Carlos Barberena Blog

Carlos Barberena in Freelance Magazine

Freelance Magazine me entrevistó para su Edición 5: SURREAL.

Aca les comparto la entrevista de Abril del 2012.

The Jungle“The Jungle” (after Lam) Linograbado. 2010

Freelance Magazine: Quién eres?

Carlos Barberena: Mi nombre es Carlos Barberena De La Rocha, soy de Granada, ahí crecí rodeado de un ambiente artístico, mi madre Miriam De La Rocha es descendiente de una importante familia de artistas (poetas, pintores y músicos) mi padre Roberto Barberena, como pasatiempos escribía poesía, cuentos, pintaba acuarelas y tocaba guitarra, lamentablemente fallece cuando yo apenas tenía seis meses.

Además mis dos hermanos mayores Robert Barberena y César Barberena son artistas visuales también; ellos estudiaron en la Escuela Nacional de Bellas Artes en Managua. Creo que el crecer en este medio me ayudo a involucrarme en las artes. Pero no fue hasta principio de los 90’s mientras estaba exiliado en Costa Rica por motivo de la guerra en Nicaragua, que  mi interés en el arte creció, vi en el una importante herramienta para expresar lo que había vivido en el pasado y mas importante aun, lo que estaba viviendo en el presente.

Yo soy un artista autodidacta, no atendí la Escuela de Bellas Artes como mis hermanos, pues cuando tenia 10 años mi mamá me envío al Centro Popular de Cultura de Granada y no me gusto la academia, considero que fue una experiencia truncante, demasiada arcaica y una manera totalmente estúpida de enseñar arte, así que renuncie.

Transmutacion. “Transmutación” Acrílico sobre Papel. 2001

FM: Antes del grabado, la pintura y la Escultura

CB: Empecé haciendo dibujos en tinta china…Meses después tome los acrílicos de mi hermano y empecé a pintar… creo que mi curiosidad y deseos de experimentar me llevo a encontrar las diferentes técnicas para desarrollar mis trabajos. Mi aprendizaje ha sido en los Museos, Galerías y libros de arte, podría decir que he tenido los mejores maestros: Goya, Munch, Picasso, Bacon, Tamayo, Posada, Guayasamin, Vanegas, Sáenz…por mencionar algunos.

Hombre Torturado. Barberena-León -En Tiempos de Guerra- Piano + Visuales. 2005

FM: Háblanos del producto final de tus ideas

CB: Todo depende del proyecto que vaya a realizar, a medida este se va desarrollando ahí voy encontrando la mejor forma de presentarlo estéticamente, ademas depende del espacio donde se vaya a presentar y obviamente mi estado de animo influye bastante en el producto final.

Ya no ruge la voz del Cañon...

“Ya no ruge la voz del cañon ni se tiñe con sangre de hermanos…”

Plaza de la Independencia, Granada, Nicaragua. Marzo del 2003

“La inspiración e ideas llegan a mí después de ser impactado por un rayo de inspiración o la visita fugaz de una musa…” Jajajaja… Es un largo proceso, yo no creo en cuentos de camino, en lo que creo es en el trabajo diario de ahí nacen las ideas importantes y bueno otras no tanto.

canon 10
“Ya no ruge la voz del cañon ni se tiñe con sangre de hermanos…”

Plaza de la Independencia, Marzo del 2003

Cabe destacar que en cada uno de mis proyectos hay un largo proceso de investigación y ensayo, no me gusta apresurar una idea, no me siento de esos artistas que si paso algo, al día siguiente tiene un trabajo sobre eso. El trabajo diario e investigación sobre un tema en particular hace que me mantenga alerta, también influye mucho lo que esta pasando a mi alrededor, de ahí se van coceptualizando las ideas y después viene el proceso técnico, que a pesar se podría decir que es un proceso mas mecánico siempre se pueden experimentar algunos cambios que pueden afectar la idea principal o llevarla más allá de lo planeado.

Ofrenda
“Ofrenda” (after Gauguin) Linograbado 2009

FM: Qué influencia tienen tus raíces nicaragüenses en tus obras?

CB: Es una base importante en mi obra, como lo dije anteriormente crecí en una familia de artistas, recuerdo de pequeño pasaba mucho tiempo donde mi abuelita, pues al enviudar mi madre tenia que trabajar para sacar adelante cinco chateles. En la casa de mi abuelita llegaban muchos artistas, músicos y poetas, recuerdo a mi favorito, Carlos Martínez Rivas…había ese entusiasmo de recitar contar cuentos, leer, cantar y también politiquear… Lamentablemente mucho  de esto se ha perdido en la Nicaragua de hoy. Creo que todas estas vivencias han influido mi obra artística y mi desarrollo como ser humano, así que siempre llevo un poco de mi tierra al lugar donde este.

Paisaje Interior II. “Paisaje II” Acrílico y Collage s/ Lienzo. Serie Años de Miedo. 2001

FM: Si hiciéramos una comparación entre el  Carlos Barberena de hace 10 años y el Carlos de ahora. Cómo ha evolucionado tu obra?

CB: Siento mucho respeto por el Carlos de esa época, mi serie de pinturas “Años de Miedo” fue lo que sentó mis bases sólidas como artista, hice mucho con tan poco apoyo, fui censurado y criticado, ademas pagué un cachimbo de plata al Instituto de Cultura para sacar mi obra fuera del pais y presentarla en la Galería Nacional en Costa Rica, pero creo que si eso no hubiese pasado no estaría donde estoy ahora. Hoy mi obra está más solida y poco a poco voy haciendo mi propio camino aunque sea fuera de mi tierra.

The Scream
“The Scream” (after Munch) Linograbado 2009

FM: Cómo es un día en la vida de Carlos Barberena?

CB: Café!!! Internetear pa ver lo que pasa en el mundo artístico y político…Después dedico tiempo a trabajar en mi estudio desarrollando mis proyectos o trabajando en mis placas de madera o linóleos, generalmente imprimo una vez a la semana en el taller y los sábados imparto clases de grabado en Expressions Graphics, en Oak Park y dos veces a la semana monitoreo los Open Studio en Anchor Graphics Chicago, tiempo que aprovecho para trabajar Litografía en piedra. Si no estoy trabajando en el estudio o el taller estoy visitando algún museo, galería o haciendo una investigación en una biblioteca acerca de técnicas de grabado.

Madre con Hijo.
“Madre con Hijo” Acrílico y Collage sobre Lienzo. 2005

FM: Si no fueras un artista plástico serías…?

CB: Un mal Doctor…

La McMona
“La McMona” (after Da Vinci) Linograbado 2009

FM: Proyectos futuros

CB: Tengo varios proyectos en desarrollo además de producir mi propio trabajo espero consolidar mi proyecto La Calaca Press, abrir un espacio físico con todo el equipo requerido en donde pueda invitar a otros artistas a producir obra gráfica profesional y de alta calidad, ademas de seguir incentivando y promoviendo el grabado en Nicaragua por medio de exposiciones, talleres y charlas. Ademas darle la oportunidad a grabadores nicaragüenses de exponerse a la arena internacional.

museo lia bermudez, maracaibo, venezuelaObra de Carlos Barberena en el Museo Lía Bermúdez, Maracaibo, Zulia, Venezuela 2007

FM: Freelance Magazine es un movimiento que involucra a muchos artistas emergentes. Qué podrías decirles?

CB: Poner bastante amor en lo que hacen, trabajar constantemente y dar todo lo mejor, nunca rendirse ante los obstáculos o la mediocridad, aceptar las criticas siempre y cuando sean constructivas…

FM: Qué es Surreal para Carlos Barberena?

CB: Ver tanto político recibir pagos de miles de dólares mientras la mayoría del pueblo trata de sobrevivir con menos de $2 al día.

“Muchas gracias por brindarme la oportunidad de compartir mi trabajo en Freelance Magazine, pienso que es muy importante que hayan estos espacios para el desarrollo de las artes en Nicaragua y de esta forma seguir incentivando las artes en los jóvenes nicaragüenses.”


Carlos Barberena exhibiting at the 9e Triennale Mondiale de l’Estampe in France

I am pleased to announce my next Solo Exhibitions in France during the 9e Triennale Mondiale de l’Estampe et la Gravure Originale” in homage to Honoré Daumier. I was invited to exhibit my “Master Prints” series (30 woodcuts and linocuts) curated by Irene Weiss.

Carlos Barberena at the 9e Triennale Mondiale de l'Estampe

My work will be exhibiting in three venues during this important Triennial:
– Salle Paul Trilloux, Le Cendre, France, Oct. 10 – Oct. 19
– Chapelle des Cordeliers, Clermont-Ferrand, France, Oct. 21 – Oct. 30
– Salle Gilbert-Gaillard, Clermont-Ferrand, France, Nov. 5 – Nov. 26

9e Triennale Mondiale de l'Estampe
This IX edition is in homage to Honoré Daumier and the triennial is having an exhibition of his prints from the satirical newspaper Le Charivari.

9e Triennale Mondiale de l’Estampe et la Gravure Originale
45 Exhibitions – 18 Cities
More info visit: www.mondialestampe.com


A l’arrache 3

A l’arrache 3
print exhibition with many dirty printmakers and outlaw printmakers
June 24th, 6:30pm
Espace Culturel Les Abattoirs
1 Route d’Ennezat 63200 Riom, France.

A l'arrache

Exposition de multiples, avec Ryan O’Malley, Julia Curran, Pakito Bolino, Poupée Viande, Ricardo Vicente Jose Ruiz, Derrick Riley, Bill Fick, Tyler Krasowski, The Pit, Céline Guichard, Carlos Barberena, Jeff Rial, Benjamin Monti, Bob De Groof, Marc Brunier Mestas, Fred Baptiste, Frederic Krauke, Daisuke Ichiba, Remi, Ericka Walker, Vanessa Jackie Mary, Éric Ferrier, Inglorious Duck Bastard, Mathieu Desjardins, Arnaud Rochard, Jack-Arthur Wood Jr., Antonin Malchiodi, Pinkseldaja Ärra, Alkbazz Garagel, John Hancock, Charles Hancock, Toth Thierry, Anne van der Linden, Caroline Sury, Nuvish, Edouard Correia, Jurriaan Rexwinkel, Barbara Lane Tharas, Stephanie Alaniz, Annalise Natasha Gratovich, Dan Heskamp, Timothy Georgarakis, Philippe Chassang, paintblack éditions…

print exhibition with many dirty printmakers and outlaw of print


Gestos Graficos

“Gestos Gráficos: René Arceo & Friends”
Opening Reception: Friday June 20th from 7-10pm

Bridgeport Art Center, 4th floor Gallery, 1200 West 35th St, Chicago, IL 60609.

Gestos Graficos
Gestos Gráficos: René Arceo & Friends is a collection of gestural prints created by René Arceo and a select group of friends & collaborators. Chicago print maker René Arceo’s work constitutes the main body of this exhibition and represents a selection of gestural prints (Gestos Gráficos) created in the last decade. Included in the show are relief prints such as lino-cuts, serigraphs, collographs, and wood-cuts by Arceo and friends.
Exhibit runs until August 1st, 2014.

Featured Artists Include:

René Arceo, Jose Andreu, Carlos Barberena, Catherine Cajandig, Mizraim Cardenas, Nicolas de Jesus, Hector Duarte, Carole Harmel, Beverly Keys, Judith Jaidinger, Salvador Jimenez, Rosanna Mark-Andreu, Dolores Mercado, Betty Ann Mocek, Oscar Moya, Mark Nelson, Antonio Pazaran, Eufemio Pulido, Ricardo X. Serment, Maureen Warren.

Bridgeport Art Center, 4th floor Gallery, 1200 West 35th St, Chicago, IL 60609.


LAPS Members Exhibition

A LAPS Membership Exhibition juried by artist Judy Chan.

Opening Reception: May 23rd, 5pm to 8:30pm.

LAPS Print Space, Pacific Design Center, Suite B273, 8687 Melrose Ave. West Hollywood, CA 90069.

Exhibit runs from May 23 to July 3rd, 2014.

Membership_Show_2014-1

McShitter
“McShitter” Linocut by Carlos Barberena 2013

La mort du Saltimbanque
“La Mort du Saltimbanque” Linocut by Carlos Barberena 2012


novus order seclorum ut patet in fixuras de Carlos Barberena

novus order seclorum ut patet in fixuras de Carlos Barberena /
The New World Order as Shown on the Prints of Carlos Barberena
*By Leticia Cortez – El Beisman Magazine

The Refugees (after Larraz)

“The Refugees”

It is a pleasure to try something new and in this case to review a show and its works of art via the medium of the Internet. Thanks to this new technology, everyone has access to events across the world or in this case to view the prints of Carlos Barberena at Prospectus Art Gallery in Chicago. Before going on to describe the disturbing, yet spectacular conceptual landscapes found in his prints, one can reflect on the presence the Internet plays in our lives. In this case it does so in a positive way allowing the viewer to cross physical barriers and experience his works of art, and the message within it. It allows any person to cross the space and time we are usually confined to by the physical matter. So I turned on the computer and went to the website, and began to see and take in what he portrays in his prints. I started with his website’s gallery of master prints from: Who Lives By The Sword… to Ceci nest pas une pipe, and everything in between. What is captivating in the beauty of his work are his combination of images which unveil a nightmarish world of past historical events; from ancient to present times.

McShitter La McMona
“McShitter”                                               “La McMona”

Barberena uses images from pop culture, from present and past day societies, as well as from political and cultural tragedies. He uses past artworks and manipulates them to recontextualize the meaning from a present day point of view. By examining the elements that are destroying our culture, society and people; while exploring our complicity with such forces. The viewer is never let off the hook. We are living in a McDonald’s dominated society as the McMona and the McShitter show us. The Refugees is a print depicting a group of refugees fleeing their homeland for reasons unknown and approaching the land of McDonald’s. It is the familiarity of present day items found in his prints that awaken us to the reality or nightmare this reality has become.

Frijoles y Fusiles

“Frijoles y Fusiles”

In Frijoles y Fusiles there is a sinister Uncle Sam-like general with cadavers in the background flying all around, including one flying toward the US flag in the shape of a heart. The general is Efrain Ríos, who is holding the bible of Frijoles y Rifles (Guns and Beans) and the words Ríos de Sangre Montt (Montt Rivers of Blood) emblazoned on the banner by his waist. This symbolizes the reign of terror after the dictator assumed power with the help of the U.S. in the coup d’etat in 1982, which is known as the “Gun and Beans” killing campaign. During his dictatorship, he is known to have killed around 10,000 people, mostly indigenous Mayas of Ixil descent. Trained by the infamous School of the Americas, he was supported by the Reagan Administration; so he is known to be one of Uncle Sam’s nephew. He was recently tried for crimes against humanity and genocide and was sentenced to 80 years in prison, but the constitutional court of Guatemala overturned the conviction.

Palestinian Mother
“Palestinian Mother”

Transcending the U.S., Barberena examines injustices occurring in the world due to the behavior of the imperial powers and the First World. One is The Palestinian Mother who symbolizes the suffering of the Palestinian people under the oppression of Israel with the sanction of the U.S. The British Prostitute demonstrates Carlos’s capacity to tie the past with the current forces of imperial oppression. There is a fantastic recreation of the Whore of Babylon, a multi-headed beast, who has a surveillance camera as one of its many demonic heads. This of course mirrors our surveillance state through all means possible from cellphones to the Internet, as we all know thanks to Edward Snowden.

British Prostitute
“British Prostitute” aka BP

Other prints focus on mainstream subjects to wake us from our stupor. Converting Andy Warhol’s Campbell Soup Cans to a Coca Cola, it shows we haven’t outgrown much; from a can of processed soup to a chemical cocktail of high-fructose sugar and other additives your body does not need.

Coca Cola Bottle (after Warhol)           War is Peace
“Coca Cola Bottle”                                                    “War is Peace”

In War and Peace (named after Tolstoy’s novel) we find three skeletal figurines. The first skull face with the Mickey Mouse ears is Obama, clutching his Nobel peace prize, even though he continues the military industrial wars. Uncle Sam occupies the center, chest displaying medals from BP, UN, McDonald’s and other corporate symbols. The third is the control mechanism religion, a skeletal priest with a cross, money and horns.

ceci n'est pas un pipe
“Ceci n’est pas une pipe” (after Magritte)

In Prometheus II he shows us the Greek who stole the secret of fire from the gods; and in this case an artist who is being condemned and didn’t expect it. One of my favorites is Ceci nest pas une pipe (This is not a Pipe) which is named after René Magritte’s piece by the same name; except in Barberena’s print the pipe is not a pipe, it’s a gun. So the image of the gun leaves no room for the imagination, there’s no pipe, but plenty of violence via this symbol of death.

Monsanto

In Monsanto he depicts the damage to the environment, to our health, to one of the native and principal staples in our diet: Corn. This print opens with a cornhusk full of skulls inside, quite appropriate for what it symbolizes. And this criminal entity Monsanto is just another profiteer in our history thanks to the US and its trade policies when it comes to business like Chiquita who destroys our land in the name of profits.

El Niño y la Nube
“El Niño y la Nube” (after Amighetti)

In El Niño y la Nube a child looks longingly up towards the sky, the only existing color within his space, and to a cloud, changing shape with his imagination. Depending on our point of view, this can be sad or joyful. The image is very cubist-like including the child who is by a wall. The wall could be any wall in the world; the US/México wall, the Israel/Palestine wall. This barrier is one created and built by some people to keep others out or inside. What the print shows most of all is the child’s desire to one day climb out of his world trap. In his print, Self-Portrait after Van Gogh, the artist depicts himself in the image of Van Gogh. Two artists occupying the same image. There is something hidden, a mirror reflection, a portrayal of what is meant to be hidden; but is open to willing eyes in the peculiar universe where art merges with life.

Self-Portrait after Van Gogh
“Self-Portrait after Van Gogh”

I’ll end with The Scream adaptation, for no particular reason other than I found it visually frightening and capable of waking anyone out of their apathy. Based on The Scream by Edvard Munch, this version has an exploding nuclear bomb in the background and surroundings images of industry and pollution. The man on the bridge is screaming and the couple is walking away while some people on boats are crossing the waters toward the city. Life goes on, will the viewer wake-up? Carlos Barberena uses his prints to show us the horrors and injustices created by mankind. Besides the visuals, what I enjoy most about his work is that he mixes beauty, politics, history, science in this modern world. His work makes us question our surroundings and ourselves. The prints scream: “I won’t accept this injustice, stop being afraid, wake-up and challenge this new world order.”

The Scream
“The Scream” (after Munch)

*Leticia Cortez. Born in México and grew up in Chicago. She worked as a teacher at Truman College. She is a writer, educator and activist who currently lives and teaches in Santa Fe, Nuevo Mexico. cortezruiz2005@yahoo.com

Chiquita (after Posada)
“Chiquita” (after Posada)

“IN GREED WE TRUST”
A collection of Linocuts and Woodcuts by Chicago Artist Carlos Barberena
Open to public: March 14th through May 4th, 2014

Prospectus Art Gallery
1210 W. 18th St. Chicago, Illinois 60608
(312) 733-6132

Prometheus II
“Prometheus II” (after Golub)


Nicaraguan-born Printmaker Shows Satirical Works at Local Gallery

Nicaraguan-born Printmaker Shows Satirical Works at Local Gallery.
By Eleanore Catolico – The Gate Newspaper

Self-expression against corporate imperialists never gets old, and this time, the artist embraces a tradition of transgression and never gets his hands dirty.

The Nicaraguan-born, Chicago-based printmaker Carlos Barberena’s provocatively-titled exhibition “In Greed We Trust,” substitutes our religious devotion (God with a capital ‘G’) with the destructive lust of one of the deadly sins (Greed with another capital ‘G’).

novus ordo seclorum
“novus ordo seclorum”

In his new exhibit, Barberena gives art history an edgy, pop culture makeover, all in the spirit of satire that cuts deep into the psyche.

Prospectus Art Gallery Director and Founder Israel Hernandez, who has had a close working relationship with Barberena for years, said this collection speaks to the current political climate.

“It talks about what happens in the moment,” Hernandez said. “He puts some humor into it. He’s sarcastic.”

“In Greed We Trust” is a collection of linocuts and woodcuts that’s currently being shown at Pilsen’s Prospectus Art Gallery, located at 1210 W. 18th St. in collaboration with Arte y Vida. The exhibition is a celebration of Barberena’s recent national printmaking award in Nicaragua and his selection to represent his home country in the XIII Art Salon, Identity Imprint: A Glance at Ibero-American Printmaking at the Mexican Cultural Institute in Washington, D.C.

The Four Horsemen of the Apocalypse (after Dürer)
“The Four Horsemen of the Apocalypse” (after Dürer)

The recognition cements the artist’s status as one of the premier printmakers living in Chicago.
It’s befitting that Barberena’s linocuts and woodcuts, which are for the most part unframed, hang on the walls of Prospectus Art Gallery because the artist space has been fostering the city’s talent since its establishment in 1991. Hernandez, a Pilsen native, opened the gallery to make art available to the community.

“I felt that there was a big necessity to open something positive in the neighborhood,” Hernandez said. “I try to showcase more established, more professional artists.”
At the helm of the gallery’s curatorial duties, Hernandez has exhibited the likes of heralded Chicago imagist painter Ed Paschke and architectural photographer Harold Allen, but also supported Latin American artists who struggled to make contacts in the local art scene and overcome language barriers. Artistic non-profits often hit rough patches and lack of critical dialogue is hurting neighborhood galleries like Prospectus.

More than a decade later, Prospectus Gallery continues to participate in Pilsen’s burgeoning artistic renaissance despite these struggles.

“In Greed We Trust” is a continuation of this engagement.

La McMona
“La McMona”

Barberena’s art is first and foremost accessible in its production, but also in its visual language. The sharp black and white line details, as a result of the printmaking process, lends itself to the portrayal of historical icons, giving the images a stateliness that is comically undercut by pop culture appropriation. This includes Mickey Mouse’s head superimposed on one of the four horsemen of the apocalypse or the Mona Lisa envisioned as La Catrina and sporting a pin of McDonald’s golden arches. The exhibition’s mashup of anachronisms and highly astute art history vocabulary is revelatory and on the pulse of art today. It’s Albert Durer meets Jose Posada meets Banksy.

Palestinian Mother
“Palestinian Mother”

Satire is the star of “In Greed We Trust,” but striking images of Palestinian families and migrant workers echo a revolutionary sensibility of battleground documentarians.

The eclecticism in “In Greed We Trust’s” subject matter reinforces the idea of transgression as profane vandalism of the highest order.

Carlos Barberena’s “In Greed We Trust” ends its run at Prospectus Gallery on Sunday, May 4, 2014. Prospectus Gallery will be hosting a printmaking demonstration conducted by Barberena on Friday, April 11 from 6 to 9 p.m. For more information on Barberena, visit www.carlosbarberena.com

Riding the Beast
“Riding the Beast”

All Prospectus Gallery events are free and open to the public. For more information on Prospectus Gallery, visit prospectusartgallery.wordpress.com


IX Visual Arts Biennial of Nicaragua

IX VISUAL ARTS BIENNIAL OF NICARAGUA
Reciclando la Memoria: Retomando la Ciudad Perdida

“La Ciudad Perdida”
Opening: March 21, 7:00pm.
Centro Cultural Pablo Antonio Cuadra, Managua, Nicaragua.
March 21st – April 12th, 2014

IX Bienal fb promo copy

Official Opening: March 18th, 6:30pm.
Centro de Arte Fundación Ortiz-Gurdián, Managua, Nicaragua.
March 14th – April 12th, 2014
http://www.bienalnicaraguense.org/

bienal-artistas-seleccionados

Nicaraguan Artists: Marcos Agudelo: Escultura Performática y video. Recopilación Bibliográfica / Darwin Andino: Proyecto Curatorial, Colectivo 23 / Fredman Barahona: Performance, vídeo-performance, objeto / Carlos Barberena: Grabados / Cristina Cuadra: Fotografía / Alejandro de la Guerra: Performance / Milena García: Acciones urbanas registradas en fotografía / Maruca Gómez: Pintura y Escultura / José González: Escultura / Claudia Gordillo: Fotografía / Ricardo Huezo: Intervención Urbana, Mapping / Darling López Salinas: Fotografías Intervenidas y proyecciones de vídeo en el espacio urbano / Juan Carlos Mendoza: Proyecto Curatorial, Colectivo 23 / José Montealegre: Proyecto Curatorial, Colectivo 23 / Consuelo Mora: Proyecto Curatorial, Colectivo 23 / Moisés Mora: Proyecto Curatorial, Colectivo 23 / Luis Morales Alonso: Intervención Urbana y Foto Instalación / Raúl Quintanilla: Escultura y Bibliografía, Revista Artefacto / Ernesto Salmerón: Objeto y Acrílico sobre Acrílico / Marisa Tellería: Escultura e Instalación / Kelton Villavicencio: Proyecto Preservación Ruinas de la Iglesia de San Sebastián, León.
*Press Release

Guest International Artists: Nadege Quintallet (France) / Teresa Margolles (Mexico) / Joaquin Segura (Mexico) / Daniel Borins (Canada) / Jennifer Marman (Canada) / Andrea Galvani (Italy) / Danny Zavaleta (El Salvador) / Victor Rodriguez (El Salvador) / Silvia Zayas (Spain) / Javier Tellez (Venezuela-USA) / Victoria Fu (USA) / Yeni Mao (USA) / La Toya Ruby Frazier (USA) / Irvin Morazan (USA) / Leah Dixon (USA) / Christian Dietkus (USA) / Ghislaine Fremaux (USA) / Williamson Brasfield (USA)


In Greed We Trust

PROSPECTUS Art Gallery Presents:

“IN GREED WE TRUST”
A collection of Linocuts and Woodcuts
by Chicago Artist Carlos Barberena
Opening Reception: Friday, March 14th, from 5:00pm to 10:00pm

In greed we trust at prospectus gallery

*This exhibition is a celebration of a recent National Printmaking Award that the artist received in Nicaragua.

Open to public from March 14th through May 4th, 2014
In collaboration with Arte y Vida Chicago

Gallery hours: Wed. – Sun. 12pm to 5pm. Mon. & Tue. by appointment.

*PRINTMAKING Demonstration: Friday, April 11th, 6pm to 9pm

PROSPECTUS Art Gallery
1210 W. 18th St. Chicago, IL 60608
Phone: (312) 733-6132