Marcelo Pombo
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
From the series Dibujos de Puerto Madryn, 1995. Ink on paper. 22 x 33 cms
Sin título, 1995. Ink on paper. 22 x 33 cms
Bodhisatva joven y náufrago, 2006. Enamel on panel. 100 x 150 cms
El ciervo de la pintura, 2007. Enamel on panel. 100 x 150 cms
Figura con sol, 2001. Enamel on panel. 100 x 150 cms. Colección MALBA
Inundación con árbol, nido y cuadro, 2006. Enamel on panel. 100 x 150 cms
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By the late ‘80s Marcelo Pomo (Buenos Aires, 1959) begun exhibiting small works which were identified with the gay and underground culture of the time. From the start, he was part of the group of artists that exhibited their works in Centro Cultural Rojas, a place whose aesthetic production was fundamentally gravitational in the Argentine art of the ‘90s. Pombo’s work from this period was characterized by the use of materials and processes linked to decoration and melancholic handcrafts. Starting in 1999, he almost exclusively focused on creating synthetic enamel paintings on panels in which he blended different styles—surrealist and visionary landscapes, genre scenes, geometrical art and abstract expressionism. Through an obsessive and meticulous technique, he created a hypnotic and besetting effect in his oeuvre. Since 2008, his work has focussed on the past of Argentine and Latin American art - both which remained on the margins of the modern narrative as well as the eccentric and perverse interpretations of the avant-garde canon.
Marcelo Pombo has held many individual exhibitions. Some of his most relevant solo shows are Templos de barrio (Barro, Buenos Aires, 2019), Rosario Remix, nuevos y otros artistas del Grupo Litoral (Museo Castagnino+macro, Rosario, 2018), Marcelo Pombo, obras recientes en Barro (Barro, Buenos Aires, 2015), Marcelo Pombo (Jardín Oculto, Buenos Aires, 2011), Lo profundo del mar (Zavaleta Lab, Buenos Aires, 2010), Ocho pinturas y un objeto (Galería Ruth Benzacar, Buenos Aires, 2006), among others. In 2015, Inés Katzenstein curated an anthological exhibition of Pombo's work in Colección Fortabat (Buenos Aires).Some of his most relevant participation in group shows include exhibitions in Museo de Arte Moderno de Buenos Aires (Buenos Aires, 2019), Museo Sívori (Buenos Aires, 2019), Museo de Arte Latinoamericano de Buenos Aires (2009), Museo Castagnino+macro (Rosario, 2008), Centro Cultural Recoleta (Buenos Aires, 1997). He was part of numerous group shows in the United States in important institutions such as Blanton Museum of Art (Texas, 2011), Blaffer Gallery, The Art Museum of University of Houston, Cleveland Museum of Contemporary Art and The Southeastern Center for contemporary Art (2005), Christopher Grimes Gallery (Los Angeles, 2001), Contemporary Art Center of Virginia (2001), Christopher Grimes Gallery (Los Angeles, 2000), American Society (Nueva York, 1993), among others. Pombo's works are part of important collections: Museo Nacional de Bellas Artes (Buenos Aires), Museo de Arte Moderno de Buenos Aires, Malba-Fundación Costantini (Buenos Aires), Museo Castagnino+Macro (Rosario), Colección Amalia Lacroze de Fortabat (Buenos Aires), Blanton Museum of Art (Texas) and numerous private collections. He lives and works in Buenos Aires.
exhibitions
Artisanal Conceptualism: Starting Point — BARRO NEW YORK
30.03.2023
The three bodies of works (Dibujos de San Pablo [The São Paulo Drawings] 1982, four works from the early 90s, and five recent drawings) presented at BARRO New York contemplate the long path of MARCELO POMBO’s aesthetics from his Starting Point until today. The conceptual and the artisanal in the limit of the baroque and the conservatively aberrant, deconstructs the antinomies of the high culture and the popular, fine arts and crafts, the luxurious and the cheap, nature and culture. Until May 21st
news
13.05.2023 Tertulias with Rosé IV
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