JUANITO CONTE

Juanito Conte (Uruguay, Salto 1982)

2001

Placebo Effect , Collec�ve Exhibi�on, Market Hall July 18 - Salto Uruguay.

2002

Palacio Santos ,Collec�ve Exhibi�on. Montevideo Uruguay.

2003

ProcesoCeso , Individual Exhibi�on, Room Tono Maglio - Salto

2004

Live in Buenos Aires , Collec�ve ArguruCollec�ve Exhibi�on, Galeria Tree - Buenos Aires, Argen�na.

2008

Individual Exhibi�on - Accidents, Horacio Quiroga Cultural Center. Salto, Uruguay.

2009

Individual Exhibi�on - Room " Old Cat " by ar�st Carlos Reggazoni - Buenos Aires , Argen�na

Collec�ve Exhibi�on- Queens Museum , New YorkConsulate of Uruguay - New York

Individual Exhibi�on " Ul�mus moriens " Lapido Cultural Center , Union America - Montevideo

Collec�ve Exhibi�on " Spirit Circle " - Buenos Aires Argen�na .

2010

The 2nd Biennial of Ecuador , Luis Noboa Naranjo Museum - Guayaquil, Ecuador

Collec�ve Exhibi�on Arguru , Museum of Fine Arts , Salto Uruguay

2011

Salto Biennale , Category Murals, Men�on - Salto, Uruguay .

Gallery 6280,Individual Exhibi�on , displays "Sin Vergüenza " , Montevideo Uruguay .

2012

Collec�ve Exhibi�on, Up- Maket Marte - Marte Invites - Federico Arnaud

Selected Pain�ng Hall of San Jose , Bartolome Mitre Theatre.

2013

Collec�ve Exhibi�on, 6280 Gallery. World Trade Center - Montevideo,Uruguay.

Collec�ve Exhibi�on 6280 Gallery, " Imperial " - Punta del Este, Maldonado. Uruguay.

Juanito Conte pictorial art work is consider performa�ve, in a natural and unknown way. His work is a sort of record of various/ �mes in a matrix of color and

movement braided all together, that ques�on the observer from a wonderful place, with certain shadows. The process starts from the gestural, with a sketch, a brushstroke. What we can see is the final trail of the intent to learn something viewed in those first lines, scratches, sketches, from where they are organized in a coherent and func�onal way around a drama�c and full of tension structure.To try to linearly capture, to get to an explana�on trough steps , situa�ons or Juanito's life experiences that explain the moment where he makes his final brushstroke is impossible, as one of Juanito's characteris�cs is that he's unpredictable in materializing a previous idea in a paint work/pain�ng. I have the certainty perhaps, due that I am happily contaminated by the Juanito the friend character?, that the pain�ng was before him. That was something that transformed him and made him an ar�st and that every pain�ng makes Juanito. Us too(...)."The shape is found in the cache of this imaginary route trough the territory that the line sets in the plane. Bourriaud says that " in nature there are no forms in wild state, as it is our vision who creates them, cu�ng them into the thickness of the visible. The forms are developed one a�er another...(...) In the Witold Gombrowicz's novels you can see how each individual generates its own forms trough their behavior, their way to appear before others(...) The individual, when thinking of looking at himself objec�vely, is only looking at the result of perpetual transac�ons with the subjec�vity of others. For some, the ar�s�c form escapes this fatality for being mediated by an artwork. Our convic�on, instead, the form becomes aware, and acquires a real excistance, only comes into play only with human interac�ons. The form of a work of art, is born of a nego�a�on with the intelligible. through it, the ar�st engages in dialogue.the essence of ar�s�c prac�ce thus reside in the inven�on of the rela�onship between subjects: each work of art in par�cular, would be the proposal to inhabit a world in common and the work of each ar�st, a beam of rela�onships with the world, which in turn generate other rela�onships and so on to the infinity. (...) is the effect of this rela�onships that th form turns into a " face" how Daney used to say " of boredom there too, not even dis�nguished, that I feel with beau�ful pictures."# Juanito is saved, with a depth of field that traps, states and as a warlock, holds the a�en�on and does not return.juanito invests in pain�ng the paradigm that Debord raises: the show is presented as an enormous posi�vity indisputable and inaccessible. It doesn't say more than "what appears is good, what is good appears" passive acceptance is the a�tude that in principle ,way to appear in the construc�on process of the work, Conte accepts what appears but to Distrust and eliminate it, overwri�ng ( about pain�ng) one �me a�er another un�l ge�ng a palimpsis�c work. In the pain�ng field as in archeology presents a mixture of strata that prevents into knowing witch one is the superior or th inferior.The work is alive while the process takes place. We access to a work piece that is the sum of many possible dead work pieces. works that is perhaps only the outline of what plan fullness was, only the glow for a defini�ve form, before the materic filling, that doesn't reach to bodoque.

Genealogy unlikely

The energy, the movement and the speed visibly present in his work could relate with the in formalism, although as a vibra�on form, dramaturgy and rhythm, with notes and phrases from this lands ( Longa, Duarte). His balanced structure pushes him away from the art brut and lucidity, although an innocent vision could relate him in an wrong way.He could be fauvista for the color management way, as it could of being the fauvism 50 years later. If we watch the " Le�re à mon fils“ de 1956-57 work, we can find possible ptransvanguardia and abstrac�on predecessors.All of this against his wondering experience from the peripheral "saltena" capital city to his ar�s�c life in the boanerense metropolis an other American ci�es, as his xerographic labor to the T-shirt produc�on relates him even more to SAMO and the neo expressionism because... The force, the lyricism, the melancholia, the violence, th lucid grace, chroma�c self-assurance, the unpredictable fusions are there as tes�monies that always communicate the sensa�on of inconclusive fermenta�on. As for Towmbly is lightness and refinement, it turns into exaggerated gestures, affec�vity cartographies in perpetual and unhappy bewilderment.#". Now Conte concludes a solid art work to start a new one. To take the air of other target, conquering it.Cy was here #. The inhabited white space, inhabited. For its density and mathema�cal solidity, without liquidi�es, as well as the presence of certain figura�ons, it doesn't have obvious contact points with the ac�on paint, beyond that it could share the surrealist origin, because in the beginning, Juanito's crea�on is automa�c. This ac�on is different, for being a slow pain�ng , ver�cal, where the gravity is not a powerful froze to compose, but the sole ar�st energy, his brushstroke.This is the a�empt of approach to the aesthe�c experience that Juanito proposes, trace of an ar�st that produces rascals characters, inhabitants of a space, landscape to tour "slowly. A�er all we have all our life ahead of us."# this could be a print of the energia ac�on of a �me we s�ll didn't see. We have the hope to glimpse from the work of our XXI century Dauntless face.

Cecilia Vignolo, Montevideo, Octubre 2011

WORK

“Poor hopeful”, 39 in x 55 in

“Joyful hope”, 51 in x 54 in

“Employee with �e”, 61 in x 44 in

“Pet entertainment”, 47 in x 35 in

“Fan”, 44 in x 55 in

“Office worker smiles”, 43 in x 38 in

“Circus”, 34 in x 61 in

“Landscape blueberries”, 39 in x 39 in

“Inside paraiso”, 51 in x 43 in

“A�ernoon neon”, 51 in x 69 in

“Acheron22”, 53 in x 65 in

“Black and white Acheron”, 43 in x 55 in

“Overseas”, 42 in x 66 in

www.juanitoconte.com