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 León Ferrari |
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“There is a body of work in the Arsenale that presents just some examples of a long and substantial career. The artist in question has continued a critical practice in the context of an often antagonistic political and social situation. He is given this award not only for his ethical attitude and political commitment, |
but also for a contemporary aesthetic relevance that is unexpected for a practice that spans six decades. The Gold Lion to an artist exhibited in the central International Exhibition is given to León Ferrari.” On October 17, 2007, León Ferrari was awarded the Gold Lion at the 52nd Venice Biennale. |
León Ferrari Serie de errores and Works 1962-2006 exhibition November-February 2008
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“León Ferrari’s vibrant and challenging work is conversant with poetry, explores enigmas and metaphors, comments on space and form, creates music, can depict improbable cities and impugn religious and military institutions that monopolize ‘the revealed truth.’
“Ferrari’s reputation and international recognition began less than ten years ago when his work was included in the 2000-survey exhibition ‘Heterotopias’ at the Centro Reina Sofía in Madrid, and... The national scandal brought on by attempts to censure his retrospective exhibition at the Centro Cultural Recoleta in Buenos Aires in 2004, ...
“Today, his ink drawings, collages, sculptures, heliographies, Braille-embossed photographs, objects and installations are all critically acclaimed and in worldwide demand. Ferrari at 87 is active, sharp, working daily and enjoying a fertile creative period as well as experiencing great personal success.”
Victoria Verlichak, 2007
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| Cecilia de Torres, Ltd. is pleased to present León Ferrari’s drawings and sculptures to a new appreciative audience. |
Prior to this Gallery exhibition, Ferrari’s work was seen in New York in 1987 at Franklin Furnace; in 1988, in The Debt, a group show at Exit Art; in 1997, drawings were included in Re-Aligning Vision, Alternative Currents in South American Drawings, a traveling exhibition at El Museo del Barrio; and in 1999, in Global Conceptualism: Points of Origin, 1950s-1980s, at the Queens Museum of the Arts.
In September 2004, the Drawing Center presented Politiscripts an exhibition of Ferrari’s subversive 1960s calligraphic drawings. Holland Cotter wrote that they “...convey the impression of carrying coded and encrypted information known only to the artist. In short, they are like a taunting gesture of counter-censorship. Through its very opaqueness, abstraction, real or imagined, becomes a political tool.” New York Times, October 8, 2004.
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In 2009, the Museum of Modern Art in New York will present a León Ferrari exhibition.
We invite you to view images from our 2007-08 gallery exhibition and Ferrari chronology via the below links.
An illustrated catalogue of the exhibition with an essay by Argentine art critic Victoria Verlichak and an extensive chronology will be available. |
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