Jorge Pineda: Shadows and Other Fairy Tales
On view at the Hunter College East Harlem Art Gallery
September 28 - December 28, 2012
The Hunter College East Harlem Art Gallery presented the first US solo exhibition of Dominican artist Jorge Pineda featuring two major art installations. Jorge Pineda: Shadows and Other Fairy Tales includes one of the artist's most representative works to date, The Forest: Lies (Version III, 2006), a psychologically charged artwork characteristic of Pineda's blend of drawing and installation. Pineda conceived a new installation for this exhibition: Oh Taschen, Taschen, Taschen! Wild Girls Without a Mask (2012), composed of double portraits of ninety-three international women artists using Taschen's publication Women Artists of the 20th and 21st Century as a point of departure. The work is an inventory-like accumulation of portraits that juxtaposes drawings depicting the faces of each artist, and acrylic paintings of Lucha Libre masks that conform to the artists' features. The exhibition illustrated how the artist explores the psychological shaping of individuals and society, the interaction of the conscious and unconscious, and the interplay of visibility and concealment involved in this process.
Jorge Pineda was born in the coastal town of Barahona, located in the eponymous province at the southwest edge of the Dominican Republic. A self-taught draftsman, Pineda studied architecture at the Universidad Autónoma de Santo Domingo from 1978 to 1981, and lithography in the Bordas Studio in Paris in 1989. He has had solo shows in Gijón, Lima, Lyon, Madrid, and Santo Domingo, and has taken part in numerous national and international group exhibitions. Since 2009 Pineda has also generated collaborative projects with artists Tony Capellán, Pascal Meccariello, Raquel Paiewonsky, and Belkis Ramírez as part of the collective Quintapata. Pineda currently lives and works in Santo Domingo and Madrid.
Curated by Mariluz Hoyos. Associate Curator, Hunter College East Harlem Art Gallery. This exhibition and its public programs are funded in part by the Colección Patricia Phelps de Cisneros.