One more year, the work of Arturo Berned is showcased at Arco Madrid 2018 (from the 21st to the 25th of February, IFEMA-Madrid) through the renowned New York Leon Tovar Gallery (pavilion 7 stand F08).
In this occasion two new sculptures share space with works of Carmelo Arden Quin, Martin Blaszko, Hugo Demarco, Manuel Espinosa, Edgar Negret, Omar Rayo, Jorge Riveros, Fanny Sanin, Jesús Rafael Soto and Victor Vasarely.
In mexican lands, one of the new sculptures of Arturo Berned has been installed.
A Sail with its deep scarlet tones, casts its silhouette over the pine trees. Crossroads on a red horizon is one of the finest sculptures to have ever left the workshop.
The structure measures some more of eight metres of scarlet steel with a geometry which floods the surrounding space with light, a work which is ´all or nothing`, ´a risk in the purest sense of the word, a dialogue with savage nature which opens up by framing what mankind first learned to do: its vertical looking towards the skies with its horizontal laying on the ground`.
Sculptures from various materials with different finishes and formats, graphic and photographic work on the most recent monumental pieces will all be inside the cabinet in pavilion 7 stand F08, giving a global vision of the artistic concept of the sculptor.
Also on view: Feliza Bursztyn, Gyula Kosice, Edgar Negret, Omar Rayo, Rogelio Polesello, Jorge Riveros, Fanny Sanin and Jesús Rafael Soto.
Leon Tovar Gallery is proud to present our Fall 2016 Highlights on view at both our galleries at 152 West 25th Street, 3rd Floor and Upper East Side at 16 East 71st Street. Among them the sculpture "Head VI" by Arturo Berned.
The works of Arturo Berned were exhibited as a part of the twelfth ArtBo 2016. The artist showed one of his sculptures in stainless steel - the House Guerrero (2009) - at the prestigious US Leon Tovar Gallery alongside the works of great artists including, among others, Paternosto, Soto, Negret and Ramírez Villamizar.
ArtBo is one of the most important events for the art market in Latin America and brings together an exclusive selection of internationally renowned artists and galleries. This year, the Bogotá International Art Fair took place between the 27th and the 30th of October in the Gran Salón de Corferias and included more than 70 galleries and was very successful in terms of attendance.
For the first fortnight in October, the sculptor Arturo Berned (Madrid, 1966) exhibited one of his works in the Japanese gallery Promoarte (Tokyo). Part of the collective exhibition “Three Dimension Art Works”, his piece in gunmetal, corten steel Head V (2012) shared the space with sculptures by, among others, Yahagi Ryuichi, Takashi Yukawa and Abek Zavala.
Promoarte, located in the Tokyo district of Omotesando, is the first and only gallery in Japan to specialise in Latin American art with its aim of making a contribution to a cultural exchange between the two continents.
ARTURO BERNED PRESENTS HIS WORK DURING ARCO LISBOA 2016 AT THE LEON TOVAR GALLERY OF NEW YORK
The sculpture of Arturo Berned will be present at the first Arco Lisboa 2016 (between the 26th and 29th of May at the Fábrica Nacional da Cordoaria, Rua Da Junqueira 342, Lisboa). The artist is showing four steel sculptures at the prestigious Leon Tovar Gallery of New York which are an accurate representation of his work on space and time; likewise he is also exhibiting two graphic works which show the challenge for the sculptor when abandoning the three dimensions in the simplicity of paper.
Anyone visiting Arco Lisboa will be able to see the sculptures Head XVII (2013), Head VII (2015), Sail VII (2012), Head VI (2015), , as well as the graphic works Aiming towards the void I and II (2012) . These are six works which to a large extent represent the work of the artist in recent years and accurately demonstrate his interpretation of modern art.
The works of the artist will be exhibited at Stand A01 and share booth presence and the spotlight with the work of Jorge Riveros, a grand travel companion to accompany in a journey through art.
Algebra inside a ‘Gateway of metal and light’
Just like life, art has its own particular algebra. Something that might be called the maths of affection. This is why feelings produce space; meeting points. What is sculpture without algebra, maths, spaces and encounters.
Transferred over to existence, all of these characteristics come together in a family. When all is said and done, this is actually a web of relationships. Every individual generates a place, a space; at times fuller and at others more empty but in constant dialogue with the other. The dynamic is the same as that which is a guide for works of art. It is the unavoidable product of human expression and therefore is also a dialogue with one´s self and with others.
This monumental sculpture entitled Gateway of metal and light was conceived with three separate and yet united parts. Around them, light, space and time interact. Since nothing exists without its own name, each element of the work lives with its own nomenclature: S, M, L.
Let´s look at the scupture and get closer to it. Without haste. There are two protagonists: S and M. They look slightly inclined. Just like the mythical Caronte, the mission is to cross the distance from the work. To invite the spectator to enter and not only with their eyes. The difference in space matters little: wider at its upper part and more limited lower down. This is its demand for a necessary independence. It does not matters that in reality it is merely a trompe l’oeil. Who doesn´t need the other? At heart they know that, just as in a family, they are united for ever by invisible ties.
Don´t let us stop here – let´s go on inside. Let´s look calmly at the space. The bond described by S and M creates an internal space which is made use of by L and who wouldn´t be drawn towards them. This is all a vain exercise to attempt to touch each other and then embrace each other. If we look upwards we can see that the metal is folded over onto itself without any possibility of its loss or escape.
It is just now when algebra finds its equilibrium. The pieces dance without movement around each other. Time stands still and life goes on within the family. It all takes place in an instant. As if it was a bonfire of metal, light and shade.
All of a sudden the algebra begins to count by adding high voltage spaces: S+M, M+L, L+S; S+L+ M. It all girates once again. Relationships become ever closer, links appear, the bonds of blood are renewed and life once more opens up within the family.
At the entrance to the home the sculpture gleams. The family crosses the threshold. The gateway which extends a welcome to guests is open. At last the home is alight.
Arturo Berned´s sculptures will have a presence at the 35th anniversary of Arco Madrid 2016 (from the 24th to the 28th of February. IFEMA-Madrid). For this unique occasion the artist is presenting three pieces of his work which accurately represent his work on steel, space and time in the prestigious United States Leon Tovar Gallery.
Visitors to the Arco Fair can see Head XVII (2013), Head XV (2012) and Sail VII (2012); these are three works which, to a large extent, substantiate Arturo Berned´s most recent work from the past few years and accurately show his reinterpretation of contemporary sculpture.
It is easy to follow the route to his works on the exhibition ground which is located in Pavillion 7, stand F08 where they share both space and prominence jointly with the works of Jesús Rafael Soto, Edgar Negret, Victor Vasarely, Carlos Rojas, Jorge Riveros and Robert Matta: the finest colleagues for a journey through the art world.
From the 22nd of December to the 10th of January next year the sculptor Arturo Berned (Madrid, 1966) will be exhibiting in Oslo some of the works which best demonstrate the progress of his work over recent years.
This is the first occasion when he has taken his artistic concept to the capital of Norway and the Semmingsen Gallery which is one of the most prestigious in the country. The gallery itself has a unique location a few short metres from the Astrup Fearnley Museum of Modern Art in the district of Tjuvholmen which has become the epicentre of artistic and creative life in this city in Northern Europe.
For this exhibition, Arturo Berned has selected the sculptures Friendship III, Head III and Head XVIII, all of them works in stainless steel which are defined by their clear and elegant geometry in search of a direct dialogue with the audience.
Between the 18th of December and the 19th of January, the sculptor Arturo Berned (Madrid, 1966) will present his work in the Aurora Vigil-Escalera (Gijón). This is the first occasion when the artist has exhibited his work in one of the most prestigious creative spaces in the north of Spain.
On this occasion he will be taking part in the collective exhibition entitled 30 + 1 which celebrates the three decades of the gallery under its previous title of Van Dyck and simultaneously its first year as an independent exhibition space: Aurora Vigil-Escalera.
On this first anniversary some of the most outstanding emerging artists will come together with established names in the field of the visual arts including Luis Gordillo, Eduardo Chillida, Juan Ugalde, Antonio Saura, Isabel Muñoz and David Rodríguez Caballero, among others.
The work of Arturo Berned will be represented by a series of sculptures in steel and in bronze which cover a large part of his artistic oeuvre. The people of Gijón can see works from the series Head (Head VII, Head XV and Head XVI) and Sail (Sail III s1, s2 and s3) through which a brief although intense journey can be taken through his works.
In the workshop, reviewing the last monumental sculpture I have produced. It os called "Sail" and it goes directly to Mexico, where we will finish the assembling and painting, for its final installation. Its large dimensions, and the location where it will be installed, makes this project one of the most complex I have ever been involved. I hope to be able to docuemnt all the process and share it with you.
This new work from Arturo Berned represents a new conundrum. Mask II (The Reflection of Narcissus) is a trompe l´oeil. From one side, the stainless steel; from the other, the bluing black. The metal - which is highly polished – as far as a point where it could be said to be a mirror, absorbs the light and the images from its surroundings. With these a new reality is created. Just as in the myth of Narcissus, the sculpture –spellbound– contemplates its own face. There then appear twin realities. The black one is the negation of Narcissus and of the sculpture. The light is swallowed up, no shadow is cast, no lines nor spaces nor volumes are generated. Nor time either. Sheer reflection against the void.
Installation of one of the sculptures "BOXES" in the street Alcalá in Madrid. Lifting this piece of more of 900 kg was a great team work. Here some images of the installation process.
A highly selective choice. Only 30 galleries and mainly from the United States. This year, the ArtAspen fair (Colorado, United States of America) traces its unique map of the art of our times. The works of Arturo Berned have been shown for several years at the m+vArt gallery in Miami, where it can once again be seen at the forthcoming August edition.
Some of the works of Arturo Berned are exhibited on the prestigious architectural studio of Ernesto Palanco in Marbella. It's a pleasure to work with Ernesto and his team.
Eight other pieces of work have represented the creative approach of the sculptor and architect at the first ArtMarbella exhibition. Some were monumental works (Heads) up to his Mask series. With these a large part of his creative world has been a part of one of the artistic events with the greatest future in Spain.
The work of the artist Arturo Berned is to have a major presence at the Art Marbella (Malaga) event. This is the first exhibition to bring together 50 top level national and international galleries. At this debut event, the Madrid sculptor will contribute with ten of his works, two of which will welcome visitors from their location at the entrance to the Marbella Conference and Exhibition Centre. These two monumental sculptures entitled ´Cabeza XVI (2013) and Cabeza I (2012) transform the space which surrounds the visitor to the exhibition. Their imposing presence in stainless steel is a fine example of the portfolio of Arturo Berned. Vigorous, tidy and limpid volumes where the metal is twisted until it finds its own logic.
As a means towards the understanding of his work, the Daniel Cardani gallery is exhibiting eight items by Arturo Berned which are examples of his four best known series of work: Cabeza, Vacío, Máscara and Caja. Entering into greater detail, the visitor will find in Cabeza II (2010), Vacío III (2012), Caja XXXVIII (2012), Cabeza XVII (2013), Cabeza X (2014), Cabeza XVI (2014), Cabeza XVIII (2015) and Máscara (2015), a three year journey through the work of the artist which serve as a means of making an in-depth appraisal of his creative universe.
For five days between the 30th of July and the 3rd of August, Marbella will become a reference point for the art world. The organisers point out that this is the first major art fair in the Mediterranean which is all thanks to a balanced mix of the work of rising artists with that of the classic names of the 20th century along with artists who are in the midst of their career.
The fair is to have specific sections under the care of independent curators along with a fascinating programme of parallel activities organised by the Contemporary Arts Centre of Malaga (CAC) and other local museums to which entrance is free and all over a timetable scheduled in accordance with the summertime. From 6.00 to 10.30 in the evening. We will be expecting you.
Times of Art and Luxury. Art as a vehicle of cultural transmission and Luxury as an activity that launches the business universe. These have been two of several ideas that have gravitated over the last edition of the Forum organized annually by la Zagaleta (Málaga) in their facilities in Benahavis.
This year, the architect and sculptor Arturo Berned, has contributed to enrich this dialogue, pointing out the “importance and value of both spaces for the artistic creation, and how it is possible to establish an honest, deep and open relationship”. “The only requirement”, the artist has recalled, is “the liberty the creator needs to have to lay out his work in this scenario”.
Many proffesionals of the business environment have participated in this conversation, such as Carlos Falcó or Rosa Lladró, and some of the world most prestigious cultural institutions. The MoMA, the Thyssen-Bornemisza Museum, the Prado Museum, the Native Home of Pablo Picasso, the Malaga Contemporary Art Center (CAC) and the Parisian Pompidou have put their voice and words to draw the dialogue path between Art and Luxury.
“Art sets new ideas, and that is what revolutionizes the world. The emotions are not sufficient any more to change the society”, Fernando Frances, director of the Malaga Contemporary Art Center, has pointed out. With different but similar words, Nuria de Miguel, general secretary of the Foundation Friends of the Prado Museum, emphasizes the idea that “a museum is an inspiration and creativity paradise, we can discover and protect, enjoy and get excited with real treasures”.
The fact is that Luxury is a rising economic world, and more and more it is tighting a relationship with creation. “ The luxury companies are interested in the new way, fresh and different, in which artists read our times and the society in which they live; whereas for the artists, the support of a first class brand can be the vehicle to carry out projects which otherwise would not be possible”, adds Arturo Berned. It’s a relationship where both win, Luxury as well as Art.
A JOURNEY INTO ‘SUSPENDED SPACE’ BY ARTURO BERNED
What is the creative process for an artist? What leads them to choose one route over another one?
We have journeyed into the creative universe of the sculptor Arturo Berned while he was giving shape and meaning to a new collection of sculptures. He has given them the title of ´Suspended Space`. The artist explains his work with a series of sketches on card. The search, the discoveries and the discarded ideas. It is all a game of additions and subtractions. Where less is more. Less material, less volume; more presence of the piece. The images show small sculptures in card scarred with marks and signs. Encounters between different planes united by a fragile zeal, marked with traces of graphite or arrows which point to the edges. They are indications which will later serve as guidelines. Or not. Because this is an open process of creation. It may be the right way or it may be one which is discarded. Of course – it will be the piece itself which has the final decision. What is required is endless hours in the workshop.
The video reveals the evolution process of the work. Some sketches are begun and then later are abandoned to wait for better luck. This is the routine of all great artists. Starting, continuing, turning back; tearing up. The camera shows the initial stages of the works and their development. But when is a piece finished? When is it complete? It´s possible that there are no more complex questions nor a more difficult reply for an artist. There is only one possible reply: listen to the work.
This is what we discover when entering the intimacy of the sculpture workshop. The exact moment of the thought. The video shows it with images and words. Arturo Berned in the work space where he spends – in silence - a good part of his life. Because only those creators who are able to spend endless hours in the studio are the ones who, rather than seeking - as Picasso would have it - discover.
This is the route which Arturo Berned has followed for so long. A search which – for the moment – has led him to suspend time. But this is only the beginning.
This sculpture belonging to the "Box" series is like a hopscotch. A multitude of parts used to create an image. Yet each has its own identity. Think of a puzzle. Each tab, in itself, has meaning but only reaches its true value when all are combined and fit in it´s own unique way. Box XL is the result of a fruitful and honest conversation between the sculptor and the steel. A polished image searching for the perfect meeting of its whole. If you look at the details we will see how the lines that define the sculpture seek and find each other with precision. All their plans. In these meetings inhabits geometry, proportion and beauty.
Every artist tries to command their own work but some times are the works themselves, who guide their own destiny. Box XL has that departure point. That is why it doesn´t ask for any color but keeps pure steel cleanliness. The shining spark of sanding and polishing. As if flows from a fountain of crystal clear water. Certainly the sculpture resembles a journey to the origins. Well, that eternal return also leads us to the horizon line. One issue that many artists have tried to decipher from Richard Serra to Eduardo Chillida. Box XL also drinks in that stream. As we approach it we see their pieces fit, always seeking after the horizontal line. Competing, in an impossible duel, with the horizon. That is its ambition, although it sits at ground level. Joan Miró told it: “I work treading the earth so the force enters in me through my feet. And the gaze is open to the world”. We speak of a free sculpture, in which the mass seems to have ceased to exist and have been replaced by a perfect balance between volume and void. The sculpture, heir to the minimalist look of Donald Judd, is accommodated in countless rhythms and relationships with itself. Each piece seems to dialogue with its continuance or, further, with his distant. It's the same. Because, as a living being, all parts are interconnected in a complex geometry but at the same time simple and forthright.
Let us pause now. The piece is finished. Far from the necessary tyranny of the workshop it seems to make sense of their own existence. Polished, devoid of paint and describing its unsolvable equation between hollow and empty. An invitation to the eye and touch. Box XL.
Arturo Berned presents Mask, his new series of works.
Mask, the new series of sculptures by the artist Arturo Berned is a dialogue with the art that continues its work but, at the same time, creates new paths. The work evolves. Innovative new codes appear. The color red plays a vital role, as its warmth helps dematerialize the steel. The thickness of the metal takes on a new meaning and, by itself, accumulates a large plastic weight. Again, the void rules. The piece is reduced to its essence. In such degree that the structural tension that every sculpture poses, here, becomes so light that almost seems to disappear. Sculptor tools are not appreciated. The brightness of metal, its polishing and its precision erase them. Geometry and pure soul whose origin lives in pre-Columbian masks at the National Museum of Anthropology in Mexico. Its from them that Arturo Berned departs, in a very personal reinterpretation, to create a work as strong as it is ethereal. Steel and void.
Art Basel is the world's most important franchise art. Along with Basilea (Switzerland), the Miami fair (United States) marks the art scene rythm. Coinciding with it, Arturo Berned shown in Sammer Gallery a selection of his recent work. Medium-format sculptures created in Corten and stainless steel that invite visitors to approach them; to touch them and feel them.
In 2013 and 2014, the Spain–Japan Dual Year is being held to coincide with the fourth centenary of the“Keicho Mission” which left the region of Sendai in 1613 and reached Spain a year later.
In this context, and in collaboration with Pritzker Awarded Japanese architect Toyo Ito, sculptor Arturo Berned created the exhibition project 'MU'. The term refers to the white of paper, an open attitude, with no preconceived ideas or prejudice and has the intention to pay homage to Japan and its people.
This project culminates with the placement of the Year Dual sculpture at the entrance of the Sengokuyama Mori Tower in ARK Hills, as a gift of the sponsor of the exhibition, Francisco J. Rivera, president of Gestamp, to the city of Tokyo.
The sculpture is 2.27 meters in height by 3.38 deep and 2.24 wide and is a ribbon with a variable section 24 meters long which wraps around itself without physical contact at any point along its course except at the three points where it is attached.
The "ribbon" has two ends, a beginning and an end, which in the case of being stretched represents over 400 years of relations between the two countries.
The monumental sculpture is one of the hallmarks of the work of Arturo Berned. The images show the installation of the Head XIX in the private home of a Madrid collector.
The work is inserted into the landscape, among olive trees, and establish a dialogue with it. The rusting of steel underwater reinforces that conversation and the sculpture, placed on the ground, has a language that speaks to the earth, the wood and the stone.
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