afelpARTE
Centro de las Artes de San Agustín Etla & Bodega Quetzalli
Junio 2014
Guillermo Olguín
… El responsable de SECULTA, detalló que la colección está integrada por obras de grandes maestros como Francisco Toledo, Rufino Tamayo, Rodolfo Morales, Rodolfo Nieto, Sergio Hernández, Maximino Xavier, Rubén Leyva, Alejandro Santiago, Guillermo Olguín, Raúl Herrera, Demián Flores, Luis Zarate y José Villalobos …
Octubre 2013
Octubre 2013
"HECHO EN CASA - Tapices de fieltro" en el Centro de las Artes de San Agustín Etla / Es el resultado del taller de afelpado del CASA que a lo largo de un año a trabajado y trabaja constantemente con diferentes artistas entre los que destacan: Demián Flores, Francisco Toledo, Trine Ellitsgaard, Abraham Cruz Villegas, James Brown, Irma Palacios, Francisco Castro Leñero, Guillermo Olguín, Paloma Torres, entre otros.
http://www.casa.oaxaca.gob.mx
Testimonios, Obra y Filatelia . 25 años del IAGO . 15 años del MUFI
Artistas en la exposición: Antonio Saura, Max Klinger, Jesús Romero, Pierre Alechinsky, Leopoldo Méndez, José Guadalupe Posada, Francisco Toledo, Mario Rivera, Kathe Kollwitz, José Luis Cuevas, Guillermo Olguín y Bernardo Modesto.
Octubre de 2013
Artistas en la exposición: Antonio Saura, Max Klinger, Jesús Romero, Pierre Alechinsky, Leopoldo Méndez, José Guadalupe Posada, Francisco Toledo, Mario Rivera, Kathe Kollwitz, José Luis Cuevas, Guillermo Olguín y Bernardo Modesto.
Octubre de 2013
enRoute Canada / Magazine
Different Strokes
In Oaxaca, the painters are proud, the art spills out into the streets and curators are made overnight.
... His huge canvases incorporate indigenous iconography and sometimes actual pieces of Oaxaca: sand and soil. Olguín enjoys rebel status in the city. At six-foot-five, he’s often found helmetless on his battered BMW motorbike (for which he traded a painting). He runs a notorious bar, a quasi-speakeasy called Café Central. The last time I met him, he insisted I climb on the back of his bike and drove us to a favourite restaurant, which was more of a cantina-like affair hidden behind a restaurant. I can’t really recommend the street-front place, but the secret backroom was superb. I’d tell you where it is, but he’d kill me.
BY DOUGLAS ANTHONY COOPER.
UN VIAJE AGITADO / By Murray Paskin
La mitología no es generalmente visto como un aspecto importante de la vida cotidiana. Es normalmente se considera que los cuentos de hadas como el cuento de oído como los niños, a los pies de nuestros padres en las noches de invierno. Aunque universalmente aceptado como teniendo importancia cultural, siguen siendo golosinas o exóticas para la mayoría de objetos de valor histórico para los estudiosos.
Una y otra vez, sin embargo, principalmente a través de los campos del arte y la psicología, lo mítico se ha mostrado como una fuerza viva, una entidad viva se manifiesta en la vida cotidiana. Esta orientación rige el arte del pintor oaxaqueño, Guillermo Olguín. Su obra refleja una mente que, por su propia naturaleza, ve y siente en términos míticos. Todo en su obra - personas, ambientes, objetos, etc - es de una naturaleza dual. Por un lado, nos da la apariencia literal de algo. Al mismo tiempo, una dimensión arquetípica ha sido añadido a ese algo. Esta dualidad hace que sus cuadros reverberan con implicaciones que van más allá de las propias pinturas. En su sentido más verdadero, el mito es una experiencia personal llevó a un nivel de universalidad. Eso, en esencia, que caracteriza el arte Olguín.
Igualmente importante para su trabajo, sin embargo, es su entendimiento de la pintura. Al igual que en términos míticos, también ve y se siente en términos de pintura. La forma en que se aplica, la expresividad intensa que logra, se convierten en elementos arquetípicos en sí mismos. Es lo que hace su imaginería mítica tan sorprendente ... ( )
A Restless Journey: The Work of Oaxacan Painter Guillermo Olguín By Murray Paskin
A Restless Journey: The Work of Oaxacan Painter Guillermo Olguín By Murray Paskin
Oaxaca's Art and Food Rebels
Oaxaca de Juárez has long been a city celebrated by cultural travelers: revered for its complex cuisine (among the most sophisticated in the world), its contributions to folk and modern art and—no trivial matter in Mexico—its safety. But during the second half of 2006, violent protests against the despised state governor turned ugly: Locals took to the streets, set buses on fire and erected barricades in the Zócalo, the central square. Restaurants closed their doors, and travelers stayed away. But art flourished. And once the army restored peace toward the end of the year, the postmodernist painters, sculptors and conceptual artists who congregate in Oaxaca helped the city’s restaurants recover. When the recent swine-flu panic threatened to paralyze Oaxaca’s businesses once more (after a few fearful weeks, tourists rightly returned), the artists again showed their support by continuing to frequent their favorite food hangouts.
It turns out that many of Oaxaca’s visual and conceptual provocateurs care deeply about protecting the city’s food traditions. Indeed, when McDonald’s planned to open an outpost in the Zócalo, renowned artist Francisco Toledo and his friends set up a stand in front of the proposed location and gave away tamales, atole (an indigenous drink made from ground corn) and other deeply regional foods—and McDonald’s skulked away to the suburbs.
When I arrived in Oaxaca three years ago, I was immediately drawn in by this subversive atmosphere. In my work as a writer I often collaborate with visual artists. Also, I am a troublemaker. And so, as I explored the terrific restaurants, cafés and bars where artists and intellectuals gather, I formulated my own idea for an art exhibit.
My concept was inspired by the intriguing tug-of-war taking place daily on my street: Artists would put up exquisite political graffiti on the walls one day; the authorities would whitewash it the next. My idea—for which I could have been deported—was to create a fictional curator: El Sargento Detective Jorge “Saúl” Converso, the policeman responsible for whitewashing the city walls. Converso would invite local artists to submit work to a gallery, which he would then tastefully censor and put on display.
http://www.foodandwine.com/articles/oaxacas-art-and-food-rebels
By Douglas Anthony Cooper
Suscribirse a:
Entradas (Atom)