Biography
Armando Rearte was born in Gral. Roca, Rio Negro, Argentina in 1945. He lived in Paris in the years 1967/68/69. Actually he lives in Zurich, Switzerland. Some of his individual and collective exhibitions.
Individuals.
1980. Artemúltiple Gallery. Buenos Aires. / 1981.Works on Wall. Artemúltiple Gallery. Buenos Aires. / 1983. Tema Gallery. Buenos Aires. / 1984. Tema Gallery, Buenos Aires. / 1985. San Telmo Foundation. Buenos Aires. / Ruth Benzacar Gallery. Buenos Aires. / 1986. SEC-52 Gallery. Zürich, Suiza. / 1987. Ruth Benzacar Gallery. Buenos Aires. / 1988. Thomas Cohn Gallery, Rio de Janeiro, Brasil. / 1989. Inge Baecker. Köln Gallery, Alemania. / 1992. C.A.Y.C., Art and Comunication Center. Buenos Aires.
Collectives.
1966. Modern Art Museum of Buenos Aires. / 1968. The Midland Group Gallery, Nottinghan, England. / National Museum of Arts, Buenos Aires. / 1969. Musée d’Art Moderne of Paris, France. / Musée Galliera, dans la cadre de la sixième Biennale of Paris, France. / 1980. National Museum of Arts, Buenos Aires. / 1981. Artemúltiple Gallery, Buenos Aires. / 1982. Giesso Studio, Buenos Aires. / 1983. Art and Comunication Center, Buenos Aires. / Giesso Studio, Buenos Aires. / Modern Art Museum of Buenos Aires. / Art and Comunication Center, Buenos Aires. / 1984. Buenos Aires City Cultural Center. / Sívori Museum, Buenos Aires. / Juan B. Castagnino Art Museum, Rosario. / Tucuman City Museum of Arts. / Buenos Aires City Cultural Center. / Art and Comunication Center, Buenos Aires. / Buen Ayre Gallery, Buenos Aires. / National Museum of Arts, Buenos Aires. / Buenos Aires City Cultural Center. / Akademie der Künste, Internationale Bauaussttellung. Berlin, Deutschland. / International Union of Architects, XV th Congress, Cairo, Egypt. / 1985. Art and communication Center, Buenos Aires y Ontario University, Canada. / Buenos Aires City Cultural Center. / Sao Paolo's XVIII Biennial , Brazil. Buenos Aires City Cultural Center. / Modern Art Museum of Mexico, Mexico. / Sao Paolo's XVIII Biennial. Contemporary Art Museum. Sao Paolo, Brazil. / San Telmo Foundation, Buenos Aires. / Ruth Benzacar Gallery, Buenos Aires. / 1986. Caracas Museum of Arts, Venezuela. / Modern Art Museum La Tertulia, Cali, Colombia. / Montevideo's Museum of Art, Uruguay. / Galerie Beau Lezard, Paris, France. / National Museum of Arts, Buenos Aires. / 1987. The Art of the Fantastic. Indianapolis Museum of Art, USA. / Art and Communication Center, Buenos Aires. / The Art of the Fantastic. The Queens Museum, Flushing, New York, USA. / The Alvar Aalto Museum, Jyvaskyla, Finland. / Forum Gallery. Lima, Peru. / Visual Arts, Americas Society and CDS Gallery. New York, USA. / 1988. The Art of the Fantastic. Center of Art. Miami, Florida, USA. / Art-Magazin, Zürich, Switzerland. / The Art of the Fantastic. Mexico's Contemporary Art Center, Mexico. / 1989. The Bronx Museum of the Arts, New York, USA. / 1990. Art and Communication Center, Buenos Aires. / Modern Art Museum of Mexico, Mexico. / Modern Art Museum La Tertulia. Cali, Colombia. / Modern Art Museum of Sao Paolo, Brazil. / Colombo Americano Center, Medellín, Colombia. / Modern Art Museum of Bucaramanga, Colombia. / 1992. FABA, Harrods, Buenos Aires. / 1995. National Museum of Arts. Buenos Aires, Argentina. / 1996. Jorge Luis Borges Center. Buenos Aires, Argentina. / 2001. Uhni Huus. Zürich, Switzerland. / 2003. Recoleta Cultural Center, Buenos Aires, Argentina. / Proa Foundation. Buenos Aires. / 2004. National Museum of Arts, Buenos Aires. / 2005. Helmhaus Zürich, Switzerland. / 2006. Castagnino Roldan Gallery, Buenos Aires.
Works in: National Museum of Arts in Buenos Aires, Argentina. / Modern Art Museum of Buenos Aires, (MAMba). / Contemporary Art Museum of Rosario, (MACRO). / The Bronx Museum of the Arts, New York, USA. / Indianapolis Museum of Art, Indiana USA. / Ruth Benzacar Galley, Buenos Aires. Thomas Cohn Contemporary Art, Sao Paolo, Brazil. / Argentinian, German, Brazilian and Swiss Collections.
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.
I wrote a few pages trying to say that there's nothing to say, but then I erased the unnecessary and I just left with an empty page again. It was a success. But as the reader wants to know something more, I wrote the following scribbles. I'm unable to choose a piece that represents me. My description of a work would be a possible interpretation in many others. The spectators interpretations are preferable. Any way, I can describe the production process for a work (almost a story). Its about “Flames of the devil”. I painted it in 1985, with acrylic on a 3.30m high and 4.00m wide canvas. I made someone to sew two 1.80 wide and 4.50 m long canvas. I knocked in the canvas to a wall. I improvised a scaffold with a very narrow plank between two different stairs. The plank was crooked and shaky. It was like a loose tightrope. At night, It took me long time to fall sleep. I prepared a white acrylic bucket and another with black acrylic. I used two 12cm wide flat brushes. I made strokes from left to right with all the extension of my arm turning my torso. I was balancing for not falling. I was tight-fisted to the brush. The strokes were supposed to be fast for not letting me think and for letting blend the white and the black. Because there was no place for mistakes I had to convert them into hits.
2. In general terms, how would you suggest to approach your work?
To read it knowing that there is no explanation . The explanations replaces a work. If art is able to be explained it wouldn't be art. Painting is understandable painting.
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?
If we understand that art is anachronism, then there is no tradition. The big works of art are contemporary. I felt interested among others, into Millet, Grosz, Picasso, Van Gogh, Michaux, Klee, Malevitch, Duchamp, Caravaggio. Yes.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
“Flames of the Devil” was exposed in: 1985 in Sao Paolo's XVIII Biennial , Contemporary Art Museum . Sao Paolo, Brazil. 1987. Art of the Fantastic, Latin America, 1920-1987, in the museums: Indianapolis Museum of Art, Indianapolis, Indiana, EE.UU. The Queens Museum, Flushing, New York, EE.UU. Center for the Fine Arts, Miami, Florida, EE.UU. Contemporary Art Cultural Center. Mexico City, Mexico. In some other Latin American Museum that I'm maybe forgetting. 1992. From Abstract Expressionism to Critic Figuration” FABA, Harrods, Buenos Aires, Argentina. 2003. The '80 Scene. Proa Foundation.
