The Pumpkin Neighbors returned yesterday to take the streets protesting for the municipal decision of building a library on a protected farm. Yesterday was celebrated a performance of the artist Sergio Rangel, to protest for “the cynical decision of the district council, Katy Carreras” expressed his opinion in an article in La Vanguardia. The residents are not in agreement with taking any action to modify the current architecture, in pro of the buildings overcrowding and propose that the future library stay at the Baixeres School, scheduling a move, the Rull Pumpkin’s street neighbors have spent months demanding the property preservation. Originally a private developer bought the property to build on this site a four-floors building. After months of protest, the City announced that an exchange to the owners would be offered and stated that the Pumpkin Farm, 8 bis will be used to build a library. The exchange was offered to the Estrucfort 2000 Company; these are some lands in the Theatre Street.
The artist shows an individual exhibition in the Romulos Gallegos room at the Celarg in which an almost centennial family religious tradition allows him doing a wide social and redemptive reading of the Christian icon for excellence, the cross and the man covering it, forums, video conferences, poetic meetings and other activities are integrated into the sample.
To develop the cultural complexity of the horn icons Christ and the cross, those figures dominated by: a weft of diverse contents corresponding to the plurality of our social context is one of the artistic intentions of Sergio Rangel Penzo, creator which presents Encristao, single exhibition in the Romulos Gallegos room at the Celarg. The exhibition consists of two installations; one of them pretend to give a possibility of restructuring the Eucharist and the theological concept of salvation. The other one is a mythical space with crucifixes reinterpreted. Nevertheless, Rangel Penzo’s interest is not exclusively focused to the Catholicism, since he consider himself as a cults researcher, as a detector of mixing processes and popular belief reformulations of religion icons as behave in a cultural interaction. Among the suggested activities of this exhibition there is a video forum on a shaman initiation Manuel de Pedro, some talks about cultural behaviors, such as those that the Afinque Marin lived in the 60’s and 70’s, a video recording of a Mass with Tropics of Juan Carlos Núñez, a series of lectures on the process of image reading in Latin America and others. Sergio Rangel Penzo has professional training in photography, design and construction process of digital images. He is also a teacher and admits that the artist Miguel von Dangel is one of his main influences on the theological vision and Mario Abreu has a fundamental influence on his sensitivity. – What is your duality in this sample? -Rethinking the impact of the image. The image of Christ is very complex in Latin America; here is a pileup, a fusion of cultural confluences. I specifically want to use the image so that it can demystify and go down to a simpler context closer to any more earthly reality. Sergio Rangel proposal is to reformulate the image; its characteristics have been altered, transformed, into a new element easily attachable to the collective environment. The idea is not making magical objects or mystical structures, it is simply a re-creation “A mean of visual communication of ideas: of spaces, of places where I do the proposals”. – Where this interest in the Christ comes from? -I come from a family which since 1912 performs the Passion Living in La Parroquía Santiago de la Punta in Mérida Venezuela, tradition to which I belong. It has a structure of cult with hereditary transference. Nowadays, my father and uncle have created the Passion Living Foundation to preserve it and provide its continuity in time. From the Passion, from this experience, I gender links with my work in which, somehow, I register this rituality. – This has always been the focus of his research? I started 12 years ago looking for images, not only the ones of Christ crucified, but also others as the Jesus Heart. My intention is to seek their purest concepts. In regard to the crucifix, for example, I am attract to dismantle it and then to reinterpret it as something closer, as useful experience involving promises, to the sacrifices or the offerings that people experience for it. We should know that in Latin America we have a very particular approach to the cult, merged, mixed, diverse, complex, hard to determine from all its sources. In any other place around the world, the notion of Crucifixion was more conceptual, more philosophical. Here, its conception was more visceral, more about the image. My work takes some of those mergers and attends doing a de-codification; the purpose is to achieve a middle point in between those hybridizations, in between those mixtures. The purpose is to make an approach to the mystical reference and the theological context.
Once again the exhibition areas of the Arte Center of Maracaibo Lía Bermúdez will overflow with the primal matter: the clay, this time presenting the Third Clay American Biennale, Roberto Guevara, today at 11:30 am. Relative to the CAM-LB, the headquarters will take place in Venezuela: the Museum of Contemporary Art of Caracas-Sofia Imber, Fine Arts Museum of Caracas and the Alejandro Otero Museum, while in Brazil it is intervening as the headquarters for Latin America Memorial Foundation (São Paulo), the Brazilian Museum of Sculpture (São Paulo) and the Palace of Arts (Rio de Janeiro). This third edition of the Clay American Biennale is dedicated to its creator and ex Conac’s chief executive, Roberto Guevara, who died recently and who from 1992 devoted all his efforts to carry out this, by then, a great project. The Third Clay American Biennial marks a new phase of expansion and new challenges, presenting an ample space to the confrontation: Contemporary commitments: kernel which basically highlights the work of researchers with the remarkable career of art, which under a free and personal approach raised the issue of clay associated with the concepts of biosphere, gravity and levitation. The memory and the future kernel emphasize the permanence of the man projection in the environment, through crops developing in time and space. It also proposes a confrontation between the creative acts of a man in the past and the present of America, trying to find the thresholds of times to come. The Clay days: the kernel tries to answer the question how do you feel the clay being part of your life? The proposals presented are testimonies of how this material comes to our daily lives through contemporary means and resources. The Clay American Biennale Club has invited the United States, and the representatives of Mexico, Uruguay, Chile, Colombia, Cuba, England, Brazil and, of course, Venezuela: Paulo Montoro, Maria Bonomi, Patricia a work of Van Balen returns to plastic inside the confrontation, Jose Rufino, Joseph Spaniol, Rubensmanid, Carlos Fajardo, Nazareth Pacheco, Sadashi, Inuzuka from Canada, German and Gloria Fajardo Botero from Colombia, Paloma Torres from Mexico, Eduardo Azuaje, Batista Nieves, el frío Onofre, Nana Hernandez, Mónica Montañes, Sergio Rangel, Sydia Reyes, Patricia Van Daten, Beatriz Blanco, Pedro Fermin, José Gabriel Gonzalez, Jesus Guerrero, Nohemi Marquez, Federico Moros, Pedro Julio Quintero, Naty Valle and Luis Gonzalez from Venezuela.
The young artist Sergio Rangel, without having to bend or to endanger, without attending to what imposes the cultural system prevailing in the country, with his irreverent 26 years, launched a mega creative plastic proposal, turning Caracas into a huge heart, taking base in three areas simultaneously which evoke the Holy Catholic Trinity.
It was not all easy for him: Against him infringed his young age, his fledgling curriculum and the lack of monetary resources. However, he dared to presenter it in several museum institutions, until a kind soul which was attacked with his pictorial proposal, helped him to open several, exactly three, doors unconditionally. So, Rangel became the modern road maps given by the Caracas subway, both in his underground and shallow network, into a complex system of veins and arteries that go out and go into the very center of the capital’s heart. This is the exhibition “Sacred Hearts”, which opened on Sunday June 9 and which simultaneously occupied three exhibition spaces of the city, which are the Holy Trinity and, at the same time, three scattered but indissoluble concepts as The Trinitarians which can be approached from any of the their angles: The Gallery of Petare “Tito Salas”: The rising of the city filled with altars and retables, those primary stages giving primacy to the place that holds them. Waiting for the visitors internalization. The head of the project: The mezzanine of the Subway Station “La Hoyada” which is the precise place of pilgrimage in the capital, where a mural was placed, as a unique piece serving as a binding milestone for the entire sample. There, the inhabitants of the capital converge to then disperse throughout the city. Also, just there is located the Sacred Heart of Jesus Church, the right creator center of his project. It is the heart that pumps and purifies the blood.
The Board of St. Martin Ipostel Extension MACCSI West: The west, resulting in irremediable resurrection. There, he placed a kind of installation: eight modules which denote an octagon, Christian symbol of the baptismal water, the pile of water that purify, two-dimensional images that trigger on a three-dimensional sculpture and are located just below the subject. They are three spaces linked to the Caracas Subway which give an initiatory view, reminding to the holy and secret catacombs of the early Christianity chased. A network, that such as the Breadcrumb, can be visualized in veins and arteries fed and feeding the heart itself, the one in La Hoyada, where the blood is purified, where everything becomes in mystic ritual. But, the innovative projects of Sergio Rangel, a young man who lives thanks to their design profession and who brings the ritual of the Sacred Heart from their ancestors from Mérida, has a project hidden under the sleeve, a new project where the heart would be the world and the veins and arteries network would become in a virtual reality thanks to the Internet.
He had not been able to place it yet. Again, the lack of institutional interest and budget, the short curriculum and the seniority that only gives the time, are his obstacles. Not content with turning the city into a huge beating heart, he wanted to complement his triple exhibition with an artistic youth seizure of Caracas. Simultaneously, he has organized a series of events: music, lectures, conferences, chatter, Poetry Theater, and he also will count with the support of the multidisciplinary project Barca de Caronte, which is taking place every Tuesday in the spaces of the Fine Arts Museum. Today, Thursday at 2:30 pm, for example, there will be an open section at the axial center La Hoyada, and this Friday at 4:00 pm Perán Erminy will be the focus of the video forum about Bárbaro Rivas, which will have places in the lifting or rising Gallery of Petare Tito Salas. Yesterday, Wednesday, the ethno musician Adrian Suarez made an experience on random hypothesis in music, in the west room Ipostel, this experience will be replay on Friday 20 at 4:00 pm in itinerant, and so on each day. All of this is, to show to the impenetrable Venezuelan cultural world that young artists have too much to say.
They are collages in which this young artist combines photography, printmaking, drawing and painting, and they can be seen from today at the French Alliance in La Castellana.
Under the title “Enigma”, the young artist Sergio Rangel debuts today at the headquarters of the French Alliance in La Castellana, an exhibition combining the unusual collage, printmaking, drawing and photography, in an experiment resulting in new possibilities to develop a larger expression adopted to our time. Rangel, born in Caracas in 1969, studied drawing, painting, graphical design and illustration in outdoors, until he joined to the Free Workshop of Graphic Arts in The Cristobal Rojas School-Victor Hugo Irazábal, and now he continues his studies at the Institute of Design Perera. He has participated in several collective exhibitions in Caracas and in the countryside, where he has released theses plastic researches that define his work. “This is the birth of a photo collage, in which I bring out plaques, and I joined them to get the image that I spoke before with the drawing and the painting” he describes his technique.
“Therefore, Paran Erminy says to present him, in an intuitive and empirical interface, Sergio Rangel experiments with the plains recovered with colors which are already transparent attempts to balance the voluntary and speculative, which is spontaneous and random, which is the uncontrollable factor of sensitivity, of taste, intuition and random. His painting rules are similar to those of printing, effective super transparent horn ink plots”. The invitation is from 7:30 pm at the headquarters of the French Alliance, in Mohedano Avenue between 1st & 2nd cross, La Castellana.
Rangel work cannot be understood without taking into account the use of graphic and color: is the creation of a colorist of harmonic combinations which are pleasant to the spirit. Rangel is part of a vital experience, his link with the past.
Sergio Rangel (Caracas, 1969), offers a comprehensive work of technical possibilities, a consistent set of media mix, the product of the artist activity who entertains with his work on the subject of creation. He reproduced images, and he intervened with color drawings and plans of atmospheric transparency, in which predominates an experimental basis, where Rangel seeks new results, with combination of shapes and techniques not dissociated but rather interpenetrated. It is about the coexistence, or better say about confluence of modalities or work resources to be supplemented, he is able to create compositions of great interest.
Rangel does not understand his work without taking into account the graphic resources and the color: “this is creating a colorful harmonic combination of welcome warm freshness which makes you sensitive to the spirit”, which projects in his work experience acquired in his incursion on the premises of graphic design and printing. The artist plays with the range of possibilities offered by photography, screen printing, photocopying, lithography and etching. Hi is a graphic artist par excellence, who takes possession of such means to support a discourse that he explores, in his words “all this mystery surrounding the faith, the mystery of why people is seeking the image of a saint” . And Rangel is part of a life experience, his relationship with the holy, a fact that he knows since his childhood: “I am mixing these popular traditions which thank for received favors. Since my childhood I have been linked to these expressions of faith and popular mystique. “
The treatment of these works make front to the Venezuelan religious tradition, the popular icon venerated in a quite mystical, full of meaning and vital energy feeding the spirit and encouraging sometimes to be filled of difficulties. It is living and reliving with the people, with their saints, even with their heroes. To participate in the sublime virtue ceremony, of vital breath, of spiritualism enjoyed. It is to penetrate into the depths of their beings, in the “enigma” of their faith.
Images full of meaning, we have already said, the explicit message which is based in the observer point of view in a time of incredibility, and the sensibility towards religion, and the believer experience. Bodily images with biblical personages, the Roman and Christian testimony of the passion of Christ, the star of the sacred rites of the Holy Week, the creator of experiences now rebuilt over textural surfaces where the plot set up and reconfigure the image, to create unknown environments but clearly naturalists for definition and clear inspiration. It is as if from the religious, the artist wanted to get the universe purely mystical, imbued with meaning and vital energy feeding the spirit and encouraging sometimes to be full of difficulties. It’s living and reliving with the people, with his saints, even with their heroes. It is to participate in a ceremony of sublime virtue, it is the vital breath, it is enjoying of the spiritualism. It is to penetrate into the depths of his being, in the “enigma” of their faith.
His recent exhibition at the French Alliance, fortunately, counted with a coherent assembly, where the reading evolutionary showed progressive changes experienced by the work of the creator, as the eye could walk through figurative compositions that gradually led to another notably abstract, with intermediate points where the form was able to take their new results disintegrating. It passed from color to color, then through media experimentation and found objects (“objects collages” as defined Perán Erminy). The thematic unity thus became into new paths to wonder about other possibilities, undoubtedly, the artist will based himself in the wisdom to take advantage of it. These are the expectations and development of a work which promises, for its ability, talent and ambition.