Fanny Sanin

Fanny Sanín, “La struttura cromatica di Fanny Sanín” - Istituto Italo-Latino Americano, Roma

Tre decenni di evoluzione dell'artista (Bogotà 1938) nel campo dell’astrazione geometrica
I tre decenni rappresentati in questa mostra attestano l’evoluzione di Fanny Sanín (Bogotà 1938) nel campo dell’astrazione geometrica, a cui l’artista si è avvicinata con una coerenza, con un lavoro sistematico e persistente simile a quello di un matematico impegnato nel trovare soluzioni alle più complicate equazioni. 
E, come succede in questi processi, la natura elusiva di molte espressioni pare provocare una nuova riformulazione della loro validità. L’artista coniuga le forme geometriche con le emozioni del colore, dando vita a creazioni che riflettono l’imago, fermata nella dimensione spazio-temporale, di un’idea preceduta da studi che la perseguono in un continuo divenire. E questo divenire è l’essenza primigenia dell’opera della Sanín, che ne determina la sua grandezza, offrendo un’altra significativa immagine della ricchezza artistica e costituendo uno dei percorsi più rilevanti dell’astrattismo in Colombia.

La Sanín non è solamente architetto, ma è anche ingegnere del colore. La pittrice ricerca l’articolazione dei valori e dei toni, analizzando le cariche e pressioni create da infinite combinazioni, positive e negative, nel campo fisico ed in quello virtuale, nei quali il colore esiste per sé, indipendente da ogni altro elemento. Una tale razionalità può apparire fredda e calcolata. 
Tuttavia la sensibilità determina le trasformazioni ed il corso emozionale resi dalle entità cromatiche, come si può vedere chiaramente nella serie di studi preparatori per ogni dipinto. Tali preoccupazioni possono sembrare futili, però, come pittrice, la responsabilità della Sanín è di scoprire l’invisibile.                                                                                                                                 Lo fa con successo, alle volte reinterpretando il passato e reinventando il nuovo, come scrive nel catalogo il curatore Félix Angel, Direttore del Centro Culturale della Banca Interamericana per lo Sviluppo BID. In Occasione dell’inaugurazione della mostra il curatore Félix Angel illustrerà l’opera ed il percorso artistico dell’artista Fanny Sanín.
 

Roma sucumbe al color abstracto de la colombiana Fanny Sanín", Terra Colombia/EFE

La pintora colombiana Fanny Sanín inauguró en el Instituto Ítalo-Latino Americano de Roma una retrospectiva de su obra abstracta, centrada en el color, para que el espectador sucumba al "contenido espiritual" de sus cuadros. "Fanny Sanín. La estructura cromática. 1974-2007" es el título de la exposición con la que "deleitarse en el color, en la composición, en la armonía y en el contenido que hay detrás del cuadro", explicó la artista a Efe. 

Sanín definió su obra como "muy meditativa, que da un poco de paz", donde el color es "muy importante", pues le sirve para expresarse en lo que no puede "traducir en palabras". Las líneas geométricas y la fuerza cromática caracterizan los cuadros de la exposición que, para su comisario, Félix Ángel, demuestran que Sanín es una "ingeniera del color" y la artista "viva más madura que tiene en este momento Colombia, a nivel internacional". 

Según Ángel, la colombiana maneja el color "no tanto en un aspecto formal sino estructural, porque la imagen resultante depende de las cargas que, como en una obra de ingeniería, lleva el color para definir" sus cuadros. El comisario también explicó que la carrera de Sanín "responde a una tradición muy particular del arte colombiano", pues éste ha sido siempre "muy figurativo y expresionista", de ahí que la obra de la colombiana sea "una faceta muy especial de la producción artística" del país latinoamericano. El embajador de Colombia en Italia, Sabas Pretelt de la Vega, aseguró que llevar la obra de Sanín a Italia forma parte del "empeño en mostrar las cosas buenas" de su país. Recordó que aunque en Italia se conozcan cantantes colombianos como Shakira o Juanes y pintores como Fernando Botero, también "hay una legión de pintores y artistas estupendos como Sanín".
 

The Chromatic Structures of Fanny Sanin, 1974-2007

“For the city of Rome, accustomed to great artists, it will be a privilege to receive the Colombian master painter Fanny Sanín at the Gallery of the Instituto Italo-Latino Americano. After a few minutes of attentively examining the paintings, trying to decipher the equation of its narrative, I decide to let myself be taken in by the rhythm of its multicolor geometry. Then, Fanny’s ouvre begins to transform itself as a catalyst between the critical thought and the meditative experience of the abstract language, which allows and looks for the interior relaxation that without violence cleanses the mental murmur and reactive thought, and permits us to reach our inner silence. Is as if the mind ceased its “judicious” action letting it be rocked in its entirety in the world of the senses where colors grow, intensify and surround us. 
It is a game of the mind which needs to be freed from the nervous attachment to control and the common linguistic codification. Only then, the geometry of the work appears accessible and sweet. All that is needed is to let yourself be taken in.” Patricia Rivadeneira, Cultural Secretary, Instituto Italo-Latino Americano, Exhibition catalogue, Introduction

“Fanny Sanín is probably the most understated international painter of stature that Colombia has produced in the last thirty years. The three decades represented in this exhibition attest to her evolution within the realm of geometric abstraction, which she has approached with the same coherence, the same systematic and persistent work, that a mathematician would demonstrate in trying to find the solution to the most complicated of equations. And as happens in such a process, the elusive nature of multiple expressions appears to provoke the reformulation of its validity over and over again.” Félix Ángel, Exhibition Curator, Catalogue essay: The Chromatic Structures of Fanny Sanin, 1974-2007.

Fanny Sanín • Around the foreign cultural academies and institutes in Rome

Fanny Sanín, “La struttura cromatica di Fanny Sanín” - Istituto Italo-Latino Americano, Roma

          Study for Painting 06 - 04 - 1976

          Study for Painting 06 - 04 - 1976

Colombian geometric art, Spanish-language films and a Dutch-language church tour are among the highlights this month. 

The Italian Latin-American Institute is presenting an exhibition that spans three decades of work by the Colombian artist Fanny Sanín. 
Bogotà-born Sanín uses abstract geometric forms, combining them with colours that give them an emotional force. According to curator Félix Angel, Sanín takes an almost systematic and mathematical approach to her work, preparing a series of preliminary sketches for each painting and testing the positive and negative effects of each colour combination. The institute’s cultural secretary, Patricia Rivadeneira, explains in the exhibition catalogue how Sanín’s colours “grow, intensify and surround” when the viewer surrenders to their rhythm. “Only then, the geometry of the work appears accessible and sweet. All you need to do is let yourself be taken in.” 
Italian Latin-American Institute, Piazza Cairoli 3, tel. 06684921. The exhibition is at the institute’s gallery at Vicolo dei Catinari 3, tel. 0668492274. 11.00-19.00. Sun closed.

Bulletins From a Bustling ‘Undiscovered’ Land • The New York Times


By HOLLAND COTTER    

It’s a little embarrassing to watch the New York art world “discovering” Latin American modernist art year after year, as if forever only half-aware of its existence. And it’s depressing to know that the Museum of Modern Art, which could have been collecting widely in the field for decades, had to wait for a windfall in the form of a gift collection to deal with this material in a serious and committed way. We are, after all, talking about the art of a continent and a century, not just a fad from yesterday. 

No surprise then, given the circumstances that the city is only now getting its first fair devoted to Latin American art. And no surprise to anyone familiar with this art that the fair, called Pinta and installed at the Metropolitan Pavilion on West 18th Street through tomorrow, looks as good as it does.                                                                                                                                                     With just 35 galleries, Pinta is a big event in a small package. The layout, by the architect Warren A. James, is stylish and airy. In general a less-is-more sensibility prevails. For once, a fair looks like an art exhibition, not a job-lot display. And when a booth is crowded, the pieces can be blamed, as is the case at Appetite, a gallery with branches in Buenos Aires and Brooklyn that shows young artists working in an accumulative mode. 

The thread that runs through Pinta, and partly accounts for its stripped-down appearance, is modernist painting and sculpture from the 1940s through the ’70s. The first thing you see is a group of open-work steel and glass sculptures by the Brazilian artist Waltércio Caldas presented by Gabinete de Arte Raquel Arnaud from São Paulo. “Transparent” is the word Mr. Caldas applies to this work, and it is apt. 

Durban Segnini Gallery of Miami has abstract pieces, including a kind of tabletop tower with a curling window from 1967 by Eduardo Ramírez Villamizar, a mini-Frank Gehry before Frank Gehry came into his own. At Leon Tovar there’s a subtly kinetic piece by Jesús Rafael Soto (1923-2005); the slightest breeze will set its curtain of dangling rods into optically shimmering motion. 

A 1952 sculpture in clear plastic by María Freire at Sammer Gallery Miami is exemplary of the soaring utopianism of a heady era. And something like this spirit survives into the present in paintings by Fanny Sanin and Tony Bechara at Latin Collector, of recent date but in classic abstract geometric style. 

At the same time “classic” is defined many ways in Latin American art: by a spidery 1962 León Ferrari ink drawing at GC Estudio de Arte; by figurative paintings by Wifredo Lam at Treart; by a booth full of Xul Solar watercolors at Rubbers International Gallery; and by the marvelous etchings by Gego (Gertrude Goldschmidt, 1912-94) at Cecilia de Torres, a gallery that, along with Mary-Anne Martin Fine Art (not in the show), has long been one of the city’s primary showcases for Latin American material, old and new. 

Pinta has its share of new art too, with up-to-the-minute work by Alexandre Arrechea, Eugenia Calvo, Arturo Duclos, Darío Escobar, Nicolas Guagnini, Marco Maggi and Damián Ontiveros Ramírez scattered here and there. (Don’t miss the witty and moving 2007 video by Liliana Porter at Hosfelt Gallery.) 
Notably sparse, however, is overt religious or political imagery of a kind that still defines contemporary Latin American art for many people. And it is hard not to see a direct correlation between the playing down of such content and the current spurt of interest in Latin American work by the New York art world mainstream. 

In any case all such balances could shift next year when, if things go as planned, the fair will increase the size of its exhibition space and, presumably, the number of participants. If strength really is in numbers, maybe New York, a Latin American city, will finally see what it has been missing all this time. 
But why wait a year? Check out Pinta, and start to get smart now. 
Pinta, the Contemporary Latin American Art Fair continues through tomorrow at the Metropolitan Pavilion, 125 West 18th Street, Chelsea; pinta-art.com.