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Homenaje a una galerista que dio refugio a la vanguardia
UNA MUESTRA EN HONOR A LA CHILENA CARMEN WAUGH / Diario Clarín / Sociedad | 15 de Julio de 2008

Nota ublicada en el diario Claríncon motivo de la re apertura de la galería Jacques Martínez en su sede de Avenida de Mayo

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Tags: Homenaje a Carmen Waugh, Reapertura Galeria Jacques Martinez, Deira Ernesto, Ocampo Miguel, Iommi Enio, Testa Clorindo

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Texto de Mariana Marchesi para la exposición "Homenaje a Carmen Waugh"
Mariana Marchesi

En 1969 la galerista chilena Carmen Waugh concretaba su deseo de inaugurar un espacio de arte en Buenos Aires. Con una muestra de su compatriota Enrique Zañartu abría al público el local del primer piso de la calle Florida 948…

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Tags: Marchesi, Galería Carmen Waugh, Homenaje a Carmen Waugh, , Testa Clorindo, Iommi Enio, Ocampo Miguel, Deira Ernesto

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Catálogo de la exposición "Historia y ambigüedad"
30 de Junio de 1987

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Tags: Historia y ambigüedad, Florida 948, Dompe Hernán, Testa Clorindo, Iommi Enio, Bianchedi Remo

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Catálogo de exposición "La fuerza del destino"
Jacques Martínez Arte contemporáneo, Florida 948, Buenos Aires

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Tags: catálogo, Florida 948, Iommi Enio, Testa Clorindo

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Catálogo de exposición de Enio Iommi en La Galería
25 de Septiembre de 1979

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Tags: Iommi, Catálogo, Iommi Enio

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Prólogo para la muestra de Enio Iommi
Fermín Fevre

Prólogo para la muestra individual de Enio Iommi en Jacques Martínez (La Galería). Martes 25 de Septiembre a las 19 hs al sábado 13 de Octubre de 1979. Florida 948, 1er piso (1005) CABA.

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Tags: Iommi Enio

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Del catálogo de la exposición From figuration art to system art in argentina
JORGE GLUSBERG, en la parte de E. Deira. Center of art and Communication in Camden Arts Center

Ernesto Deira is not only interested in in the environments or in the path of the renaissance. He is now searching for a new degree of freedom in his series of rolls-unrolled (which are sold by the yard and are cut wherever the consumer-spectator prefers). The rolls summarize his ideas. Although the linear effects still play an important role in this exhibit, it is true that the rolls placed side by side force the spectator to solve the images in a single spacial unit. From a structural point of view and in order to avoid informalistic chaos, Deira uses a kind of animal organicism (somewhat like Francis Bacon and Graham Sutherland before World War II) in order to reach a tragic recreation of renaissance vision. That is an elimination of the sanctity of the human figure. An objective of integrating the social trends that place demands on man in today´s world. The rolls show again a system of signs and painted phrases, like the ones Deira showed at his one-man show at Rubbers Gallery in Buenos Aires a few months ago. Graphics and phrases added up to the total image. They became integrated with the subtlety of his black humor, his social criticism, his irony and perhaps his existential anxiety. Deira has now left the durable oil paintings in favor of another material. The roll of paper, which approaches him to a much more current actuality. He thus demolishes the prototype of the artist as "universal-man" and rescues the down-to earth artist, simply human. In these rolls, that we believe are Deira's best so far, we see an intuition that traditional aesthetic values have been exhausted. That the artist must go beyond oils and into projecting himself towards the materials of our times'social-mechanical culture. They also show a kind of summary of Deira's past work. His obviously caustic organicist reconstruction. His elementary and cruel characters probably derived from children's primitive art. His images created to catch the instantaneous and to fix it only for a temporary duration. His new order of anti-graceful, of the restless and formless, where the search for asymmetry and deformation, so dear to oriental thought, achieve an unexplored harmony.

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Tags: CAYC, Arte de Sistemas, Deira Ernesto, Testa Clorindo, Lublin Lea, Demirjian Jorge, De la Vega Jorge, Berni Antonio, Benedit Luis , Peluffo Martha, Robirosa Josefina