Sep 6, 2018

New York The beginnings

Pérez Celis - Museo Virtual

America, from Patagonia to Canada has another force, the energy of the present time and New York is a city that every Latin American should know. Pérez Celis 1985.

Green Farms, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
In 1983 Pérez Celis is comfortably installed in Paris and imbedded in its cultural life, as a French newspaper expresses its surprise that "the Argentinean has two exhibitions in Paris at the same time" a fact considered astonishing even for a French artist. His house is a meeting place for artists from Argentina, France, Peru, everywhere. His brother Jorge also lives in Paris, he is journalist and interviews personalities. The daily visitors, besides Bruno Gelberg, Astor Piazzola, Mercedes Sosa, sometimes are George Moustaky or Brigitte Fosey. But his restless spirit puts him on alert, he feels he has made his European experience and the energy of his time concentrates now in New York.
Archive picture, Mario Diament, 1983, From the collection of: Pérez Celis - Museo Virtual

He travels with Iris, they rent a house in Green Farms and paints for several months for a first personal exhibition in the United States. The place as described by his friend Mario Diament, journalist and playwright is a house that ”looks like made of chocolate” and the landscape in spring is an explosion of nature, foliage and light, unlike what he perceives in his Parisian atelier on the banks of the Seine

Book Hispanoamérica Moderna, Frederick S. Richard, 1972, From the collection of: Pérez Celis - Museo Virtual

Paris with its forms and its gray color is still present in his work. He paints for the exhibition at Schweyer Galdo Gallery. Midday he keeps his routine as in Paris but museums are far, Green Farms is a place in Connecticut two hours from New York ,the museums are for the weekend. Perusing the great library of the house, one day between the books of the library he discovers Modern Hispanic America of Frederick S. Richard, the cover is one of his silkscreens, a work from the seventies, whose impression had been lost of sight. It's a good omen, the exhibition at Schweyer Galdo is sold out entirely, the second time in his life but not the last. The Pérez decide in favor of the New Land.

Archive picture, 1983, From the collection of: Pérez Celis - Museo Virtual
Detroit Free Press, Marsha Miro, 1983, From the collection of: Pérez Celis - Museo Virtual
La Razón newspaper, 1983, From the collection of: Pérez Celis - Museo Virtual
La Vie, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual

"Without net" Rodrigo Alonso

" Now I can walk without any nets underneath me. Lately, I let the work lead me. Style can be a prison, if it is only an idea. Creation is something unknown […] The burst of the creative energy destroys any preconception, every day I’m more certain about that.''
Pérez Celis, December 6 1987

Algo azul y profundo, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual

In 1983 Pérez Celis moves to New York. He finds Paris too connected with the past, fixed upon the final sparkles of a modernity that has become static and paralyzing. Instead, the American metropolis boils with an incomparable energy and brings him closer to the loved America that has always been the source of his greatest inspiration. To Celis, the future is in this territory that goes from Canada to Tierra del Fuego, and he doesn’t get tired of repeating it in every single interview throughout those years.
Rodrigo Alonso Without net .

Salimos Review, Osiris Chierico, 1983, From the collection of: Pérez Celis - Museo Virtual

The move barely changes his rhythm of work. He still creates with a feverish impulse and an admirable perseverance. This activity doesn’t stop him from taking care of the circulation of his work that travels ceaselessly all around the American continent. The same year of the move, he exhibits in Schweyer Galdo Gallery of Birmingham (USA), Jacques Martínez of Buenos Aires and Camino Brent of Lima. The following year he exhibits in Castagnino Museum of Rosario and the Centro Lincoln of Buenos Aires and in 1985 he exhibits in Miami, New Jersey, Lima, Paris, Buenos Aires and Bogotá, finishing the tour with a successful retrospective in the Centro Cultural de la Ciudad de Buenos Aires (nowadays Centro Cultural Recoleta).
Rodrigo Alonso Without net .

Adentro el sol y la sombra, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Dar movimiento, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual

All this movement has an inevitable impact on his work. The agitated cultural life of the Great Apple, its architecture, spaces, velocity, builds a very different environment to the European. Though, the main transformation in his work is not perceived in themes or forms sometimes present –some chromatisms, its expressiveness, the increasingly monumental formats - it is an emotional transformation. At this point of his career, Pérez Celis feels so confident about his work that he takes it as a real challenge, as a leap in the dark, with the certainty of finding the right way during the process of creation itself and not in the planning or the sketching. To some extent, the arrival in New York coincides with the discovery of his greatest creative freedom.
Rodrigo Alonso Without net .

Antiguas voces, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual

In any way, formal transformations are evident. The American critic Peter Frank describes the first mutations with the following words:

“In this first set of paintings that Celis has produced since he settled in New York, the vibrant inflections of the metropolis can be seen in clear and surprising balances, different from the rhythmic and monumental formalism that characterized his work during the last decade. This inflection is embodied in an enlargement of its textual contrasts and color, contrasts that reach a rare dramatic extreme, even in its ponderous formal language.
Rodrigo Alonso Without net .

El Tiempo se estira, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual

Beyond the variegation of brushstrokes and thundering arrows of flashing colors, the basic formal premise that remains is the confrontation of the main planes, usually two or three in each work. Some planes penetrate the others or are in turn penetrated by other plastic incidents. Other planes appear to invade each other in overwhelming demolishing waves. Other glide along like tectonic plates beneath the surface of the earth. In these latter cases especially, the material violence of the pasted oil or the graphite used gives evidence of the cataclysm… The previous paintings showed the planes in their mutual war, but not the energy flashes that sparkle from their shocks. Now, however, the tongues of fire and space collapses play within the motion of the planes. Settling in New York, it is clear that Celis has incorporated the hard profile of Gotham and New York art into the elegant portentousness of his art. ” (2).
Rodrigo Alonso Without red

Catalogue Exhibition in Schweyer Galdo Gallery, Jean Cassou and Gaston Diehl, 1983, From the collection of: Pérez Celis - Museo Virtual
Reconstruir formas, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Hay trozos que sobreviven, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Visiones mayores, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Cruzar señales, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Clarín newspaper, Fermín Fevre, 1983, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1987, From the collection of: Pérez Celis - Museo Virtual
Liberar mensajes, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
El Observador newspaper, Fietta Jarque, 1983, From the collection of: Pérez Celis - Museo Virtual
Exhibition Camino Brent, 1983, From the collection of: Pérez Celis - Museo Virtual
Art News Nr. 7 Review, Rafael Squirru, 1983, From the collection of: Pérez Celis - Museo Virtual
Realidad Review, Raquel Jodorowsky, 1983, From the collection of: Pérez Celis - Museo Virtual
Realidad Review, Carlos Espartaco, 1983, From the collection of: Pérez Celis - Museo Virtual
Descubrir fuerzas, Pérez Celis, 1983, From the collection of: Pérez Celis - Museo Virtual
Atravesando planos II, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Listin Diario Newspaper, 1984, From the collection of: Pérez Celis - Museo Virtual
Listin Diario Newspaper, Marianne de Tolentino, 1984, From the collection of: Pérez Celis - Museo Virtual
Peter Frank, Peter Frank, 1984, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis paintings in Lincoln Center, Peter Frank, 1984, From the collection of: Pérez Celis - Museo Virtual
Lincoln Center
New York, United States
Génesis, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Entrando a lo conocido, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Altares ocultos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Ritual, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
La Revista del mundo, Rául Santana, 1986, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with Reunión de poderes, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Otras energías, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Lenguaje común, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Catalogue Ashkenazy Galleries, 1986, From the collection of: Pérez Celis - Museo Virtual
Conciencia adquirida, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Recuperar fuerzas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Recuperar fuerzas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Descifrar muros, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Planos radioactivos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Catalogue Exhibition in Galería Camino Brent, 1984, From the collection of: Pérez Celis - Museo Virtual
Signos diferentes, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Compartir fuerzas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Listín Diario, Jacqueline Ventura, 1984, From the collection of: Pérez Celis - Museo Virtual
Estar aquí, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Abrir Espacios, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Museo Municipal de Bellas Artes Juan B. Castagnino
Rosario, Santa Fe, Argentina
Archive picture, 1984, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Agitar vientos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Unión de los opuestos, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Catalogue Exhibition in the University of Florida, 1984, From the collection of: Pérez Celis - Museo Virtual
Florida University
Gainesville, United States
Atravesando formas, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1984, From the collection of: Pérez Celis - Museo Virtual

Jorge López Ruiz, Sergio Renan, Marta Minujín, Arq. Melvin Crossgold, Iris lacoonich, Cipe Lincovsky, Pérez Celis, Mario Diament, Oscar C. Marra, Elayne Kahn, Leopoldo Maler in New York Studio.

New York Studio
New York, United States
Siete días Review, 1986, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1985, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1985, From the collection of: Pérez Celis - Museo Virtual
Newspaper Impacto, 1985, From the collection of: Pérez Celis - Museo Virtual
Program's cover for Misa criolla Concert in Lincoln Center, Pérez Celis, 1984, From the collection of: Pérez Celis - Museo Virtual
La presencia, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Territorio destinado, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Fama Review, Claudio Gurmindo, 1985, From the collection of: Pérez Celis - Museo Virtual
Other shores, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Piedras proféticas, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Descifrar ritos, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
La Nación Review, Hugo Beccacece, 1985, From the collection of: Pérez Celis - Museo Virtual
Planos de conciencia, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Más allá de la prisión, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
El civismo Newspaper, Luján, 1985, From the collection of: Pérez Celis - Museo Virtual
Leyes transformadoras, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
El Mundo Newspaper, David Boitano, 1985, From the collection of: Pérez Celis - Museo Virtual
Significant first, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Significant first, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Ese triangulo existe, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Power machine, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
La Razón newspaper, 1985, From the collection of: Pérez Celis - Museo Virtual
Distinction Orden El Sol del Peru, Comenadador, 1985, From the collection of: Pérez Celis - Museo Virtual

Decorated by the Government of Peru, President Fernando Belaúnde Terry

Distinction Orden El Sol del Perú, Comendador, 1985, From the collection of: Pérez Celis - Museo Virtual
Caretas Review, E.A.F., 1985, From the collection of: Pérez Celis - Museo Virtual
Gran dinámica, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Exhibition Antes y Ahora, Centro Cultural Recoleta, 1985, From the collection of: Pérez Celis - Museo Virtual
La Razón newspaper, B.O., 1985, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1985, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Recoleta Cultural Center
Buenos Aires, Argentina
Hombre del Mundo Review, Oscar R. Orgallez, 1985, From the collection of: Pérez Celis - Museo Virtual
Oscar R. Orgalles, From the collection of: Pérez Celis - Museo Virtual
Oscar R. Orgalles, From the collection of: Pérez Celis - Museo Virtual
Pasaje del tiempo, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Unión indistinguible, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Lo eterno en el mundo, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1985, From the collection of: Pérez Celis - Museo Virtual
Without title, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Exhibition in the Virginia Miller Gallery, 1985, From the collection of: Pérez Celis - Museo Virtual

Virginia Miller Gallery, Miami, USA

1985, From the collection of: Pérez Celis - Museo Virtual

Virginia Miller Gallery, Miami USA

Los inmortales, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Collection Central Park Building
Buenos Aires, Argentina
En manos del poder, Pérez Celis, 1985, From the collection of: Pérez Celis - Museo Virtual
Contrastes Visuales. Catalogue Secretaria de Cultura de la Nación, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1986, From the collection of: Pérez Celis - Museo Virtual
Origins I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Origins II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Origins III, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Newspaper Clarín Review, 1986, From the collection of: Pérez Celis - Museo Virtual
Crossing spaces I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Crossing spaces III, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Magnetic aura, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Exhibition Catalog of Ex-Resident Artists of Cangallo 1227, Osvaldo Giesso, 1986, From the collection of: Pérez Celis - Museo Virtual

To be a true archery master, technical mastery is not enough. It is necessary to surpass this aspect, of chance, the mastery must becomes "art without artifice" emanating from the unconscious. D. T. Suzuki

Transformaciones, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1986, From the collection of: Pérez Celis - Museo Virtual
Other levels, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Mensajes telepáticos, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Inscribed stones, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Inscribed stones, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Memoria submergida, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Dinámica transformadora, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
La voz del profeta, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Gainesville Sun Newspaper, Benita Budo, 1986, From the collection of: Pérez Celis - Museo Virtual
Displacement, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Displacement II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Fuga, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Poder nuclear, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual

The confrontation of planes mentioned by Frank becomes literal in the mid-eighties. In paintings such as Displacement II (1982) or Nuclear Power (1986), Celis divides the plastic surface between two stretchers and overlaps them in order to generate a concrete spatial conflict due to the continuity of some lines or forms from a plane to the next. Tensions, freed energy, vibrations, dynamism, characterize the work of these years.
Rodrigo Alonso Without net .

Los que reciben mensajes, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual

The context has a confusing interpretation of these works. Because in the middle of the triumphal enthusiasm of Italian Transavantgarde and neo-expresionists, the interpretations of his paintings lead to rushed and mislead conclusions. In May 1987, while he has a solo exhibition in New York (3), Marian Goodman Gallery exhibits Anselm Kiefer works and Sperone Westwater Gallery presents an individual show of Sandro Chia (4) . On the occasion of his second solo show in that city, the critic Anselmo Conde calls Celis the “Latin abstract neo-expresionist” . But that’s not the road chosen by the Argentinian artist, who permanently evades any stylistic classification. That’s how Rafael Squirru also understands it:
"As it happens in the famous action-paintings, each work is a place where the existential anguishes and their answers. But Pérez Celis, who’s different from the American artists, even though he healthily registers his stay in New York, he keeps structures that talk to us about his fidelity to our American conscience (6) ".
Rodrigo Alonso Without net .

New York Times, 1987, From the collection of: Pérez Celis - Museo Virtual
Exhibition catalogue Museum Rayo, 1986, From the collection of: Pérez Celis - Museo Virtual
Omar Rayo Museum
Valle del Cauca, Colombia
Ascendentes, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Projections II, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Revista Vanidades Continental, 1986, From the collection of: Pérez Celis - Museo Virtual
Inside the form I, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Imperative, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Entendimiento, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Exhibicion in Donald Wren Gallery, 1987, From the collection of: Pérez Celis - Museo Virtual
Life zone, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
El Periodista Newspaper, Pérez Celis, 1986, From the collection of: Pérez Celis - Museo Virtual
Presencia del pasado, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Nuevo orden, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Planos descifrados, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Serpent man, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Exhibition in Ottawa, 1987, From the collection of: Pérez Celis - Museo Virtual

Cultural Center Ottawa,Canada

Planos de conciencia, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Placa de Nazca rojo, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Angel Falls, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
El Nacional Newspaper, Elizabeth Arauco, 1987, From the collection of: Pérez Celis - Museo Virtual
Triángulo esférico, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Americas OEA Review, Rodolfo A. Windhausen, 1987, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Huantar, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Magnetismo, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Que unifica, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1989, From the collection of: Pérez Celis - Museo Virtual
Catalogue Gallery Donald Wren, 1987, From the collection of: Pérez Celis - Museo Virtual
Eugenia Cucalón, Frederick Ted Castle, From the collection of: Pérez Celis - Museo Virtual
Frederick Ted Castle, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with Superior forces, 1987, From the collection of: Pérez Celis - Museo Virtual
Superior forces, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual

Detail

Invitation Exhibition in Panama, 1987, From the collection of: Pérez Celis - Museo Virtual
Planos revelados, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Zona Abierta, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1987, From the collection of: Pérez Celis - Museo Virtual
Señales, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual
M&m Review, 1987, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1987, From the collection of: Pérez Celis - Museo Virtual
Letter from New York, 1987, From the collection of: Pérez Celis - Museo Virtual

New York 1st Oct. 1987

After an academic start at the School of Fine Arts in Buenos Aires, the most European city in Latin America, the destiny led me to travel through the South American continent, first arriving in Bolivia crossing Lake Titicaca to Peru, getting to know Cuzco and Machu Picchu, where I reencountered images that the critique in Argentina was beginning to point out in my work, as an art with American Indigene roots.
The images of our continent, incorporating the horizontal Pampa, the landscape by excellence Patagonian, adding to the different contemporary influences that came from Europe and North America, were the characteristics that accompanied my work during several years.
Later installed in Paris for 6 years to realize my european experience I worked and exhibited until I felt that in Europe one could learn a lot, but undoubtedly was the past unlike America where from Patagonia to the Canada energy belongs to present time and looks to the future. All this energy has the vital center in New York, where I have been living for the last four years, continuing my pilgrimage across the continent.
I believe that the American Earth emits the creative energy of our time.
I feel the painting as expansions of own and universal consciences, visual manifestations of transmutation of energy througout the internal processes, of which we are not aware, until we visualize the consummate work.
Pérez Celis

Arte Al Día Review, Horacio Gené, 1987, From the collection of: Pérez Celis - Museo Virtual
La Gran Argentina, Pérez Celis, 1987, From the collection of: Pérez Celis - Museo Virtual

LA Gran Argentina, in Monaco race

Venezuelan newspaper, 1988, From the collection of: Pérez Celis - Museo Virtual
2001 News paper, From the collection of: Pérez Celis - Museo Virtual
Poster, 1988, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1988, From the collection of: Pérez Celis - Museo Virtual
Placa de Nazca línea, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Escritura, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Zona activa II, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Regiones radiantes, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Otras edades, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
La Capital Newspaper, 1988, From the collection of: Pérez Celis - Museo Virtual
Área andina, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Somos Review, Orlando Barone, 1988, From the collection of: Pérez Celis - Museo Virtual
Proceso Dinámico, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Review Arte al Día, 1988, From the collection of: Pérez Celis - Museo Virtual
Zona registrada, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Exhibition in Edith Baker Gallery, 1989, From the collection of: Pérez Celis - Museo Virtual
Patio de la Madera
Rosario, Santa Fé, Argentina
Pérez Celis, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1988, From the collection of: Pérez Celis - Museo Virtual
Book, Horacio Enrique Gené, 1988, From the collection of: Pérez Celis - Museo Virtual
(Trazos) Sellados, 1988, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis painting (Trazos) Sellados, From the collection of: Pérez Celis - Museo Virtual
Zen, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
ARTINF Review, Raul Santana, 1988, From the collection of: Pérez Celis - Museo Virtual
Registro Akasico, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Interno eterno, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Sur, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
Profetic, Pérez Celis, 1988, From the collection of: Pérez Celis - Museo Virtual
New York City Tribune, Anselmo Conde, 1988, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis book by Shapolsky Publisher, Frederik Ted Castle Peter Frank Rafael Squirru, 1988, From the collection of: Pérez Celis - Museo Virtual
El diario Newspaper, Yasmín Monsalve Reaño, 1988, From the collection of: Pérez Celis - Museo Virtual
Esta semana Newspaper, Orlando García Valverde, 1988, From the collection of: Pérez Celis - Museo Virtual
Museum of Art and Contemporary Design
San José, Costa Rica
Archive File, Museo de Arte Contemporáneo, 1988, From the collection of: Pérez Celis - Museo Virtual
La revista del mundo, Aida Corzo, 1988, From the collection of: Pérez Celis - Museo Virtual
Nuestra sangre II, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Colección Museo Casa Rosada (Presidencia), Buenos Aires, Argentina
Nuestra sangre II. Óleo sobre madera y tela. Buenos Aires, 1989
Archive file, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
The Review, 1989, From the collection of: Pérez Celis - Museo Virtual
Lo Abismal Agua, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual

In fact, one of the most evident notes of Pérez Celis pictorial production since he arrived to New York is the velocity with which his interests, themes and plastic approximations change. The freedom finally found in this city lets him change all the time without having to renounce to himself. Thus, the temperamental dynamism at the beginnings of the eighties leads without conflicts to the quiet of paintings that explore the solid existence of certain symbols as the I-Ching hexagrams (Sereno-abismal, La gracia, Luminoso receptivo¸1989 entre otras) or the religious symbols ( the David Star and The cross in La razón de Occidente, 1990).
Rodrigo Alonso Without red .

Fantomático, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
La Epoca Newspaper, Alejandro Hoppe, 1989, From the collection of: Pérez Celis - Museo Virtual
America in the brush of Pérez Celis, Thais Aguilar, 1989, From the collection of: Pérez Celis - Museo Virtual
Tilcara, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Intipata, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Mundo flotante, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Half time, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Sacsahuaman, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
El Oeste Newspaper, 1989, From the collection of: Pérez Celis - Museo Virtual
Volare, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Colección Fundación Ortíz Gurdián Art Center
Léon, Nicaragua
Return to paradise (to John Lennon), Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual

Later, he realizes a series on tango, The Beatles, memory, ecology, arts (music, dance, theatre, etc.), homages to Matisse and Borges. He also goes for sculpture production and public murals. His creative horizon expands unsuspectedly to the rhythm of his restless, curious and experimental personality.
Rodrigo Alonso Without net .

Cielo Padre, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Tensión rojo, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Rocas calientes, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1989, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Orinoco, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Kun, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
The planet, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Mondo celeste, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Estado de quietud, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Detrás del muro, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Zona Alquímica, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Tensión pampeana, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Panama, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
La otra imagen, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Luminoso - Fuego, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Marked warrior, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Contraluz, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Luz Contraluz, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Paracas Azul, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Paracas, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Paracas rojo, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Posición vertical, Pérez Celis, 1989, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis Foundation
Credits: Story

Fundación Pérez Celis
Designers: Iván Villani and Luz Arias
Translation Tom Maver

Request files at: fundacionperezcelis@gmail.com
References
1.Albino Diéguez Videla, “Pérez Celis: Ya puedo caminar sin la red debajo”, La Prensa, Buenos Aires, December 6, 1987.
2.Peter Frank, “Pérez Celis: Sus primeras pinturas desde Nueva York”, copied in en Pérez Celis (cat.exp.), Centro Lincoln, Buenos Aires, 1984.
3.In Donald Wren Gallery, set in New York’s SoHo.
4.A page of the New York Times dated May 10th, 1987, has the three ads for the three exhibits in a same block.
5.Anselmo Conde, “Pérez Celis: Latin Abstract Neo-Expressionist Exhibits in New York”, New York City Tribune, 20/08/1988.
6.Rafael Squirru, “Pérez Celis, un artista que sigue creciendo”, La Nación, Buenos Aires, 28/5/1988.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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