio Benson and Hedges, Buenos Aires, Argentina. Grand Prix, Salon de Montrouge, France. 1978Prix Bibliophilie, Sélection 1979 – Office de Promotion de l’Edition Française, Paris, France. 1979 2° Premio Bienal Sheraton, Buenos Aires, Argentina. 1980 Médaille d’Honneur, VIII Biennale Internationale de Gravure, Cracow, Poland. 1983Chevalier de l’Ordre des Arts et des Lettres, France. 1986 Premio VII Bienal de San Juan del Grabado Latinoamericano y del Caribe, Porto Rico. 1989Premio Di Tella a las Artes Visuales, Buenos Aires, Argentina. 1990 Gran Premio, Fondo Nacional de las Artes, Buenos Aires, Argentina. Premio a las Artes Visuales (Trayectoria de un artista), AICA – Sección Argentina, Buenos Aires, Argentina. 1993Membre Correspondant de l’Académie Européenne des Sciences, des Arts et des Lettres, France. 1994Premio Security, Security Legal Prepayment System S.A. Compañia Argentina de Seguros, Buenos Aires, Argentina. Associé de la Section de Peinture et de Gravure, Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique (Belgium). 1995Gold Medal, XI Norske Internasjonale Grafikk Triennale, Fredrikstad, Norway. 1999Premio Jerónimo Luis de Cabrera, Córdoba, Argentina.2000Académico Correspondiente en Francia, Academía Nacional de Bellas Artes, Argentina. 2002Premio Michetti, Francavilla al Mare, Italy. Premio Konex de Platino, (Gráfica), Buenos Aires, Argentina.2008Officier dans l’Ordre des Arts et des Lettres, France.201020° Premio de Pintura María Calderón de la Barca, Buenos Aires, Argentina.2012Prix de peinture de la Fondation Simone et Cino del Duca, Paris, France.

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Samostalne izložbe / Solo exhibitions 2014Palace Milesi and Gallery Kula, Split, CroatiaGalerie Janine Rubeiz, Beirut, Lebanon.2013Musée du dessin et de l’estampe originale, Gravelines, France. Galerie Anna-Tschopp, Marseille, France. Galerie Argentine, Paris, France. Durban-Segnini Gallery, Miami, United States.2012 Galería AMS Marlborough, Santiago, Chile. Galerie UNIVER, Paris, France. Galerie Frédéric Storme, Lille, France. Galería Latinoamericana, Havana, Cuba. Galerie Sonia Zannettacci, Geneva, Switzerland. Boutique Galerie La Niche, Paris, France.2011 Galerie Claude Bernard et Galerie Jeanne-Bucher, Paris, France. Anne-Marie et Roland Pallade Art Contemporain, Lyon, France. Nora Haime Gallery, New York, United States. Le Carmel, Tarbes, France. Museo de Arte Moderno (MAMbA), Buenos Aires, Argentina. Nora Haime Gallery, Pinta Art Fair, New York, United States.2010 Le Salon d’Art, Brussels, Belgium. Villa Tamaris Centre d’Art, La Seyne-sur-Mer, France. Crypt of the Notre Dame de Boulogne Basilica, Boulogne-sur-Mer, France. Espace d’Art Contemporain André Malraux,Colmar, France. Chaos Art Gallery, Belgrade, Serbia. Galerie Claude Bernard and Galerie Jeanne-Bucher, Paris, France. Anne-Marie et Roland Pallade Art Contemporain, Lyon, France.2009 Galerie Hélène Trintignan, Montpellier, France. Galerie Sonia Zannettacci, Geneva, Switzerland. Galeria António Prates, Lisbon, Portugal.2008 Galerie La Passerelle, IUFM, Mont-Saint-Aignan, France. Thanassis Frissiras Gallery, Athens, Greece. Galería Rubbers Internacional, Buenos Aires, Argentina. Gallery Lucette Herzog, Paris, France. Enlace Arte Contemporáneo, Lima, Peru. Galerie Marwan Hoss, Paris, France. Palacio Duhau, Park Hyatt, Buenos Aires, Argentina.2007 Opera Gallery, Hong Kong. Centro Cultural Recoleta, Buenos Aires, Argentina. Centro Cultural Borges, Buenos Aires, Argentina. Museo Castagnino, Rosario, Argentina. Museo Nacional de Bellas Artes Neuquén, Argentina. Galerie Anne-Marie et Roland Pallade, Lyons, France. Ecole d’Arts Plastiques, Châtellerault, France.2006 Galerie Quadri, Brussels, Belgium. Galerie Hélène Trintignan, Montpellier, France. Galería Rubbers, arteBA2006, Buenos Aires, Argentina. Centre Culturel du Forum, Saint-Gratien, France. Durban-Segnini Gallery, Miami, United States. Crid’Art, Amnéville-les-Thermes, France. Domaine de Lescombes, Eysines, France.

2005Galerie d’Art Graphique, Centre Georges Pompidou, Musée national d’art moderne,Paris, France. Galerie Lucette Herzog, Paris, France. Galerie Pascal Lainé, Avignon, France.Centre d’Arts Plastiques de Royan, France. Galerie Janine Rubeiz, Beirut, Lebanon. Galeria 111, Lisbon, Portugal. Galeria 111, Porto, Portugal. Dirimart, Istanbul, Turkey.2004 Galerie Sonia Zannettacci, Geneva, Switzerland. Espace 1789, Saint-Ouen, France. Musée Denys-Puech, Rodez, France. Abbaye du Vœu, Cherbourg-Octeville, France. Galería Rubbers (Espacio Alvear), Buenos Aires, Argentina. Pablo Goebel Fine Arts, Mexico City, Mexico.2003 Galerie Le Point, Beirut, Lebanon. Le Salon d’Art, Brussels, Belgium. Centro de Arte Contemporáneo wifredo Lam, Havana, Cuba. Quinconce des Jacobins, (Puls’Art), Le Mans, France. Musée des Beaux-Arts/Villa Steinbach, Mulhouse, France. Museo Provincial de Bellas Artes « Emilio A. Caraffa », Córdoba, Argentina. Galerie Ruta Correa, Freiburg, Germany. Museo de los Niños Barrilete, Córdoba, Argentina. 6ème Triennale Mondiale d’Estampes Petit Format, Chamalières, France. Frissiras Museum, Athens, Greece. Museo de la Universidad Nacional de Tres de Febrero, Caseros (Province of Buenos Aires), Argentina. 2002Galeria António Prates, Lisbon, Portugal.Galerie d’Art Contemporain de Chamalières, Chamalières, France. Galeria 111, Porto, Portugal. Musée des Beaux-Arts, Carcassonne, France. Château des Ducs de Bourbon, Montluçon, France. Galerie Argentine, Paris, France. The Cooper Union Humanities Gallery, New York, United States. Galería Rubbers, Buenos Aires, Argentina. Galería Rubbers en El Ateneo Grand Splendid, Buenos Aires, Argentina.2001Galerie Jacqueline Storme, Lille, France. Museo de Arte Moderno de Buenos Aires, Argentina. Galería Rubbers en El Ateneo Grand Splendid, Buenos Aires, Argentina. Espace Pierre Mendès-France, Château des Carmes, La Flèche, France. Centre d’Art Graphique de la Métairie Bruyère, Parly (Yonne), France. Galerie Claude Bernard, Paris, France. Galerie Claude Bernard, FIAC, Paris, France.2000Musée du Château des Ducs de wurtemberg, Montbéliard, France. Ecole Municipale d’Arts, Boulogne-sur-Mer, France. Galería Rubbers, Buenos Aires, Argentina.1999Durban-Segnini Gallery, Art Miami ’99, Miami, United States. Durban-Segnini Gallery, Miami, United States. Le Salon d’Art, Brussels, Belgium. Villa Saint-Cyr, Bourg-la-Reine, France.

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1998Fundación Museos Banco Central, San José, Costa Rica. Galería Sur, Punta del Este, Uruguay. Maison de l’Amérique Latine, Paris, France. Galerie Marwan Hoss, Paris, France. Galería Rubbers, Buenos Aires, Argentina. Marwan Hoss Gallery, Brussels, Belgium. Museo Municipal de Bellas Artes Dr. Genaro Pérez, Córdoba, Argentina.1997 Palais Ducal, Nevers, France. Espace Sculfort, Maubeuge, France. La Médiathèque, Trith Saint-Léger, France. Museo Rufino Tamayo, Mexico City, Mexico. Maison de l’Art, Sallaumines, France. Espace Arc-en-Ciel, Liévin, France. Espace Athanor, Guérande, France. Maison de la Culture / Scène Nationale, Bourges, France. Théâtre / Scène Nationale de Saint-Quentin-en-Yvelines, France. Biblioteca Luis Ángel Arango, Bogotá, Colombia. Galería Durban, Caracas, Venezuela. Espace Ecureuil, Toulouse, France.1996 Galerie Municipale, Vitry-sur-Seine, France. Centro Cultural Alberto Rougés, San Miguel de Tucumán, Argentina. Galería Rubbers, Buenos Aires, Argentina. Art Museum of the Americas, washington D.C., United States. Espace Croix Baragnon, Toulouse, France. Espace Ecureuil, Marseilles, France. Centre d’Art Contemporain, Istres, France.1995 Claude Bernard Gallery, Art Miami ’95, United States. Galerie Sonia Zannettacci, Geneva, Switzerland. Galerie Marwan Hoss, Paris, France. Galerie du Cirque Divers, Liège, Belgium. Le Moulin du Roc / Scène Nationale, Niort, France. Fundação Calouste Gulbenkian, Lisbon, Portugal. Galerie Janine Rubeiz, Beirut, Lebanon.1994 Galeria Fernando Santos, Porto, Portugal. Elisabeth Franck Gallery, Knokke-Le-Zoute, Belgium.1993Galleria San Carlo, Milan, Italy. Galería Leonora Vega, San Juan, Porto Rico. Instituto de Cultura Puertorriqueña, San Juan, Porto Rico. Galerie winance-Sabbe, Tournai, Belgium. Galerie Marwan Hoss, FIAC, Paris, France.1992Teatro Auditorium, Mar del Plata, Argentina. Casa Rosada, Buenos Aires, Argentina. Galerie Julio González, Arcueil, France. Centre d’Art Contemporain, Mont-de-Marsan, France. Galerie Sonia Zannettacci, Geneva, Switzerland. Galería Rubbers, Buenos Aires, Argentina. Galerie Ruta Correa, Freiburg, Germany. Editions du Nopal, Paris, France. Galerie Marwan Hoss, Paris, France. Le Salon d’Art, Brussels, Belgium.1991M. Gutiérrez Fine Arts, Art Miami ’91, United States. Galerie Michel Delorme, SAGA ’91, Paris, France.

M. Gutiérrez Fine Arts, Key Biscayne, United States. Galería Rubbers, Buenos Aires, Argentina. Museo Nacional de Bellas Artes, Buenos Aires, Argentina. Museo Nacional de Artes Visuales, Montevideo, Uruguay.1990 Claude Bernard Gallery, New York, United States. Galerie Michel Delorme, Art Cologne ’90, Germany. Galeria do Instituto Cultural Brasil-Argentina do Rio (Embajada Argentina), Rio de Janeiro, Brazil.1989 Elisabeth Franck Gallery, Knokke-Le-Zoute, Belgium. Elisabeth Franck Gallery, FIAC, Paris, France. Botanique, Brussels, Belgium Centre de la Gravure et de l’Image Imprimée, La Louvière, Belgium.1988 Claude Bernard Gallery, New York, United States.1987 Elisabeth Franck Gallery, Art Chicago, United States. Galería Rubbers, Buenos Aires, Argentina. Galerie Ruta Correa, Freiburg, Germany. Galerie Renoir-Le Latina, Paris, France.1986 Galería Quintero, Barranquilla, Colombia. Galería Rubbers, Buenos Aires, Argentina. Praxis Galería de Arte, Santiago, Chile.1985 Elisabeth Franck Gallery, ARCO ’85, Madrid, Spain. Elisabeth Franck Gallery, Knokke-Le-Zoute, Belgium. Présence Contemporaine, Cloître Saint-Louis, Aix-en-Provence, France. Praxis Galería de Arte, Córdoba, Argentina. Galería Jaime Conci, Córdoba, Argentina. Galería Rubbers, Buenos Aires, Argentina.1984 Galería Punto, ARCO ’84, Madrid, Spain. Centre Culturel de l’Aérospatiale, Toulouse, France. Représente l’Argentine à la XLIe Biennale de Venise, Italy. Galería Rubbers, Buenos Aires, Argentina. Fundación San Telmo, Buenos Aires, Argentina. Maison de la Culture, La Rochelle, France.1983 Musée de Louvain-la-Neuve, Belgium. Galerie Marquis, Vlissingen, Netherlands. Galerie Claude Bernard, FIAC, Paris, France. Lefebre Gallery, New York, United States. Galería Punto, Valencia, Spain.1982 Elisabeth Franck Gallery, ARCO ’82, Madrid, Spain. Lefebre Gallery, New York, United States. Ecole Municipale des Beaux-Arts de Boulogne-sur-Mer, France. La Galería, Quito, Ecuador. Galería Minotauro, Caracas, Venezuela.1981 Lefebre Gallery, New York, United States. Elisabeth Franck Gallery, Knokke-Le-Zoute, Belgium. Le Salon d’Art, Brussels, Belgium. Leinster Fine Art, London, England. Galerie Nina Dausset, Paris, France.1980 Nishimura Gallery, Tokyo, Japan. Galería de Arte Enrique Camino Brent, Lima, Peru.

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Galería Rubbers, Buenos Aires, Argentina.1979 Galerie Nina Dausset, Paris, France. Lefebre Gallery, New York, United States. Galería Rubbers, Buenos Aires, Argentina. Galerie Jacqueline Storme, Lille, France. Musée d’Art Moderne de la Ville de Paris, France.1978 Galerie du Dragon, Paris, France. Galería Feldman, Córdoba, Argentina. Galerie Carmen Martínez, Paris, France. Galería Rubbers, Buenos Aires, Argentina. Museo de Bellas Artes, Caracas, Venezuela. Galería Minotauro, Caracas, Venezuela.1977 Lefebre Gallery, New York, United States. Víctor Najmías Art Gallery International, Buenos Aires, Argentina.1975 Lefebre Gallery, New York, United States. Víctor Najmías Art Gallery International, Buenos Aires, Argentina. Galería Feldman, Córdoba, Argentina.1974 Galerie Fred Lanzenberg, Brussels, Belgium. Galerie-T, Amsterdam, Netherlands.1973 Gallery Jalmar, Amsterdam, Netherlands. Galería Antañona, Caracas, Venezuela. Galerie-T, Amsterdam, Netherlands. Galerie Claude Bernard, Paris, France.1972 Lefebre Gallery, New York, United States. Maison de la Culture, Rennes, France. Museo de Arte Moderno, Buenos Aires, Argentina.1971 Gallery Jalmar, Amsterdam, Netherlands. ARC, Musée d’Art Moderne de la Ville de Paris, France. Museum van Hedendaagse Kunst, Bois-Le-Duc, Netherlands. Groninger Museum voor Stad en Lande, Groningen, Netherlands. Musée de Mons, Belgium. Noord Brabants Museum, Bois-Le-Duc, Netherlands. Národní Galerie, Prague, Czech Republic. Théâtre National, Centre Rogier, Brussels, Belgium.1970 Museum Krakow, Cracow, Poland. Kleine Grafik-Galerie, Bremen, Germany. Neue Galerie, Baden-Baden, Germany. Hedendaagse Kunst, Utrecht, Netherlands. Galerie Jacqueline Storme, Lille, France. Galerie-T, Haarlem, Netherlands.1969 Instituto de Arte Contemporáneo, Lima, Peru. Galería Pryzmat, Cracow, Poland. Kunsthalle Darmstadt, Germany. Galería Colibri, San Juan, Porto Rico.1968 Galerie Claude Bernard, Paris, France. Galerie Jeanne-Bucher, Paris, France. Galería 22, Caracas, Venezuela. Galería Galatea, Buenos Aires, Argentina. Pro Gráfica Arte, Chicago, United States.

Museo Universidad Puerto Rico, Mayagüez, Porto Rico. Galerie-T, Haarlem, Netherlands. Universidad Central de Venezuela, Caracas, Venezuela.1967 Galerie Kolarcevog Univerziteta, Belgrade, Yugoslavia.1966Galerie Claude Bernard, Paris, France. Casa de Las Américas, Havana, Cuba.1965 Galerie Paul Bruk, Luxemburg City, Luxemburg. Galerie Claude Bernard, Paris, France. Galerie Kaleidoscoop, Ghent, Belgium. Galería Feldman, Córdoba, Argentina. Galería Lirolay, Buenos Aires, Argentina. Galería Relevo, Rio de Janeiro, Brazil.1964 Galerie Jeanne-Bucher, Paris, France. Galerie Claude Bernard, Paris, France.1963 Galería North, Buenos Aires, Argentina. Galería Antigona, Buenos Aires, Argentina. Galería Galatea, Buenos Aires, Argentina.1962 Galería witcomb, Buenos Aires, Argentina. Galería Lirolay, Buenos Aires, Argentina. Museo Provincial de Bellas Artes « Emilio A. Caraffa », Córdoba, Argentina.1961 Galería El Pórtico, Buenos Aires, Argentina. Instituto de Arte Contemporáneo, Lima, Peru. Galería witcomb, Buenos Aires, Argentina. Bolles Gallery, San Francisco, United States. Fundación “Emilio Ortíz”, La Plata, Argentina.1960 Galería witcomb, Buenos Aires, Argentina. Galería México, Mexico City, Mexico. 1959 Galería Génova, Mexico City, Mexico. Galería México, Mexico City, Mexico. Bolles Gallery, San Francisco, United States.1958 Galería Génova, Mexico City, Mexico. Museo Municipal de Arte, Guatemala City, Guatemala. Museo de Arte Colonial, Quito, Ecuador. Sociedad Económica de Amigos del País, Bogotá, Colombia. Dirección General de Cultura, Buenos Aires, Argentina.1957 Galería Paideia, Córdoba, Argentina. Dirección Provincial de Cultura, Córdoba, Argentina.

Muzeji i javne zbirke / Public collections ArgentinaColección de Arte de la Cancillería Argentina, Buenos Aires Fondo Nacional de las Artes, Buenos Aires Instituto de Investigaciones Históricas de la Manzana de las Luces, Buenos Aires MALBA-Colección Costantini, Museo de Arte Latinoamericano de Buenos Aires Museo de Arte Contemporáneo, Buenos Aires

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Museo de Arte Moderno, Buenos Aires Museo Nacional de Bellas Artes, Buenos Aires Museo Nacional del Grabado, Buenos Aires Museo de Arte Religioso Juan de Tejeda, Córdoba Museo Municipal de Bellas Artes Dr. Genaro Pérez, Córdoba Museo Provincial de Bellas Artes “Emilio A. Caraffa”, Córdoba Centro de Arte Contemporáneo, Córdoba Museo Provincial de Bellas Artes, La Plata Museo de Arte Contemporáneo Latinoamericano – MACLA, La Plata Museo Castanigno, Rosario Museo Provincial de Bellas Artes, Tucumán Belgium Ministère de la Communauté Française, Brussels Cercle Culturel des Riezes et des Sarts, Cul-des-Sarts (Couvin) Centre de la Gravure et de l’Image Imprimée, La Louvière Musée du Petit Format, Nismes Brazil Museu de Bellas Artes, Porto Alegre Museu de Arte Moderna, Rio de Janeiro Museu de Arte Contemporânea, São Paulo Chile Museo de la Solidarida, Fundación Salvador Allende, Santiago ColombiaBiblioteca Luis Ángel Arango, Banco de la República de Colombia, Bogotá Museo de Arte Moderno La Tertulia, Cali Croatia Museum of Contemporary Art, Vela Luka Cuba Casa de las Américas, HavanaCzech Republic Národní Galerie, Prague Ecuador Casa de la Cultura, Quito EgyptUniversal Graphic Museum, CairoFinland Sara Hildenin-Taide Museum, Tamper France Musée d’Unterlinden, Colmar Musée de Peinture et de Sculpture, Grenoble Musée Martiniquais des Arts des Amériques – M2A2, Le Lamentin (Martinique) Musée des Beaux-Arts, Lyons Musée Cantini , Marseilles Cabinet des Estampes, Bibliothèque Nationale, Paris Centre National des Arts Plastiques, Fonds National d’Art Contemporain, Paris Mobilier national et les Manufactures nationales des Gobelins et de Beauvais, Paris Musée National d’Art Moderne, Centre Georges Pompidou, Paris Musée d’Art Moderne de la Ville de Paris Fonds Régional d’Art Contemporain, Provence-Alpes-Côte-d’Azur, Marseille Fonds Départemental d’Art Contemporain, Seine Saint-Denis Musée des Beaux-Arts, Tourcoing MAC/VAL, Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine Galerie Municipale, Vitry-sur-SeineGermanyKunsthalle Darmstadt

Kunstverein zu Frechen Städtische Museum, Leverkusen Städtische Kunsthalle Recklinghausen Greece Frissiras Museum, Athens Iraq Musée National d’Art Moderne, Bagdad Italy Fondazione Michetti, Francavilla al Mare Museo all’aperto di Arte Contemporanea “Creator Vesevo”, Ercolano Japan National Museum of western Art, Tokyo Mexico Palacio de Bellas Artes, Mexico CityNetherlands Museum Boymans van Beuningen, Rotterdam Museum van Hedendaagse Kunst, Bois-Le-Duc Nicaragua Museo de Arte Latinoamericano, Managua Paraguay Museo de Arte Moderno, Asunción Peru Instituto de Arte Contemporáneo, Lima Museo de Arte Moderno - Fundación Gerardo Chávez, Trujillo Poland International Print Triennial Society, Cracow Museum Sztuki, Lodz Porto Rico Museo del Grabado, San Juan Serbia Muzej Savremene Umetnosti, Belgrade Slovakia Maison des Arts, Bratislava Slovenia Musée d’Art Moderne, LjubljanaSpain Fundació Stämpfli, Sitges Museo de Bellas Artes, Bilbao Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz Switzerland Kunsthalle Basel, BaselUnited States window South Collection, Glendale, California MoLAA - Museum of Latin American Art, Long Beach, California Museum of Latin American Art, Long Beach, California Oakland Museum, Oakland, California First National Bank of Chicago, Illinois University Museum, Eastern Michigan walker Art Institute, Minneapolis, Minnesota Museum of Modern Art, New York, N.Y. Solomon R. Guggenheim Museum, New York, N.Y. Vassar Art Gallery, Vassar College, Poughkeepsie, N.Y. Pittsburgh National Bank, Pittsburgh, Pennsylvania Archer M. Huntington Art Gallery, The University of Texas, Austin, Texas Hirshhorn Museum and Sculpture Garden, washington D.C. Interamerican Development Bank, washington D.C. Library of Congress, washington D.C. UruguayMuseo de Arte Contemporáneo Latinoamericano, Punta del Este VenezuelaMuseo de Bellas Artes, Caracas