Los Carpinteros Estudio de Hans Poelzig, sólido tres, 2016. Watercolor on paper © Los Carpinteros. Courtesy: Sean Kelly, New York

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FLORA ars+natura is a non-profit foundation in Bogotá, Colombia that deals with the myriad relationships between art and nature. FLORA's programs have had important implications for both artistic and non-artistic circles; its team works closely with local communities, considering social, environmental and political issues through contemporary art projects.

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Founded in 2012 as a meeting place for artists and those interested in contemporary art, the organization is run by José Roca, former TATE Estrellita B. Brodsky Adjunct Curator of Latin American Art and co-curator of the 27th Bienal de São Paulo, Brazil (2006), with his wife Adriana Hurtado, cultural administrator. Located in a former residential house in the working-class neighborhood of San Felipe — which has since become one of Bogotá’s most vibrant cultural districts — FLORA is a space with an open character and a domestic scale, with a high level of quality. In just five years it has become a point of reference for the local scene in Bogotá, establishing links with the rest of the country and abroad through international residencies, commissioned projects and intense educational activity. All of FLORA's programs are free for the participants and the public.

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Since 2016, FLORA has focused on supporting emerging artists through long-term residencies in a brand-new building contiguous to the original house, with a total of 20 studios. While each studio is generously sponsored by a specific benefactor, whether an institution or individual, the project requires additional funding.

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As part of Phillips' Latin America sale this May in New York, a selection of lots will be sold to benefit FLORA ars+natura, including works by Los Carpinteros, Pedro Reyes and Maria Fernanda Cardoso, among others. This initiative is being supported by Portafolia Studio, a London-based digital marketing and collaborations studio that specializes in the art market. We invite you to explore some of the highlights from this collection and save the date for our upcoming exhibition and auction in New York.

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Maria Fernanda Cardoso Seahorse Circle, 2003

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From her first works, Colombian artist María Fernanda Cardoso uses geometry to organize the materials with which she composes her sculptural objects, re-codifying Modernist formal strategies with symbolically charged materials.
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\nShe uses stuffed animals and plastic flowers, which refer respectively to pre-Columbian myths and funerary rites, or natural elements like bones, gourds and panelas ("bricks" of unrefined sugar), all of them with strong links with local traditions in her native Colombia. But in these works the element or "material" maintained its own character, with geometry appearing invariably as an ordering principle. For instance, in her works with seahorses, frogs, snakes, grasshoppers, flies and lizards, the animals are subjected to precise geometric dispositions in circles, spheres or ellipses, resulting in sculptures that refer to Modernist formalism but that are charged with diverse associations when a close-up gaze reveals to the viewer the nature of the materials that compose them.

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In the majority of these works, the repetition of similar elements of idiosyncratic forms creates a structural effect by association. In the series of works with butterflies and seahorses, the intrinsic geometry of the elements is brought forward, becoming an integral part of the overall composition. Cardoso uses the formal characteristics of each element to effect an operation of synthesis, where each element loses its independence in favor of a broader image of great complexity and formal richness.

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Liliana Porter Red with Them, 2005

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As artist Liliana Porter explained her Toy Ornaments to EXIT Magazine in 2007, "The objects I use in my work to create what I call 'situations' shape a varied ensemble that at first seems to consist entirely of toys, but that actually includes objects such as salt shakers, lamps, perfume vials, clocks, candles, pin cushions, nutcrackers, ashtrays, saucers, pencil holders, flower vases, bottle openers and other such useful items. They all seem like toys because those I choose are always, or almost always, in the form of figurines or little animals.

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"In this varied array there are also objects that do not fit into the category of useful things or toys. They are what we call 'adornments', which has always been somewhat intriguing and even mysterious to me...As in the animist relationship a child establishes with his toys, the works that emerge through the use of these objects require that the viewer allow himself to establish an open relationship with these characters...All these considerations lead me to question and want to define the other aspect I do not entirely understand either, the concept of the real."

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Los Carpinteros (Marco Castillo and Dagoberto Rodríguez) Estudio de Hans Poelzig, sólido tres, 2016
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Helen Molesworth, scholar and curator for the Museum of Contemporary Art, Los Angeles, contributed to Back to the future: Los Carpinteros' watercolors in 2010, describing the dynamic role that drawing has played in the history of art, 'regarded both foundational and peripheral, central and marginal.' She explains that the drawings by Los Carpinteros (The Carpenters) — a Cuban artist collective formed in 1992 — are clearly "more than a sketch, more than an idea-as-yet uncompleted."

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"Certainly they present themselves as what Yve-Alain Bois would call 'projective drawing', meaning that they are a drawing of something that is 'discovered' through the process of drawing. This is why they can be described as being 'close' to illustration...It would be easy, even romantic, at this juncture to claim these drawings as utopian. There is a part of me that would like to situate them in the Soviet
\ntradition of Vladimir Tatlin's monument or Lyubov Popova's clothing designs, or to see them as mining the architectural archives of El Lissitzky or Le Corbusier.

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"And yet somehow I can't quite make the leap, as pleasurable and as art historically pat as such an argument may be. This is largely because I think that Los Carpinteros' drawings don't exist purely in relation to the temporality of an idealized futurity that signifies the utopian. Quite the contrary, I think that the drawings, for all their seeming simplicity, frequently instantiate disparate and condensed versions of time."

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Miguel Ángel Rojas Proa en la nave de la ilusión (from the Faenza series), 1979-2010 (detail)
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Miguel Ángel Rojas is one of the first Colombian artists to deal with class, race and sexual orientation by depicting his own life experiences in his work. Rojas began his career in the 1970s, creating strikingly homoerotic, large-scale drawings of body
\nparts rendered in a hyperrealistic manner. At that time, Colombian society was still quite conservative and intolerant, and thus Rojas' early works are at once a document, a declaration of personal principles and his way of taking a stand against the status quo.

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These works were made at a time when photorealism was particularly relevant in Colombia, but Rojas spurned objectivity, instead employing his own interests and worldview as a means of expression. Although his drawings and prints refer to action films and Westerns — indeed, cinema was a major influence in Rojas' formative years — his subject matter is the male body as an object of desire.

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Photographs taken at the Faenza Theater launched a series that Rojas continuously references in the rest of his work; indeed, they constitute a source of imagery he has addressed and reworked time and time again. The Faenza, Mogador and Imperio were movie theaters built in the early twentieth century that gradually fell into decay as their surrounding neighborhoods became dilapidated and other parts of the city became more affluent. Many of these theaters, which played continuous runs of action films, were also gay cruising spots. In keeping with his subject's covert nature, Rojas furtively documented the goings-on in these places, taking photographs with the movie screen as the only source of light. It is significant that the erotic encounters Rojas captured took place against a backdrop of violence: a mingling of sex drive and death drive.

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"FLORA is honored to partner with Phillips on this important auction, which will bring international attention to our organization and raise funds to help us continue our mission of offering residencies, exhibitions and educational programs—particularly those that support emerging artists. We admire Phillips' expertise and dedication to promoting contemporary Latin American art, and are very grateful to the talented artists who have graciously donated works to this auction. Their generosity will help provide wonderful opportunities for countless others." — José Roca

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Click here to preview more works from our upcoming Latin America sale.

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Latin America
\nAuction 24 May 2017 2pm EDT
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\nPublic Viewing
\n450 Park Avenue, New York (map)
\n20 - 24 May
\nSaturday - Wednesday 10am-6pm EDT

\n","publishDate","2017-04-17T14:57:36.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/11099230/flora-and-phillips-partnership-spotlights-contemporary-latin-american-artists","displayOrder",2,"auctionEditorialID",113,"editorialID",124,"flocklerID",11099230,"https://flockler.com/thumbs/sites/889/10_001--ieaz5q1id2_s600x0.jpg","Kaeli Deane, Head of Sale, and Henry Allsopp, Worldwide Head of Latin American Art, expound on the cross-cultural dialogues that integrate Latin American art within the global context of modern and contemporary art.","Beyond Boundaries: 16 Highlights from Latin America","

Lygia Pape Livro noite e dia (Book of Night and Day), executed 1963-1976

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Latin America has always been a confluence of cross-cultural dialogues. These exchanges reached new heights during World War II as the mass exodus from war-torn Europe populated the region of Latin America—from Buenos Aires to Mexico City—with artists, writers, musicians and philosophers, leading to a flood of new ideas, styles and influences. During the twentieth century not only did these European immigrants quickly become woven within the artistic circles of the many cosmopolitan metropolises throughout Latin America, but a number of the talented young artists native to these countries traveled to Europe and the United States, where they exhibited, taught and worked among their transnational peers.

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To gauge Latin America from a cultural perspective one has only to look at a small selection of modern masters to get a sense of the breadth of creativity from Lucio Fontana—born in Argentina yet long recognized as one of Italy's most important modern artists—to Wifredo Lam—who reappropriated Picasso's primitivism, bringing it from Paris to Havana—to Leonora Carrington—born a socialite in Great Britain, who ran away to Paris with Max Ernst before immigrating to Mexico to lead the Surrealist movement there.

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This desire to resist, subvert, break down and cannibalize has been at the heart of Latin American Art over the past century. This is why we feel it is essential to integrate the discussion of Latin American Art within the global context of Modern and Contemporary Art. It is integral to understanding the genesis behind the multitude of artistic movements—both within the region and beyond—and the unique styles of these individual artists, who have formed the underpinning of what we consider Latin American Art today.

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It is the celebration of these artists and their broader impact worldwide that we are so keen to share with you as we strive to break down the wall that has, for so long, been erected between Latin American and Contemporary Art. These artists themselves have pioneered so many revolutionary movements, including breaking the barrier between two-dimensional and three-dimensional art, as seen in the work of artists like Gego and Hélio Oiticica.

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We begin this journey chronologically, with a small selection of key works from our upcoming Latin America Sale on 24 May 2017.

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My painting is an act of decolonization not in a physical sense, but in a mental one.
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—Wifredo Lam
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Portrait of the artist, 1963. Wifredo Lam, Ö Albissola Archives. Photographer: Gjon Mili / John Miller. Photo Courtesy of Centre Pompidou/copyright Adagp, Paris 2015

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Wifredo Lam Untitled, circa 1943

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Wifredo Lam's contributions to modern painting were no doubt pivotal. He expanded both the parameters of Surrealism and Cubism by imbuing his work with a unique Afro-Cuban vocabulary infused with Santería. Early in his career while studying in Spain, Lam met Pablo Picasso, who would become his mentor and one of his great supporters. The subtle luminosity of the painting illustrated here embodies one of Lam's iconic leitmotifs: the metamorphosed figure of the femme-cheval, a hybrid creature—both woman and horse—possessed by a spiritual divinity. The elegant posture and stylized manner point to Lam's inventiveness, building upon what he learned in the avant-garde circles in Paris before returning to Cuba where he would change the artistic landscape forever.
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\nWhen Lam painted Untitled (circa 1943), he was at the height of his career, producing some of his most important works, including his masterpiece, The Jungle (1943), purchased by the Museum of Modern Art, New York soon after its creation. During this time, Lam was also involved with André Breton's Surrealist scene in New York, leading to his participation in the important group exhibition First Papers of Surrealism, organized in 1942 by Breton and Marcel Duchamp. This exhibition resulted in Lam's first solo show at the renowned Pierre Matisse Gallery.

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Internationally lauded during his lifetime, Lam's pivotal importance has recently been re-acknowledged with blockbuster retrospectives at the Centre Pompidou in Paris, Centro de Arte Reina Sofa in Madrid and the Tate Modern in London from 2015 to 2016.

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Art is a weapon that penetrates the eyes, the ears, the deepest and subtlest human feelings.
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—David Alfaro Siqueiros
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David Alfaro Siqueiros, Mexico City, circa 1971. Acervo INBA y CONACULTA - Proyecto Siqueiros: Sala de Arte Público Siqueiros. © 2017 Proyecto Siqueiros

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David Alfaro Siqueiros Tehuanas, 1949

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David Alfaro Siqueiros was a leading member of the Mexican mural movement, known for his expressionistic style and fiery palette. For Siqueiros, muralism was the next step in social realism, giving him a public platform for his communist political agenda and socialist ideals. Tehuanas (1949) is a prime example of the artist's mature work, raising the consciousness of the masses by showcasing a joyous pride in Mexicanidad through his depiction of Tehuantepec women in their traditional garb, a style that was also adopted by Frida Kahlo as a means of embracing Mexican popular culture in an increasingly globalized world.

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This painting also exhibits Siqueiros' unique and revolutionary painting practice developed in 1936 in New York, where he founded Siqueiros Experimental Workshop. There, he led a series of classes, testing a variety of industrial paints and introducing new methods and mediums into his work. Indeed, it is arguable that Jackson Pollock, who was studying under Siqueiros at this time, first learned his famous drip technique in the SEW, and the parallels between the two artists work during this period are undeniable. During this same year, Siqueiros executed his famous work, Collective Suicide—now in the collection of the Museum of Modern Art in New York—which immediately caught the attention of the international art milieu and was included in the seminal Surrealist exhibition, Creation of Evocative Chaos, at MoMA in 1936, alongside works by artists like Paul Klee and Yves Tanguy.

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I didn't have time to be anyone's muse…I was too busy rebelling against my family and learning to be an artist.
\n—Leonora Carrington
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Kati Horna, Leonora Carrington at Her Easel (Mexico City), 1956. Gelatin silver print. 9 3/4 x 7 7/ 8 in.
\nPrivate Collection, Mexico City. © 2005 Ana María Norah Horna y Fernández. All rights reserved.

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Leonora Carrington Pastoral, 1950

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Born to a wealthy English family, Leonora Carrington pursued her career in art against her parent's wishes. She studied at the Chelsea School of Art and the Ozenfant Academy in London, co-founded by Le Corbusier. At the 1936 International Surrealist Exhibition in London, Carrington first saw the work of Max Ernst, and soon after the two became romantically involved, running away to Paris together despite an age difference of more than 25 years. Ernst's influence is evident in her painting techniques of frottage and automatism. During this time, Carrington became deeply entwined with André Breton's Surrealist circle, meeting artists like Dalí, Picasso and Tanguy.

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However, the outbreak of World War II would ultimately tear her from this world and from Ernst, and in 1943 Carrington fled to Mexico, becoming part of the émigré Surrealist community living there. She quickly became close with Spanish artist Remedios Varo, and the two women broke with the orthodox, male dominated Surrealist canon.

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Carrington's interest in cooking and alchemy became integral to her work, as well as her fascination with the animal world. Pastoral (1950) is an exquisite example of Carrington's mature work: a highly detailed landscape populated by extraordinary fairytale-like, hybrid creatures, referencing both Celtic mythology and Manet's famous Le déjeuner sur l’herbe (1863), showcasing her masterful painting technique as well as her creative spirit. Carrington was not only widely exhibited during her lifetime at renowned venues such as the Pierre Matisse Gallery in New York, but since her death in 2011 has been featured in important museum exhibitions at venues such as the Los Angeles County Museum on Art and the Irish Museum of Modern Art.

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Still of Hélio Oiticica from Ivan Cordoso's film H.O., 1979. © Topázio Filmes / Ivan Cardoso, Photo: Eduardo Viveiros de Castro. Copyright © 2016 Carnegie Museum of Art

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Hélio Oiticica Metaesquema, 1958

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Born in Rio de Janeiro, Hélio Oiticica was one of the most inventive artists of the post-World War II period. A dreamer and an idealist, he created experiential environments where viewers became participants, enveloped in all means of artistic apparatuses. Oiticica identified strongly with his Brazilian roots and spent a great deal of time in the favelas of Rio, which he recognized as strongholds against the oppression of the military dictatorship in his country. His groundbreaking installation Tropicália (1967) was a sensorial portrait of Rio as well as an environment that engaged and absorbed viewers in a myriad of ways. Oiticica exhibited widely during his lifetime, with his acclaimed Whitechapel Experiment in London and later efforts to make a name for himself in New York. Tragically, the artist died very young and little is left of his artistic production, due to a terrible fire in 2009 that destroyed nearly 2000 of his works.

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Much of what remains are Oiticica's early works, which he disregarded as unimportant, yet they are stunning jewels that give insight into the young mind of an artistic genius, informing much of his later experiments. The above work, Metaesquema (1957), shows Oiticica's grasp of European abstraction and the influence of artists like Piet Mondrian and Kazimir Malevich, who pushed for an art that would transform society. The series of Metaesquemas produced from 1957 to 1958 demonstrate the artist's preoccupation with color as an entity with its own time, structure and space. Yet, even as one of the youngest artists associated with the Grupo Frente, Oiticica quickly cannibalized the older members' achievements, becoming a leader of the Neo-Concrete movement that would transform Brazilian art forever.

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I arrived in Mexico seeking the peace I had not found in Europe because of the turmoil there—for me it was impossible to paint amidst so much uneasiness.
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—Remedios Varo
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Remedios Varo painting the Villaseñor portrait in her studio on Avenida Álvaro Obregón, 1957. Photograph by Duncan McNeill

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Remedios Varo La Mujer libélula (Dragonfly Woman) (detail), circa 1961

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To understand Remedios Varo's contribution to the Western art canon, one must know her trajectory. During the 1930s, the Spanish-born Varo lived in Paris and was a member of André Breton's Surrealist circle. Her works were shown in significant exhibitions, such as Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York in 1936. After the German Invasion, Varo immigrated to Mexico in 1941, where she joined Matta and Gordon Onslow Ford in an exploration of the fourth dimension. Breton had recently visited Mexico in 1938 as well, to give lectures on Surrealism and meet with Leon Trotsky, who was exiled there. For Breton, Mexico was "the surrealist place par excellence" and his visit catalyzed a series of international Surrealist exhibitions that would help to launch Varo's career.

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For Varo, Mexico was an ideal setting, as it gave her the physical and metaphorical distance from French Surrealism that allowed her to concretize a new form of the European movement, exploring the female psyche and portraying women as protagonists rather than the typical male-centric vision of her counterparts in Europe. La Mujer libélua (Dragonfly Woman) (circa 1961) is a key example of this effort, depicting a graceful yet powerful female figure painted in luminous layers of delicate gouache and staring directly out at the viewer with a challenging yet quizzical gaze.

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Lygia Pape Livro noite e dia (Book of Night and Day), executed 1963-1976

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One of the founders of the Neo-Concrete group in Brazil, Lygia Pape pioneered the movement beyond the rigorous tenants of Concrete abstraction, incorporating the inextricable participation of the viewer with the art object. Pape pushed the boundaries of minimalism through her unique series of "books" that explore history, time and humanity—as much visual poetry as they are works of art.

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The above work—eight elements from the Book of Night and Day—is from a series where the artist created three sets of unique objects—each consisting of 365 elements—over a period lasting from 1963 to 1976. Each of these objects represents a day in the span of a year, and the work closely relates to her most famous work, the Book of Time. Unlike the Book of Time, which consists of brightly hued primary colors, the Book of Night and Day has a subtler visual effect, utilizing only variations of white and black. It allowed her to study light and have more freedom in the creation of each element, relating closely to Pape's cinematic work, in which she was preoccupied with the cutting and fragmenting of time, as well as the endless possibilities of each moment.

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Often seen in the shadow of her contemporaries Hélio Oiticica and Lygia Clark, Pape is now receiving international accolades with a marvelous retrospective at the Met Breuer in New York, her first exhibition of this kind in the United States.

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Gego in the Museo de Bellas Artes, Caracas. Photograph by Joseph Fabri. © Fundación Gego

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Gego Untitled, executed in 1967

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Untitled (1967) marks a seminal moment in the career of German-born architect and engineer Gertrude Goldschmidt, more commonly known as Gego. Forced to fee Nazi Germany in 1939, Gego quickly established herself in her adopted Venezuela as a major creative force through various architectural projects, leading to prestigious teaching positions at important educational institutions in Caracas.

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Her abstract drawings earned the encouragement of the modern masters Alejandro Otero and Jesús Rafael Soto. Furthering the aesthetic and conceptual principles of Constructivism, Geometric Abstraction and Kinetic Art, Gego's unique spatial investigations are abstract constructions that escape the limitations of the picture plane. Her paperless, three dimensional drawings—first made in iron—achieved a new level of virtuosity when, in 1967, she began to employ stainless steel wire. The light and fexible medium eliminated the need for an intermediary, such as a welder and blacksmith, thus freeing Gego to make emblematic works by her own hand, among the first of which is the piece illustrated above.

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Volpi in his workshop, with the colors he prepared himself. Photograph by Carlos Namba. Courtesy of the Instituto Alfredo Volpi de Arte Moderna

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Alfredo Volpi Banderinhas com mastro, painted circa 1970

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Alfredo Volpi's significance within the international art milieu is intimately tied to his personal life. The son of Italian immigrants, Volpi grew up in a lower-middle-class neighborhood in Brazil, where he worked as a decorator, painting in Renaissance and Moorish styles. Despite being self-taught, he participated in dialogues with other artists and intellectuals in every phase of his oeuvre, acutely observing his neighborhood's various landscapes, homes and terraces. In 1950, Volpi made a noteworthy trip to Italy and France. There—much like the self-taught conceptual artist Robert Ryman—Volpi studied medieval art extensively for six months. This prompted a radical shift in his style, resulting in his most important series of works, Banderihnas (Small Flags), exemplified in the work seen above.

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In Banderihnas com maestro (circa 1970), Volpi used egg-based tempera instead of oil paint to achieve the luminous color palette, imbued with geometric rigor and precision. This simplified yet striking series brought him international recognition, enabling the artist to exhibit in the first three São Paulo Biennales and later at the Venice Biennale. Most notably, this series won him the National Prize of Painting in the seminal 1953 São Paulo Biennale, considered one of the most important modern art exhibitions of the 20th century. Only now beginning to be once more acclaimed by the international art world, Volpi received much recognition during his lifetime, including receiving the Guggenheim International Award in 1958, among other accolades.

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[Mira Schendel] was a misplaced person. Territory, for her, was always an issue, and you can see it in her work.
\n— Ada Schendel, Laura Barnett/The Guardian
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Photo © Clay Perry courtesy England & Co Gallery, London

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Mira Schendel Untitled, executed circa 1970

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Born in Zurich and later studying in Milan, Mira Schendel emigrated to São Paulo in 1949, where she began her artistic career in earnest. She found Brazil ripe for artistic innovation, both thanks to the community of European émigrés living there during this time as well as the exploration of abstraction being led by artists like Lygia Clark and Hélio Oiticica.

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Schendel received international recognition after exhibiting her Objectos Grafcos in the 1969 Venice Biennale. These iconic objects—both graphic and ethereal—represent an art of minimalist and semiotic significance, heavily influenced by the language barriers she faced after prosecution in Europe. The above work is a variation on this series that is unique in this boldly hued coloration, contrasting the delicate medium of rice paper. Schendel has been widely recognized both in Brazil and internationally, as evidenced by her retrospective at the Tate Modern in London in 2013.

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The initial point of departure in my work is a process of organization that follows the dictates of reason… It is a process that must choose, among innumerable possibilities, the one that balances reason and visual execution.
\n—Carmen Herrera
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Herrera painting in her apartment, 50 King Street, New York, late 1940s © Carmen Herrera

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Carmen Herrera Untitled, painted in 1971

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Born in Cuba in 1915, yet residing most of her mature life in New York, Carmen Herrera is best known for her paintings that set two brightly hued, contrasting colors in stark opposition through a carefully balanced arrangement of sharp, geometric planes. However, black and white paintings were critical to her artistic process and make up an important body of work, which the artist created in short bursts over a period lasting from 1951 to 1989. The twenty-two black and white paintings were shown together in the artist's first major museum exhibition in the United States at El Museo de Barrio in 1998. As articulated by curator Carolina Ponce de León, "Working in black-and-white allows the artist to detach herself from the demands and seduction of color, and so to concentrate on the constructive elements of the image. Each sequence would be finished when she 'felt the need for color arising anew.'"

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Herrera began her sojourn into Concrete art when studying in Paris in the early 1930s at Marymount College. Her mature work follows in the tradition of masters such as Piet Mondrian, Theo van Doesburg and Kazimir Malevich, and was developed simultaneously alongside her more internationally recognized contemporaries—artists like Ellsworth Kelly, Barnett Newman and Frank Stella. The black and white works also undoubtedly refer to her training as an architect, aptly addressed by Ponce de León, who states, "The harmony, the study of proportion, the conception of space and the abstract thought intrinsic to the discipline [of architecture] were concerns that evolved rapidly in her painting."

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Untitled (1971) has a soaring, skyscraper-like presence yet is entirely concrete in its design, creating a harmonic symphony of stillness that captivates the viewer, demanding attention despite its simplicity and reminding us of Herrera's extraordinary and groundbreaking achievements in abstract art.

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Carlos Cruz-Diez in his workshop in Caracas, 1958. © Carlos Cruz-Diez / Adagp, Paris, 2013

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Carlos Cruz-Diez Physichromie No. 939, executed in 1977

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During the 1950s, Carlos Cruz-Diez left Venezuela to travel extensively throughout Europe, where he explored the possibilities of Constructivism while continuing to develop his interest in chromatic structures and color theory. Physichromie No. 939 (1977) is part of his most important series, which he began in 1959 and has continued to investigate for decades. The exact medium of these works has developed over time but has always consisted of alternating colored strips that trap light, producing a chromatic effect that constantly changes as the viewer moves around the piece. In this way, the viewer becomes a participant in the artwork, not merely a spectator.

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The innovative aspects of the these works immediately caught the attention of the international milieu, and very early in his career Cruz-Diez was included in two seminal exhibitions in Europe and the United States: Movement 2 at the famous Galerie Denise René in Paris in 1964 and The Responsive Eye at the Museum of Modern Art in New York in 1965. Cruz-Diez was also the subject of a major retrospective at the Museum of Fine Arts Houston in 2011, titled Carlos Cruz-Diez: Color in Space and Time.

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Do not set out to make Mexican art, or American, Chinese, or Russian art. Think in terms of universality.
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—Rufno Tamayo
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Photo by Estudio Maywald © Fundación Olga y Rufino Tamayo

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Rufino Tamayo Tres amigos, painted in 1987

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By the age of 27, Rufino Tamayo had already travelled extensively, first to New York and then later to Europe. These travels forced him to reevaluate his understanding of Mexican art within the broader context of European Modernism. As a result, Tamayo began experimenting with various movements, including Fauvism, Cubism and eventually Abstract Expressionism, melding these avant-garde styles with depictions of Mexican folklore and indigenous culture.

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It was in New York during the 1940s that he consolidated his place on the international art scene with a number of important exhibitions at recognized venues, such as the Pierre Matisse Gallery. By the 1970s, Tamayo had returned permanently to Mexico, after settling briefly in Paris where he completed an important mural for the UNESCO building in 1958.

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His later works reveal a preoccupation with liberating the traditional compositional structure of painting. Tamayo began to include ovals, trapezoids and triangles in his canvases in a graphic style that was also highly tactile. In Tres amigos (1987), Tamayo thickened the oil paint using sand, giving the painting a viscous texture and a raw, unfinished quality, clearly alluding to Jean Dubuffet. By depicting the figures in simplified shapes covered with geometric patterns, Tamayo incorporates the style of intricate Pre-Columbian pottery. This seemingly links his work to Picasso's primitivism, yet rather than objectifying the "other," Tamayo utilizes this visual iconography to explore his own identity as a mestizo—a blend of indigenous and European blood.

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As both a symbol of Mexican pride and an internationally renowned artist, Tamayo has been featured in countless museum exhibitions around the world, including a major retrospective at Solomon R. Guggenheim Museum in New York in 1979, titled Rufino Tamayo: Myth and Magic.

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I don't think about the passage of time. I really feel that every one of my pieces has its own time.
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—Olga de Amaral
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The artist in her studio, 1965. Photo by Diane Witlin, courtesy of the artist, p. 88, Olga de Amaral: The Mantle of Memory, 2013, Somogy Art Publishers, Galerie Agnes Monplaisir, Amaral Editores.

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Olga de Amaral Sol cuadrado No. 16, executed in 1994

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Born in Colombia in 1932, Olga de Amaral began her formal training as an architect but—dissatisfied with her schooling—she enrolled in the Cranbrook Academy of Fine Art in Michigan to study textiles. After this period in the United States, she returned to her native country to study ancient Pre-Columbian textile techniques and gold artifacts. In 1965, she founded the textile department of Los Andes University. Coincidentally, the renowned contemporary textile designer, Jack Lenor Larsen—who visited Colombia and de Amaral's workshop—expressed his interest in her work and would go on to help her launch her career internationally. This would lead to an important early exhibition that included her work, entitled Wall Hangings, at the Museum of Modern Art, New York in 1969.

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Thereafter, de Amaral was invited to exhibit extensively, including in the Venice Biennale in 1986. The large-scale sculptural quality of her distinctive woven pieces caught the attention of the art world, transcending the boundaries of conventional craft and contemporary art. These shimmering metallic objects not only introduce the fine art principles of abstraction and geometric rigor into traditional weaving techniques but also emit a spiritual quality that induces tranquility and reverence in the viewer.

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The glowing work seen here is a prime example of de Amaral's unique and compelling sculptural textiles that is both solid and immaterial in its subtle surface qualities, feeling at once ancient and yet completely of the moment, and drawing references to artists like El Anatsui and Eva Hesse.

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I see the blank canvas as an invitation to develop my thoughts, my own world. It is very attractive in the sense that it is an empty space that is yours.
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—Beatriz Milhazes
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Beatriz Milhazes in her studio. © Berlin: Galerie Max Hetzler; Berlin: Holzwarth Publications; London: Ridinghouse, 2014

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Beatriz Milhazes O Cisne, 2001

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The work of Beatriz Milhazes induces viewers to experience an intense sensory immersion in texture and color, while simultaneously demonstrating a complex investigative approach towards European and Latin American art historical references. When organizing her exhibitions, Milhazes displays her earlier works along newer pieces to show an evolution and drive for innovation within her own aesthetic. Early on in her career, in 1989, the artist developed a novel technique, of painting various visual elements onto clear plastic sheets, then layering them directly onto the canvas—a method reminiscent of transfer prints, monotypes and collages. This layering also reflects her many influences, beginning with Baroque art from the 17th and 18th century, evinced by the highly detailed, decorative designs that populate her compositions.

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In this particular painting, O Cisne (2001), there are also ties to Kinetic and Op art of the 1960s—referencing artists such as Bridget Riley and Alejandro Otero—as seen in her overlapping circular forms striated by vertical bands that create multiple focal points, optical depth and pictorial fatness.

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But the most important aspect of this particular work is the artist's use of luminous gold as the dominating color palette. Gold has complex associations with the colonial conquests in Latin American countries like Brazil, as well as the value of art and its spiritual connotations. It is notable that for O Cisne, Milhazes has chosen a smaller format than we typically see in her work, drawing the viewer in towards the glowing canvas and revealing the ability of this particular painting to mesmerize and captivate the viewer.

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Vik Muniz Jackie (from the series Pictures of Diamonds), executed in 2005. This work is number 7 from an edition of 10.

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Vik Muniz was born into a working-class family in Brazil in 1961. After studying advertising at the Fundação Armando Álvares Penteado in São Paulo, he moved to New York in 1983, where he has lived ever since. Muniz began as a sculptor, but his interest in the exploration of images, memory and perception made him turn to drawing and photography.

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Muniz is best known for appropriating iconic images from art history and popular culture, which he then recreates with unusual materials before photographing them. The materials he uses to create these images range from sugar cane and diamonds to chocolate and even garbage. The textures he produces and the optical richness of the images he presents distinguish him from other photographers. The impact of his work on the contemporary art scene enabled him to present his first solo show in 1998 at the prestigious International Center of Photography (ICP) in New York and he was invited to represent Brazil at the 49th Venice Biennale in 2001.

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To create the above work seen here, Muniz organized thousands of diamonds into a mesmerizing portrait of Jacqueline Kennedy, thereby eliciting her glamour through the use of precious gems, associated with wealth and status. It is also a testament to the infinite, regenerative potential of the creative image. His work has been exhibited extensively at prestigious museums such as the Tate Modern in London, the Modern Museum of Art, New York and the Solomon R. Guggenheim Museum.

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I believe the major infuence on me is the spirit of all contemporary painting; this is to say, that in my work all the problems of contemporary painting are present.
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—Gabriel Orozco
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Gabriel Orozco. Cortesía de Conaculta, México

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Gabriel Orozco Samurai Tree 6C, 2006

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"A spirit of constant invention makes [Gabriel Orozco's] production one of the most intriguing and original of his generation," wrote Glenn Lowry in the catalogue for the artist's 2009 retrospective at the Museum of Modern Art, New York. Orozco was born to a highly educated and artistic family in Mexico, his father being a third-generation muralist in the tradition of David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera. Yet, Orozco's extraordinarily philosophical and conceptual art was not immediately appreciated by the Mexican art scene during his youth. Instead, he frst became recognized in New York in the early 1990‘s, and then at the 1992 exhibition, America: Bride of the Sun, at the Royal Museum of Fine Arts, Antwerp—where Orozco exhibited along with Lucio Fontana and Cildo Meireles—that he truly launched his career.

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From there, Orozco would go on to travel and exhibit around the world, renouncing the sanctified space of the traditional artist's studio, and instead utilizing the everyday streets as his canvas. The above work, Samurai Tree 6C (2006), comes from one of the artist’s best known series, one that disrupts the viewer's traditional notions of art by utilizing the medium of painting yet removing the artist’s hand completely, as well as his creative impulses.

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Rather, the series of Samurai Tree Invariants—begun in 2004 and each executed by either Philippe Piccoli or Christian Macia—has over 600 computer generated permutations designed by Orozco and based on a composition drawn into four quadrants, following a systematic series of circles bisected by dividing lines with rotating colors of red, blue, white and gold.

\n","2017-05-05T20:18:36.000000Z","https://www.phillips.com/article/11999740/beyond-boundaries-16-highlights-from-latin-america",1,130,141,11999740,"https://flockler.com/thumbs/sites/889/2017_phillips_ny_jb-7128-final2_s600x0.jpg","Head of Sale Kaeli Deane spoke with Artsy about modern masters and emerging names in this season's diverse selection of Latin American art.","Auction Highlights: Our Buying Guide with Artsy","

Head of Sale, Kaeli Deane, in front of works by Lygia Pape and Carmen Herrera at 450 Park Avenue

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Artsy: Can you begin by describing your curatorial vision for the sale and how this selection came together?

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Kaeli Deane: Our emphasis is on quality over quantity. Each season we take measure of the market and try to tighten our selection the following season. Phillips has become synonymous with Contemporary Latin American art, but this spring we decided to focus on bringing together an impressive selection of modern pictures in order to breathe new life into this market; we present such artists as Leonora Carrington, Joaquín Torres-García and Hélio Oiticica alongside emerging Contemporary artists, emphasizing their associations with international movements including Surrealism, Constructivism and Concretism.

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LEONORA CARRINGTON Pastoral, 1950

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A: We love the diversity of works on offer, from medium to scale to subject matter. How do you characterize Latin American art for a collector who is new to the category?

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KD: It's impossible to define Latin American art in any one way because we are dealing with many different movements developed across a huge number of countries and cultures. What I find exciting about the category is the possibility of discovery. In our sales, there are always new emerging artists to discover at accessible prices as well as forgotten or under-appreciated modern artists who were at the forefront of avant-garde movements during their time.

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JORGE EIELSON Untitled, 1974

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For instance, Jorge Eielson, who died in 2006, was essentially unknown a few years ago but has now become a hot new name on the market. His subject matter is intimately involved with his Peruvian heritage and Pre-Columbian art, yet he spent most of his life in Europe. Visually his work is much more comparable to that of artists Lucio Fontana and Alberto Burri than to what his compatriots were producing in Peru in the 1960s-70s.

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A: We've seen growing momentum in particular for female Latin artists, with major retrospectives on Lygia Pape at the Met Breuer and Carmen Herrera at the Whitney Museum just in the past year. What sets these artists apart, and why do you think they're finally receiving this recognition now?

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CARMEN HERRERA Untitled, 1971

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KD: The case is different for each artist. For Carmen Herrera, who is 102 and has been living permanently in United States since the 1950s, it was extremely difficult for her to make a name for herself as a female Latin American artist in New York at that time. Dealers would not give shows to artists like Herrera, despite the fact that she was producing groundbreaking minimal art before many of her male peers, such as Ellsworth Kelly and Barnett Newman.

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LYGIA PAPE Livro noite e dia (Book of Night and Day), 1963-1976

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Lygia Pape, on the other hand, has been well-known and collected in Brazil for decades, but I believe that her aversion to the market kept her out of the international eye for some time. She pushed the boundaries of European Concrete art as one of the leaders of Neoconcretism in Brazil, a movement that emphasized art’s social obligations and viewer participation. Our work from her famous Book of Night and Day series takes the simple geometric form of the square and breaks it apart into 365 variations, showing a formal relationship to artists like Sol LeWitt even though her exploration relates to the human lived experience and the constantly shifting light cycles of each day of a single year.

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There have been extreme efforts by scholars, museums and market-driven institutions like Phillips to shed light on these artists, which collectors have picked up on with fervent enthusiasm. I think, in the age of increasingly frequent art fairs and auctions of contemporary art, sometimes it can actually feel more exciting to focus attention on important artists who have been under the radar for decades.

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Kaeli Deane in front of works from FLORA ars+natura

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A: Your sale also has a section of contemporary works presented in partnership with FLORA, a Bogotá-based foundation and artist collective. How did that come about?

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KD: We have dedicated a lot of effort to Colombian art in the past few sales. So when a friend put me in touch with José Roca, the former curator of Latin American art at the Tate, we were immediately excited to collaborate with FLORA, which specializes in the relationship between art and nature. José did an incredible job curating this section in which all the works were donated by the artists themselves. It includes incredible pieces by Francis Alÿs, Los Carpinteros and Allora & Calzadilla, among others.

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There is something for everyone in this section thanks to the range of price points. The proceeds will fund FLORA's artist residencies and educational program, initiatives that I support wholeheartedly.

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LUIS FELIPE ORTEGA Mirando a través de algo que parece uno mismo, 2001-2014

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A: Do you have one or two emerging Latin artists you are most excited by right now?

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KD: I'm not sure it's fair to call Luis Felipe Ortega an emerging artist because he is of the same generation of artists as Gabriel Orozco, but his work just began to be recognized internationally when he represented Mexico in the 2015 Venice Biennale. We have an incredible work by Ortega that features 88 individually intervened photographs in which the artist painted directly onto the snapshots, visually complementing their formal composition while bringing together abstraction with the representative medium of photography.

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RUFINO TAMAYO Tres amigos, 1987

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A: In contrast, what are iconic examples of the most recognizable 20th century Latin artists presented in your sale?

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KD: We are thrilled to include a masterpiece by Rufino Tamayo from 1987 titled Tres amigos. Tamayo was a generation younger than Los Tres Grandes of Mexican Muralism but is equally recognized for transforming the landscape of Modern Mexican art. This painting shows a culmination of over seven decades of artistic production in the artist's life and focuses on the theme of friendship and brotherhood, an important one to Tamayo. The glowing pink of this painting epitomizes his consummate skills as a colorist, and his incorporation of sand in the oil paint lends this work an incredible texture, much like paintings by Jean Dubuffet, that can only be fully appreciated in person.

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DAVID ALFARO SIQUEIROS Tehuanas, 1949

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We also have an iconic work by David Alfaro Siqueiros titled Tehuanas from 1987. This work depicts a festive celebration of the women of Juchitán in the Isthmus of Tehuantepec in the State of Oaxaca, dressed in their traditional garb. Frida Kahlo brought this indigenous style to the forefront of fashion during the mid-twentieth century, as a celebration of traditional Mexican culture, and it has been iconic ever since.

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Last year, we sold Diego Rivera's Baile en Tehuantepec privately for $15.7 million dollars, representing a world record for the sale of a Latin American work of art and thus showcasing the importance of this subject matter. It's also timely to have these two works at auction this year, given the important museum exhibitions of Mexican Modernism that have been at the Dallas Art Museum and Philadelphia Museum of Art.

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We are certainly seeing a renewed enthusiasm in this historical genre, and this season’s auction reflects that.

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Maria Fernanda Cardoso Seahorse Circle, 2003

Liliana Porter Red with Them, 2005

Los Carpinteros (Marco Castillo and Dagoberto Rodríguez) Estudio de Hans Poelzig, sólido tres, 2016\n

Miguel Ángel Rojas Proa en la nave de la ilusión (from the Faenza series), 1979-2010 (detail)\n

Portrait of the artist, 1963. Wifredo Lam, Ö Albissola Archives. Photographer: Gjon Mili / John Miller. Photo Courtesy of Centre Pompidou/copyright Adagp, Paris 2015

Wifredo Lam Untitled, circa 1943

David Alfaro Siqueiros, Mexico City, circa 1971. Acervo INBA y CONACULTA - Proyecto Siqueiros: Sala de Arte Público Siqueiros. © 2017 Proyecto Siqueiros

David Alfaro Siqueiros Tehuanas, 1949

Kati Horna, Leonora Carrington at Her Easel (Mexico City), 1956. Gelatin silver print. 9 3/4 x 7 7/ 8 in.\nPrivate Collection, Mexico City. © 2005 Ana María Norah Horna y Fernández. All rights reserved.

Leonora Carrington Pastoral, 1950

Still of Hélio Oiticica from Ivan Cordoso's film H.O., 1979. © Topázio Filmes / Ivan Cardoso, Photo: Eduardo Viveiros de Castro. Copyright © 2016 Carnegie Museum of Art

Hélio Oiticica Metaesquema, 1958

Remedios Varo painting the Villaseñor portrait in her studio on Avenida Álvaro Obregón, 1957. Photograph by Duncan McNeill

Remedios Varo La Mujer libélula (Dragonfly Woman) (detail), circa 1961

Lygia Pape Livro noite e dia (Book of Night and Day), executed 1963-1976

Gego in the Museo de Bellas Artes, Caracas. Photograph by Joseph Fabri. © Fundación Gego

Gego Untitled, executed in 1967

Volpi in his workshop, with the colors he prepared himself. Photograph by Carlos Namba. Courtesy of the Instituto Alfredo Volpi de Arte Moderna

Alfredo Volpi Banderinhas com mastro, painted circa 1970

Photo © Clay Perry courtesy England & Co Gallery, London

Mira Schendel Untitled, executed circa 1970

Herrera painting in her apartment, 50 King Street, New York, late 1940s © Carmen Herrera

Carmen Herrera Untitled, painted in 1971

Carlos Cruz-Diez in his workshop in Caracas, 1958. © Carlos Cruz-Diez / Adagp, Paris, 2013

Carlos Cruz-Diez Physichromie No. 939, executed in 1977

Photo by Estudio Maywald © Fundación Olga y Rufino Tamayo

Rufino Tamayo Tres amigos, painted in 1987

The artist in her studio, 1965. Photo by Diane Witlin, courtesy of the artist, p. 88, Olga de Amaral: The Mantle of Memory, 2013, Somogy Art Publishers, Galerie Agnes Monplaisir, Amaral Editores.

Olga de Amaral Sol cuadrado No. 16, executed in 1994

Beatriz Milhazes in her studio. © Berlin: Galerie Max Hetzler; Berlin: Holzwarth Publications; London: Ridinghouse, 2014

Beatriz Milhazes O Cisne, 2001

Vik Muniz making José Saramago. Art © Vik Muniz/Licensed by VAGA, New York, NY

Vik Muniz Jackie (from the series Pictures of Diamonds), executed in 2005. This work is number 7 from an edition of 10.

Gabriel Orozco. Cortesía de Conaculta, México

Gabriel Orozco Samurai Tree 6C, 2006

LEONORA CARRINGTON Pastoral, 1950

JORGE EIELSON Untitled, 1974

CARMEN HERRERA Untitled, 1971

LYGIA PAPE Livro noite e dia (Book of Night and Day), 1963-1976

Kaeli Deane in front of works from FLORA ars+natura

LUIS FELIPE ORTEGA Mirando a través de algo que parece uno mismo, 2001-2014

RUFINO TAMAYO Tres amigos, 1987

DAVID ALFARO SIQUEIROS Tehuanas, 1949

Los Carpinteros (Marco Castillo and Dagoberto Rodríguez) Estudio de Hans Poelzig, sólido tres, 2016
\n

Miguel Ángel Rojas Proa en la nave de la ilusión (from the Faenza series), 1979-2010 (detail)
\n

Kati Horna, Leonora Carrington at Her Easel (Mexico City), 1956. Gelatin silver print. 9 3/4 x 7 7/ 8 in.
\nPrivate Collection, Mexico City. © 2005 Ana María Norah Horna y Fernández. All rights reserved.

89

José Antonio Hernández Diez

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José Antonio Hernández Diez