Artists

In an interview with Felipe Ehrenberg (Mexico City, 1943) included in the catalogue of his exhibition, Manchuria, Visión Periférica (Manchuria, Peripheral Vision) (2006), Guillermo Gómez-Peña calls the indefinable artist (furiously Mexican in the first place, and then, universal) who prefers to call himself − like his father, Duchamp − an “artisano” (a play with words combining artisan/artist and “sano”/healthy), although his actual profession is that of “neologist”, inventor of logical systems of thought, that is, of languages, "my conceptual goD.F.ather."

As of at least 2002, when he began his series of street dwellers in London city, collectively titled Sitters, the work of Ricardo Alcaide (Caracas, 1967) explores the borderline character of the skin; it penetrates into the metaphorical richness of membranes (whether they be walls, blankets, plastic sheets, fences, or the skin itself) that separate the interior from the exterior, that divide one world from another world that is its obverse, its opposite.

A musician and painter, concerned with the human figure and the landscape, mural art and spontaneous symbols, the effects of light and the vibration of nuances, Leopoldo Torres Agüero was, in all the stages of his production, an artist inclined to experiment with form and color.

In the book-object Negro el 10, the last collaboration between Julio Cortázar* and Luis Tomasello, the writer accurately describes the artist’s creative procedure. He states that “…

Emilio Perez was born in New York and raised in Miami, Florida. In 1990, at the age of 18, he moved back to New York to attend the Pratt Institute and returned to Miami two years later to complete his Bachelor of Arts in Fine Art at the New World School of the Arts.

The following conversation between Emilio Chapela and me centers around several paintings, photographs, and sculptures at the Henrique Faria Gallery and the Pace/MacGill Gallery in NewYork.