April 22 – June 22

The first exhibition of the cycle Colore e Materia is the exhibition …OR WAS IT A DREAM? A duo exhibition that will bring together the work of multimedia artist Alia Ali (Yemen/Bosnia/USA) and sculptor Aldo Chaparro (Mexico).

This first exhibition echoes the theme of this 59th edition of the Venice Biennale entitled Il latte dei Sogni / The Milk of Dreams . Taken from a book by surrealist artist and novelist Leonora Carrington, this title refers to the magical world in which life is revisited through the prism of the imagination.

Alia Ali works on subjects such as migration, social exclusion and the history of colonialism. Her photographs are mounted on aluminum Dibond and framed upholstered in unique fabrics from around the world. She challenges culturally sanctioned oppression and confronts the dualistic barriers of conflicting notions of gender, politics, media and citizenship.

Aldo Chaparro works with a long-term methodology: establish a tension with the materials to finally transform them. It will present spontaneous sculptures created with different materials such as iron and wood.


An exhibition worked as a duo by a couple is always a complex challenge. We could think that if a relationship is successful, therefore an exhibition made as a couple should reflect this in the works and in the project as a whole. We wish life would always follow this logic, although it is true that a good communication generates a powerful energy, it is also true that in this type of collaborations we are opening our personal processes to thousands of variants that we do not have in solitary and independent work. We have assumed these variants as a challenge and the result is what you will be able to see physically in this exhibition. It is an exercise that does not pretend to lead us to any conclusion. We believe that sharing our process with you individually and as a whole will reveal a number of questions that we consider valuable to explorefurther. Valuable in art and valuable especially in personal terms, as we believe that collaboration is the working model that will lead us all to a more empathetic and functional future.

“Adjust the Blinds” refers to this ability to readjust our perception based on immediate needs, or what is demanded of us moment to moment. Editing or re-adjusting the light behind the blinds, the incoming information, one’s perception in order to see more clearly. In times that are so confusing for everyone, we question everything we have learned, what we thought we knew and even the truths we thought were absolute. We learn to live in the uncertainty of a time of change with all the readjustments that such times entail.

Soy el aire, soy el Sol

Aldo Chaparro

Throughout history, verticality has served as a bridge between people and the cosmos. This speaks to us about the fascination of something which lies in plain sight, but irrevocably remains a mystery.

Representing something through form indicates the presence of desire. It is the manifestation of a force in positive space, while the permanence of the vertical object also operates as the annihilation of such desire. It is a constant tension between presence and void.

Soy el aire, soy el Sol (I am the wind, I am the Sun) is an exhibition composed of a series of sixty columns, each created from a single block of solid wood. Several fragments have been removed from them to give space to emptiness. Each sculpture follows its own logic in which the verticality and volume of the original prism remains in a virtual manner.

The sculptures can be seen from different angles in which the removal of some of its parts does not impede constructing a mental image of the original form. This metaphor about the invisible presence of form makes it so the sculptures are prone to be interpreted, first literally, and secondly a poetic assimilation of the immanent quality of all things may take place.

Through repetition, natural patterns shape themselves as familiar. Aldo Chaparro suggests that the imbricated relationship between the human hand and the force of natural elements is a reciprocal and constant flow which traverses and modifies the object.

Any given form can possess qualities which take us back to an image prior to consciousness. However, this quality is not exclusive to nature. Objects made by humans may become familiar through our temporal relationship to them. An example of this is the chair used by Glenn Gould, the Canadian pianist (1932-1982).

When Gould was young, he asked his father to help her adjust a wooden chair, cutting its legs and adding some quite basic levelers. This chair allowed him to play piano at a better distance, below the level of the keyboard. During his whole career, they tried to get him to switch to a more comfortable and better designed chair, but he never wanted to. The chair’s padded covering decayed with the years and Gould ended up sitting on a plain board with no padding or cover, which looked terribly uncomfortable. However, this chair had become inseparable from Gould’s artistic practice.

Aldo Chaparro revisits Glenn’s chair as a sculptural object which can be seen both as its surface, but also as a vehicle for the repetition of the phenomenon, in which Ana Gabriela Fernández and Alejandro Rosso, both professional musicians with different backgrounds concerning pianistic execution, would interpret a piece by Bach in an attempt to understand the singularity of such experience.

By recreating the conditions to interpret Bach’s piece in Gould’s way, the performance also operates as a device with which the phenomenon can gain certain temporal materiality as long as the chair continues to function as its catalizer.

Valle de Bravo is Aldo Chaparro’s home, as well as the center from which his artistic creation originates. It has become an ecosystem, an extension of the artist’s very ideas, just like this exhibition.

This exhibition’s purpose is to show Aldo Chaparro’s art from a very close gaze, in which the ideal space to exhibit is no other than his community. By doing so, the exhibition seeks for creation to be the center of the experience, through which the spectator can resignify its own aesthetic notions. Bringing the art closer to people within its own context is an effort towards expanding its limits and, therefore, the dialogues that can emerge from this experience.

Hotel Felicidad

Galería Casado Santapau, Madrid

Aldo Chaparro

January 21 – February 28, 2021

On one side of the Pan-American highway, in the town called Metetí, Panama, there is a hotel called Hotel Felicidad (Hotel Happiness).

Metetí has ​​always been known as a place of transit. Since the 70s –when the government made its way through the harsh Darién jungle– many migrants of all kinds, but especially Africans, began their long journey to North America there.

A few months ago ­–during those explorations on the internet that start looking for shirts and end up finding penguins– I came across this fantastic story, which to a large extent shaped this exhibition.

During the 1980s, African migrants found in Metetí a good place for a well-deserved rest on their way to the dangerous and dense Darién jungle. They hid where they could, even in the famous bunkers built by the gringos in 1941 after the attack on Pearl Harbor (since they were convinced that the next Japanese attack would take place there) and that have now become a tourist attraction of Metetí.

The living conditions of these migrants were very difficult, in the bunkers and in the jungle. In addition to facing the difficulties of the environment, they were harshly persecuted by the Senafront (National Border Service) in their passage through Panama.

In those years, and until recently, the owner of the Hotel Felicidad was a woman in her 40s called by all “la patrona (the boss) Isabel.” She was a great lover of two important themes: the music of the 70s and 80s, and her secret work hiding, protecting, and caring for the Africans who were passing through Metetí.

La patrona Isabel dedicated her little income, and the infrastructure of her hotel, to provide asylum and help all those people on their uncertain path to the north of the continent. The stories tell that, on the hot nights of the Panamanian summer, immigrants and residents of Metetí gathered in the gardens of the Hotel Felicidad to drink, dance, and make music. Apparently, in an attempt to please their generous hostess, African migrants combined their own music with eighties sounds, giving rise to a type of music of unprecedented syncretism that locals called rockoteti.

For years, la patrona Isabel helped hundreds of migrants in the passage, giving them asylum and food in exchange for music and parties. It is practically impossible to find examples of the famous rockoteti, but this story unleashed in my imagination an infinite amount of images and associations that resulted in some of the pieces that you can see in this exhibition.

The combination of music, cultures, and goodwill, in such a complex context, reminded me a lot of the moment we are living in, and that is why I decided to work on these paintings during the quarantine, as a reminder of true happiness.

Galería Colector

Fernanda Caballero & Aldo Chaparro


November 10, 2020, Monterrey, México

When the quarantine started, we all had to save ourselves.

Some of us watched many series, some had many virtual meetings, others exercised, some resumed their hobbies, but those who had the least difficulty being locked up were the artists, they continued doing what they always do.

Being in his studio working, thinking, and creating.

In the case of Aldo Chaparro and Fernanda Caballero, this house/studio is located in Valle de Bravo. Through their networks, they made us participants in their creative process. Through their networks they made us participate in their creative process.

We saw how new works began, how some previous series continued or developed or how they created some unique pieces.

We also saw them live their daily lives where yoga, art, gardening, multiple animals, and pets coexist without beginning and end. In my case, it was very enriching to live these times through them. Now in this exhibition, their first set shows us the result of all this and they bring us a little of that life that they lead to this exhibition space.

Work full of color, life, and love.

Alejandro Romero

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Una exposición de Aldo Chaparro y Alex Romero

Curada por Alonso Cedillo

Cozumel 81, Col Roma, CDMX

Too Late To die Young

Espacio German Krüger Espantoso

Sede ICPNA Miraflores, Lima Perú, March 12, 2020


Aldo Chaparro


Max Hernández Calvo

Throughout the years, Aldo Chaparro’s work has responded to a fundamental methodology: establishing a relationship of tension with a prime material in order to transform it.  Such a relationship may be traversed by a ludic sense or respond to an ironic gaze, but always seeks to make new possibilities contained in the materials, the shapes, the techniques, the processes, from which the concepts spring.

Apart from his stubborn relationship with physical material (such as those pieces that emerge from a conflict with steel or wood) Aldo Chaparro also deals with intangible materials such as artistic concepts and the protocols of the art world.

For example, he plays with the notion of carving, extrapolating said sculpting traditional technique to talk about the void, or likewise, parodies the idea of originality and authorship through his multiple quotes (like the lyrics on his posters) and his collaborative works (with the music band Plastilina Mosh, with the writer Mario Bellatin, or, trans-temporarily, with his father, Jose Chaparro).

The artist also rethinks the distinctions between art and design or contemplation and functionality, like with his Table for galleries or MCHF, his wall painting for exhibition halls. In this line,  it is relevant to remark on his promotion of other artist’s work. The Aparador Cuchilla, who he recreates in his study in Mexico City, offers us the opportunity to see the work of many artists (Pablo Ravina).

Is it maybe that the great concern soaking through Aldo’s trajectory deals with the question “what (else) does it mean to be an artist?”? To understand how he has tried to answer this question, it’s been decided to include his voice, which describes the selected projects for the show, that reveal his approach, methodology, and fundamental concerns, as well as the philosophical profoundness of his humor.

Hence his reference to death in the title: it is too late to die young (the doubtful cursed glamour  of romanticism),  but it’s also not a matter of asking death to hurry up. “Carpe diem”, said Horacio.  But we must not forget the words that follow the poem: “quam minimum credula postero” – trust minimally in tomorrow-.

Max Hernández Calvo

Songs for Fernanda

Nueve Ochenta

Diagonal 68 #12 – 42, Bogotá Colombia, March 12, 2020

Works by

Aldo Chaparro

I always thought that color was an innate knowledge that got more sophisticated through time and practice. That was definitely not my case.

I tried to paint 4 years, going from figurative to abstract many times, I played with stains, did collage, used text, gold sheets, oil paints,  acrylic paints, natural pigments, I sunbathed my canvases, left them under the rain, I studied Tiziano,  Rivera,  Velzquez,  Picasso, Mondrian,  futurists,  modernists,  cinematographers, etc.

But my paintings had an error in their very axis: they were always trying to talk about volume, if not the volume represented on the surface of the painting, it was about the volume of the painting itself. It was evident that my relationship with volume, the main axis of my activity as a sculptor, was an obstacle to relate to color freely.

It wasn’t until I came back from a trip to  Morocco where, looking for textiles in a small town of Altas, that I discovered  boucherites.  These are textiles one could interpret as badly done. Actually, nobody  in the town would sell them, and even got offended when asked about them. They weren’t badly done, it is simply a looser job which evidently roots from  improvisation.

Their noticeable laxity, which  broke every compositional rule by such free use of color, marked me forever. When I returned to Mexico, loaded with boucherites, I dedicated myself to try and understand them without much success oh, but it was then when my desire first sparked to solve this matter by painting myself.

We could say that the boucherites detonated in me a connection with myself that is less cerebral and more instinctive. Now when I start a painting I don’t have a clear idea of where I am going and how I will get there.

Contrary to the rest of my work which is pretty cerebral and technical, painting to me at this age is a way of connecting with myself,  to this channel or force which we don’t control, that constant source of emotion, images and feelings that can’t be translated or dominated.

One can only aspire to be used by it as an instrument to materialize in the form of shape and color. Maybe the best example I have to explain this is music. Each one is a song that must be listened to, waiting for its rhythm to reverberate empathically within us.

Arriba de la Mueblería (Above the Furniture Shop)

Aldo Chaparro Studio

Cozumel 81, Col. Roma Mexico City, February 4 – April 4, 2020

Works by

Aldo Chaparro

Fernanda Caballero

Carlos Baeza

Alonso Cedillo

Aldo Chaparro Studio presents four individual shows which simultaneously generate a reflection about flows and processes of contemporary artistic production in Mexico. It is a conjunction of works that play with the optical illusion and intuition. Guided by pleasure and debauchery, they’re extremely expressive of our era of simulacrum.

Based on the topic of vanitas, a baroque allegory about the transience of life, Cha Baeza exposes a series of photographs that reformulate iconographic motifs from still life, updating the relevance of the status of such genres. Baeza’s pictures trick the eye of the spectator: their chiaroscuro technique is quite agile so as to pass as paintings.

At the gallery we may find Aldo Chaparro’s most recent pictorial exploration. He also choses trompe l’oeil as a strategy. Questioning the limits of artistic surfaces, his modular paintings are reconfiguring tri-dimensionally in the space, passing for sculptures, or perhaps, for reliefs. These were inspired by the Moroccan boucherouites, textiles made from scraps which disregard any fixed patterns, only concerned with the harmony of the colors and the accumulation of shapes.

Alonso Cedillo parodies the cabinets of curiosities (wunderkammern), dating back to the seventeenth century, by sharing his Reaction Paintings, a small format series where he imitates  Facebook “reactions”. Alonso ironizes the era of hyperconsumerism and instant likes, where judgement has grown frivolous, through an analogue procedure linked to post digital art.

Last but not least, Fernanda Caballero takes over the Aparador Cuchilla with a pictoreal work which  unsettles its usual dynamic. Since 2009, under Alejandro Romero “Chicle” and Aldo Chaparro’s initiative, the display window has held several in situ commission works. Caballero, on the other hand, decided to install her piece on the outside of said display window, so that chance and the weather will dictate its fate. This gesture may be interpreted  as a poetic act of detachment.

The Abstract Cabinet

Galería Eduardo Secci

Florence – Italy, June 271 – September 7, 2019

Curated by Friederike Nymphius Dates

Eduardo Secci Contemporary is pleased to present the exhibition The Abstract Cabinet curated by Friederike Nymphius.

The show will feature works by a group of international artists coming from different artistic as well as cultural backgrounds. Although working with different media, they share an interest in abstract principles, interpreted and employed individually by each artist. The character of the concept is accentuated by the formally reduced formal aspect of the works, by the use of few colors like black, white, grey, silver contrasted with bright pink and blue. The artists mix an abstract vocabulary with a strong consciousness for the presence thus emphasizing the specific aesthetics of the show.

As the rest of his sculptures, Aldo Chaparro’s Totems(Lima, 1965,lives and works in Mexico City, New York and Lima)aren’t trying to create the illusion of reality. He has abandoned true to life perspective, working with artificial space relations that makes us think not into reality, but into its essence. This act allows us to the idle space and moment of creation, inwhichyouget to know yourself until you construct yourself.

Caro Jost (Munich 1965, lives and works in Munich and New York) based her research on the reproduction and documentation of time, space and events and placing them in a current, contemporary context. She started her long-term project Streetprintsin New York: using a special, self-developed technique to capture traces of the past, Jost takes real imprints of street and sidewalk surfaces on canvas from so far over 80 cities worldwide. “Streets and sidewalks are the purest reflections of our human way of life”, she once declared.

Beth Letain (California, 1976, lives and works in Berlin) works on monumentally scaled paintings, adamantly, absurdly honest about what they are: brightly colored stripes, squares, stacks, and slabs suspended across impossibly weightless white grounds. These are lively and quotidian forms, easily named but stubbornly resistant to description. In their simplicity, their unassuming thematic variations, these works hold up a mirror to painting’s modernist past.Gerold Miller(Altshausen, 1961, lives and works in Berlin) hasalwayspursued a radical and elegant strategy in which he exits the picture without actually leaving it.

The Monoforms are the furthest reaching development in this direction, for they stretch the traditional format of the ‘picture’ to the extreme. The actual process of arriving at the image has to be done by the viewer. By pointing to the wall as the ultimate ground, and dispensing with colorand form as theonlymeans, Miller revokesthe boundaries of abstract painting and minimalist sculpture, andpushes these categories into the realm of the conceptual.

Michael Staniak(1982, Melbournewhere he currently lives and works) creates the paintings mostly by hand -he builds up texture with uneven layers of plaster and then paints the surface in a range of ways -his paintings bear an uncanny resemblance to flat digital prints.Indeed, one must viewthe works up close to perceive any texture or depth, and as such, they behave like contemporary trompe l’oeil paintings that baffle the senses.

The works of Katja Strunz(1970, Ottweiler, lives and works in Berlin)bear the traces of lived experience, of a past that manifests itself through the use of recycled materials. Her sculptural practice, seeped in history, finds its roots in the constructivists and avant-gardes. While elegant in their construction, the sculptures also retain a handmade aspect, revealing their aging over time.

The influences of Blair Thurman(1961, New Orleans, lives and works in New York)range from Pop art and Minimalism to relics from childhood, popular music, and 1970s cinemas.

His standardized forms, pulled from slot-car racetracks, architectural frameworks, and found shapes from daily life, comprise a personal iconography; the fascinations of boyhood working to render the subliminal realm of abstract geometries more idiosyncratic and accessible.

The industrial printer isthe most natural artistic medium for Thomas Wachholz(1984, Cologne, where he lives and works): from the very beginning he has been experimenting with its technical capabilities, testing the limits of what is feasible.

The composition of the image which normally marks the unremovable beginning of graphic design, is shifted to the end and claims herewith a newpositioning for graphic design. Wachholz’ investigation on the limits of painting generates an art of opposites: machine versus manual, fullness versus void, color versus non-color.

Lengua Barbara

Galería Casado Santapau

Madrid – Spain, January 31 – March 3, 2019

Lengua madre // Lengua bárbara

The exhibition reunites the works of twelve peruvian artists who explore ideas in relation to phenomenons of language and writing as cultural tools that develop diverse ways of thinking.

Different prehispanic cultures in Peru developed graphic communication systems through symbols like the tocapu and wool strings with knots called quipu. With the conquest, the eradication of prehispanic practices eliminated the traces of these writing systems, leading to their extinction. Likewise, many of the languages ––somewhere between 300 and 700 languages spoken in ancient Peru –– disappeared, leaving less than 150 languages today.

This rupture with the elements of atavic culture, consequence of the imposition of a new language and writing system, instaurated, through evangelization, a new model of thought supported on language and writing as fundamental tools for the  submission and control of the freshly conquered peoples.

There has been research on whether language is inherent in human beings, or if it is an experience acquired through imitation. There is a huge debate among linguists, philosophers and sociologists who discuss whether human thought is activated through language or vice versa. One way or another, considering the structural  diversity in which languages and writing systems are developed, it is safe to say that these cultural legacies adapt and modify our way of thinking and how we relate to the world, gradually altering our biology and our mental development.

The works gathered in this exhibition tackle those themes. They agree that the need to communicate through sounds, images, geometric patterns, codes, made up alphabets, is still as vital as our need to understand them.

Lat. 25º 40′ Long. 100º 19′

Aldo Chaparro, Centro de las Artes

Monterrey, México – 2018


Aldo Chaparro MTY 1998 – 2018 Lat. 25º 40′ Long. 100º 19′ is the exhibition that represents the geographic place where Aldo’s work during his 1998-2018 period was located. He is a peruvian artist who made himself at home in Mexico City. Being mainly recognized as a sculptor, Aldo’s practice is an eternal journey between material experimentation and critical exercise of artistic practice. This show allows looking at different projects, both collaborative and individual, which the artist has developed in the city, as well as giving the spectator perspective, for it is located in Monterrey’s cultural zone, which was  back then  well known for its vitality and the propositivity of its cultural agents. It shows how a generational change of actors defining the fundamental within the local art and culture world  from an informed gaze and multiple new questionings, was gestating simultaneously with the turn of the century.

Centro de las Artes | Main Hall.

Opening: november 8th | 20:00 h.

Tuesday to sunday | 11:00 – 21:00 h.

Free Entry. .

Blue Monday

Aldo Chaparro Studio

México – 2018


Is a celebration/exploration of the blue color.

A meditation on the meaning given to blue on different civilizations and historic moments.
The way it has been used by art history, from Yves Klein’s works to Picasso’s blue period. Or similar to Kieslowski and Derek Jarman’s movies.
The show will open at the new exhibition space in Aldo Chaparro Studio and is organized by Aldo Chaparro and Alejandro Romero.
The artists are Monika Bravo, Aldo Chaparro, Mario García Torres, Erris Huigens and Gysbert Zijlstra (Graphic Surgery), Iván Krassoievitch, Ismael Merla, Gerold Miller, Ana Montiel, Jaime Poblete, Alejandro Romero, Saúl Sanchez and Ariel Schlesinger.

Mártires de la conquista

Public Art Projects,  México – 2018


Modelling Matter

Aldo chaparro & Antinio Santin
Mumbai, India – 2018


Crossing the boundaries between painting, sculpture and performance is a common contemporary artistic practice – often with stunning results that not only reveal a re-interpretation of form and genre but also puzzle the perception of the viewer and prompt great curiosity about what we see. Aldo Chaparro’s and Antonio Santin’s latest works are a case in point. Both artists work across various media media and genres and are equally interested in how sculptural characteristics, like  the creation of three dimensional elements, perform on a two-dimensional format.


National Art’s Museum (MUNAL)
Mexico City, Mexico 2017
Sculpture: Poliedro de Durero


The present exhibition poses a revision of distinct means in which melancholy has been represented throughout the arts, primarily in the visual arts produced in Mexico between the end of the 16th century and the beginnings of the 21st century. The exhibition takes a proactive stance which permits the reflection around the ways that affections and human passions have been symbolized in viceregal, modern and current art.

Divided into four nuclei, this exhibition provides different theoretical perspectives to transversally appreciate works from distinct artistic periods and to value the affective loads suggested and the themes represented in them, as well as the plastic resources  with which they were embodied.

In this way, the exhibition offers a set of more than 130 artworks that reconstruct distinct forms in which melancholy, as a classical motif throughout art history, was represented in Mexican art allowing affective approaches against social discomfort and melancholic wit.


Sala Luis Miró Quesada Garland, Galería Casado Santapau
Lima, Perú – 2017


Premio Luces (Best Exhibition), 2017


Instalación en Hotel El Ganzo                                                                                                           
Los Cabos, México – 2017



Peana Projects                                                                                                           
Paris, Francia – 2017


Modern Sculpture

Galería Casado Santapau
Madrid, España – 2017


Shaping Space

Galerie Isa                                                                                                          
Mumbai, India – 2017


Golden Years

Galería Casado Santapau
Madrid, España – 2016



Art & Public Cabinet PH 
Ginebra, Suiza – 2016



Art & Public Cabinet PH 
Ginebra, Suiza – 2015


La Raíz del Asunto

Aldo Chaparro & Iñigo Zulueta
Madrid, España – 2015


Approaching Silence

Galería Casado Santapau
Madrid, España – 2015



Public Art Projects
Ciudad de México, México – 2015


In 2015, Public Art Projects invited me to participate in a collective show in a big old house in Mexico City. The project was defined by the fact that the house would be demolished a few days after the end of the exhibition.

My pieces were three stainless steel sheets, just like the ones I usually bend and wrinkle with my hands and my body to make my series of wrinkled steels, but for this project I simply nailed the flat sheets to the walls of the house.

The plan was to let the demolition happen with them inside. This way the house would become an extension of my traditional process and my own strength would be replaced by the strength of the house falling on the steel.

A few weeks later I was informed that the tip of one of the sheets had been found among the rubble. We dug it out with shovels and picks. We only found this one piece of a sheet.

The fallen house had left its marks on it and radically transformed it in such a different way from how I do it with my body.

Abstraction and Nothing

FIFI projects
San Pedro Garza-García, México – 2015


The State of Parenthesis

FIFI projects
San Pedro Garza-García, México – 2014


Approaching Silence

FIFI projects
San Pedro Garza-García, México – 2014



Miami, EUA – 2013



Intervención en  la Iglesia Santa Clara
Bogotá, Colombia- 2013


Intervención en el Palazzo Pamphilij

Roma, Italia- 2013


My Better Half

Spazio Nuovo Gallery
Roma, Italia – 2013


 Se Que Te Mueres Por Mí

Galería Lucía de la Puente
Lima, Perú – 2013


Natures Mortes I

FIFI Projects   
San Pedro Garza-García, México – 2013


I´ve Lost Control Again

James Kelly Gallery
Santa Fe, EUA – 2012


Hip Ahora, Mañana Who Knows

Galería Casado Santapau
Madrid, España – 2012



Galería Nueveochenta
Bogotá, Colombia – 2012


What if?

Leeahn Gallery
Daegu/Seúl, Corea – 2011


The Space Between Now and Then

Galería OMR y el52 
Ciudad de México, México – 2011


Vanishing Act

FIFI Projects
Nueva York, EUA – 2010


Oh! Sweet Nuthin’

Ciudad de México, México – 2010


The second individual exhibition by Aldo Chaparro in the Galería OMR, with unpublished works based on the interaction between the mediums of paint and sculpture with that of industrial design, music, architecture and publicity. In them, the artist speculates over the originality within art through the appropriation of phrases and ideas developed by distinct actors in recent media culture.

Following this idea, during the last years Aldo Chaparro (Lima, Peru, 1965) has worked on pieces based on texts and phrases where he looks to avoid a specific interpretation to allude to the void of meanings in contemporary culture. As portrayed in the expressions “Diet Coke & Cigarettes” and “Oh! Sweet Nuthin´“ (a saying taken from a song by The Velvet Underground song, which also ends up being the title for the show), the meaning – practically nonexistent – of textual fragments, acquires relevancy when its reproduced on a monumental scale with materials such as steel and wood, adjudicating a lasting quality to a phrase or to a set of words which would commonly pass unnoticed, transforming at the same time the written word as an object.

Another thematic axis that Chaparro approaches are the direct references to other contemporary artists such as Robert Indiana, Sol LeWitt, Richard Prince and Mark di Suvero. By ironizing and playing with the expressed ideas in the works of these 21st century icons, transforming the visual imaginary in texts that activate our memory through the form itself. Such as the case with the piece  “Richard Prince´s  Brooke Shields”, a sculpture which makes reference to, without even having it present, the controversial image of 1982 in which the Hollywood actress appears posing nude when she was 10 years old. Like this, the artist ‘quotes’ those who precede to give a place to a radical, honest open questioning about originality and appropriation in the current practice of contemporary art.

Inside the context of this exhibition pieces are presented by the artist in which he makes obvious the idea of the gesture as a result of an action, where he descontructs the meaning of the artwork by modifying the form again and again; transforming the lyrics of a song in a poster, extruding the typography of the poster into sculpture, painting or also mural, questioning the traditional order of the artistic production. With the exhibition OH! SWEET NUTHIN’, Chaparro, who is also the director of the magazine Celeste, looks to dissolve the limits between art and mass culture to pose, through language and memory, works that redefine our collective imagination.

More Than This

Sonja Roesch Gallery
Houston, EUA – 2010


Solo project

Art Dubai
Madinat Jumeirah Arena – 2010


Solo project

Pinta Art Fair
Londres, Reino Unido- 2010


Here we are now, entertain us

Galería Nueveochenta
Bogotá, Colombia- 2009


Too drunk to fuck

White Cubicle Toilet Gallery
Londres, Reino Unido- 2009


Vanishing Act

FIFI Projects
Nueva York, EUA- 2009


Two Black Monoliths

Museo Experimental El Eco
Ciudad de México, México- 2009


Erase Memory


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