Dany Barreto

Works
Biography
Vision of art
Links
Contact

Mentioned by

Mentioned

Juan Batalla
Pablo de Monte
Max Gómez Canle
Miguel Harte
Guillermo Srodek-Hart
Anabel Vanoni
Manuel Ameztoy
Mariano Cornejo
Rafael Gonzalez Moreno
Marcelo Pombo
Daniel Santoro
Marcia Schvartz

Funkyenstein (2013)

"Funkyenstein", para "Catapulta", curador Mariano Soto, en La Sin Futuro, Bs As, 2013.
Intalación: 2 tocadiscos, hilos y clavos.

OP guaraní Toy (2012)

"OP guaraní TOY" - Expansiva II - curador: Mariano Soto - Cultural San Martin, CABA, Bs As

G8EN, Exú la murciélaga (2011)

"G8EN, Exú la murciélaga", para "Barro del paraiso", curador Juan Batalla, en Fundación OSDE, 2011-12.
Instalación altar para mi perra La Murciélaga

200x180x100 cm

Op guaraní (2011)

"Op guaraní" en "Informe Pais" curadoras Mara Santibañez y Judith Jorquera, en GAM, Santiago de Chile, Noviembre 2011

Siestas paraguayas con sueños chinos (2010)

"Siestas paraguayas con sueños chinos"- en Thisisnotagallery - curadora M C Baulo
Instalacion de 8m x 14m

8 x 14 metros

Biromeando en guaraní (2010)

2010-Dibujo con biromes sobre papel, posibles mantas para que teja mi madre, inspirado en las que ella hace con lanas de colores.

20cm x 25cm

Nocturno paraguayo (2009)

2009 - Cuadro peludo de plástico y pintura sobre madera más caja de acrílico.

100 x 130 cm

Otro sueño paraguayo (2009)

2009 - Otro sueño paraguayo, es un cuadro peludo de plástico, sobre madera.

100 x 130 cm

Exú La Murciélaga (2009)

2009 - Exú La Murciélaga es una instalación exhibida en la muestra colectiva "Dueños de la encrucijada" curada por Juan Batalla, en el Museo Blanes de Montevideo, desde el 28 de abril al 8 de junio de 2009.

variable

Owners of the Crossroads [Dueños de la encrucijada] (2008)

2008 - Tercer libro de la Colección Arte Brujo co-dirijida con Juan Batalla.

en colaboración con Juan Batalla

20cm x 22cm x 140 paginas

Sueños chinos… (2008)

2008 - Cuadro peludo de plástico y pintura sobre madera más caja de acrílico.

130cm x 180cm

Chinese dreams in Paraguayan Naps [Sueños chinos en siestas paraguayas] (2008)

2008 - Cuadro peludo de plástico y pintura sobre madera más caja de acrílico.

92cm x 100cm

Paraguayan Nap with Chinese Dreams [Siesta paraguaya con sueños chinos] (2008)

2008-
Cuadro peludo de plástico y pintura sobre madera más caja de acrílico.
Los otros tres son de la misma serie, mismo año, y de tamaños diversos.

93cm x 132cm

Sueño (2007)

2007 - Fotografía, formó parte de la muestra colectiva "Discontinuos" curada por Mindy Lahitte, en el Centro Cultural Recoleta, en febrero de 2009.

variable

Otros sueños (2007)

2007 - Díptico, cuadros peludos de plástico y pintura sobre madera más caja de acrílico.

92cm x 204 cm

Murciélaga luminosa (2007)

2007 - Pintura acrílica sobre madera.

60cm x 100cm

Interiores1 (2006)

2006 - Pintura acrílica sobre tela.

92cm x 122cm

Apariciones 1 (2006)

2006 - Pintura sintética sobre bordado anónimo.

57cm x 77cm

San La Muerte, una voz extraña (2005)

2005 - Segundo libro de la Colección Arte Brujo co-dirijida con Juan Batalla.

20cm x 22cm x 100 paginas

She-Bat [Murciélaga] (2005)

2005 - técnica mixta

169cm x 63 cm

El santito (2004)

2004 - Fotografía digital, aparece en el libro "San La muerte, una voz extraña"

variable

Gauchito Gil’s Army [Ejército del Gauchito Gil] (2003)

2003 - pintura acrílica sobre tela

100cm x 100cm

Disintegration [Desintegración] (2002)

2002 - realizada en colaboración con Juan Batalla (BA-BA).

Intervención (2002)

2002 - intervención realizada en colaboración con Juan Batalla (BA-BA).

en colaboración con Juan Batalla

Pomba Tiburona (2002)

2002 - técnica mixta, obra realizada en colaboración con Juan Batalla (BA-BA).

en colaboración con Juan Batalla

104 cm x 70cm

Difuntita (2001)

2001 - técnica mixta

28cm x 55cm

La murcielaga visita a la Hermana Irma (1999)

1999-
Pintura sobre tela con marco de velas

142cm x 142cm

Doña Cata 1 (1999)

1999 - técnica mixta

130cm x 90cm

Vision of art

1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.

“Paraguayan Nap with Chinese Dreams” [“Siesta paraguaya con sueños chinos”] (2008) corresponds to a series I began in 2007. It is basically a hairy plastic box. There is a flat figure of someone taking a nap, and inside this figure a Chinese embroidered bird of paradise, I found it in the Tristán Narvaja Fair in Montevideo. This work is a merging of three images, each one containing three situations, each one in a different material and technique. One image is in synthetic black paint, another one a very hairy carpet of green plastic and the other a cloth embroidered with very colorful silk threads, all mounted on wood and covered with an acrylic box. My style is Pop, and most of my work is figurative. This table represents it; nevertheless, a fusion of geometries appeared after this work, and I’ve been experiencing it for a few months. I work generally with technique ideas that I borrow from not-urban people, common people, who do not consider themselves as artists. They are generally from the countryside, towns or villages. I find it incredible how they resolve technical problems in the architecture of their houses, their clothing, accessories, furniture, ornaments, religious shrines, and so on. With nothing, with what they find, with waste, with leftovers and a lot of creativity they make hybrid things, which I find exceptional. In my travels I try to capture these collectable ideas with my camera, and then they get into my work almost as a tribute to these "raw artists."

2. In general terms, how would you suggest to approach your work?

To watch my work with total freedom. As they want, all ways are valid, every eye will give something to the work. If I mentioned one way to look at my work, it would limit it. I like to look at my work closely, very closely, from the distance, from a big distance, on one side, on the other side, turned, horizontal, vertical, from above, from below, in silence, with music, speaking, sideways, with one eye, to spy it, to check it, jumping, dancing, walking, sitting, lying, eating, drinking, alone, with company, at day, at night, etc, etc, etc...

3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?

I especially recognize myself in the Pop Art, with Jorge de la Vega, Marta Minujín, Rogelio Polesello, Warhol, David Hockney and Rauschenberg. And in the Neo-Pop with Keith Haring and Kenny Scharf. I also acknowledge Argentine artists of the past as Cándido Lopez, Berni, Guttero, Alfredo Hlito and Roberto Aizemberg. From the present Argentina, the 12 mentioned by me, and I would add to this list Diego Bianchi, Leopoldo Estol, Verónica Roman, Blanca Machuca, María Ibáñez Lago. From the distant past and from other countries, Jan van Eyck, Holbein the Younger, Ingres, Van Gogh, Gauguin, Rousseau “the customs officer”, Matisse, Bacon and Arthur Bispo do Rosario. Nearer to these times, the "British Youth" such as Damien Hirst, Sarah Lucas, Marcus Harvey, Chapman Bros., along with Maurizio Cattelan, Ron Muek, Cornelia Parker, José Bedia, Henrique Oliveira and Margaret Whyte.

4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why

The exhibition of material sent to the Venice Biennale in 1962 by Berni, at the Recoleta Cultural Center in 2002; the retrospective of Alfredo Hlito, Roberto Aizemberg’s retrospective, A Peronist World [Un mundo peronista] by Daniel Santoro; these three exhibition took place in the Recoleta Cultural Center, all of them in early 2000. Jorge de la Vega in 2003 and Xul Solar in 2005, both in Latin American Art Museum in Buenos Aires. Miguel Harte in the Fine Arts Museum in 2003. "Igbalé" by John Battle in Loreto Arenas Gallery in 2005. Manuel Ameztoy Galería in Braga Menéndez Gallery in 2005.

5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?

I think this is an interesting time because there is total freedom for everything, borders are increasingly released, softening the ground to create without limits, we can go wherever we want with so many possibilities. Our job opened as networks on the Internet open, increasingly endless, with thousands of possible combinations. We must seize them, and if not, enjoy what seems little but is much, what can be done simply by drawing, painting, photography, and etcetera. I can see that in recent years more young people are working and researching about the "none object". This contributed to something, it demolished the wall of the "where to show”. This is something new and good; now the work of an artist is not dependent on "certain places" to be displayed; there are more ways and more creativity to show.

Dany Barreto

Mentioned by

Mentioned

Biography

Funkyenstein (2013)

OP guaraní Toy (2012)

G8EN, Exú la murciélaga (2011)

Op guaraní (2011)

Siestas paraguayas con sueños chinos (2010)

Biromeando en guaraní (2010)

Nocturno paraguayo (2009)

Otro sueño paraguayo (2009)

Exú La Murciélaga (2009)

Owners of the Crossroads [Dueños de la encrucijada] (2008)

Sueños chinos… (2008)

Chinese dreams in Paraguayan Naps [Sueños chinos en siestas paraguayas] (2008)

Paraguayan Nap with Chinese Dreams [Siesta paraguaya con sueños chinos] (2008)

Sueño (2007)

Otros sueños (2007)

Murciélaga luminosa (2007)

Interiores1 (2006)

Apariciones 1 (2006)

San La Muerte, una voz extraña (2005)

She-Bat [Murciélaga] (2005)

El santito (2004)

Gauchito Gil’s Army [Ejército del Gauchito Gil] (2003)

Disintegration [Desintegración] (2002)

Intervención (2002)

Pomba Tiburona (2002)

Difuntita (2001)

La murcielaga visita a la Hermana Irma (1999)

Doña Cata 1 (1999)

Vision of art

Links