Description: This is a seldomly seen and RARE Vintage Latin Modern Venezuelan Surrealist Abstract Oil Painting on Canvas, by Venezuelan Post-Modernist artist, Carlos Julio Molina (b. 1972.) This painting is a very early piece by this artist, and depicts an abstracted Rabbit's head, surrounded by a walking skeleton (Death?) and several Virgin Mary's', which have been obscured and covered up with pigment to varying degrees. I cannot make sense of the artist's meaning or philosophy, however this painting is titled, signed, and dated on the verso: "PACAL. Carlos Julio Molina, Oct. 29, 1991..." I cannot translate the additional Spanish dedication writing on the verso, but perhaps you can? Approximately 33 x 38 1/2 inches. Good condition for age, with some mild scuffing and edge wear to the painted surface. Acquired in Los Angeles County, California. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Carlos Julio MolinaVenezuela, Lives and works in Caracas Apartamento 21, 2000Wall drawingVariable dimensions The work of Carlos Julio Molina concentrates on the iconic figures of popular culture in order to re-contextualize them in the gallery or museum space. The artist has, on previous occasions, has cast into his work television characters like Hulk, Mr. T, Arnold (from Different Strokes), Rambo and others. On this occasion, the face of salsa musician Hector Lavoe serves as model for the plan of an ideal house in the work entitled Apartamento 21, after a song by Willie ColĂłn. According to the artist, this house would have all the facilities and amenities that salsa musicians require: a long table with a mirror top for serving cocaine, rooms for smoking pot and for making out with groupies, a small cannabis plantation in the terrace, a diving board coming out of the main window, etc. In the work of Molina, the notion of "ideal" can be found in the recuperation of these show-business characters (all of them with a story of failure and descent from their "star" status). In this sense, this work is another addition that the artist has made to his "pantheon" of failures in the museum space. Absurds and Suicides, Carlos Julio Molina Alejandro Otero Museum 2010 Absurds and Suicides, Carlos Julio Molina, is an exhibition that marks the relaunch of Sala Seis as the place of Venezuelan contemporary art. In its beginnings in 1997, this program was the only one in the circuit of museums in Venezuela that opted for emerging and less conventional art in a frank and unprejudiced way. Thus was born a space with the purpose of welcoming projects by young and established artists who found in installationism the appropriate language for their proposals. Installation is a language of contemporary art that has manifested itself more strongly since the 1970s and is a direct heir to the conceptual art boom of the 1960s. It can be said that the main characteristic of the installation is the appropriation of the space in which it sits and, by occupying it, resignifies it with elements that together allow one or more ideas, suggested or not, to be exposed. It also aims to incorporate the spectator into the construction of the discourse, by stimulating movement throughout the occupied space. The 1990s are usually considered to be the period of greatest effervescence of installationism in our country, characterized by an explosion of hybrid discourses and resolutions of the models of presentation of the work. Established artists such as JosĂ© Antonio Hernández-Diez, Alfred Wenemoser, Nan González, Meyer Vaisman or emerging artists such as Javier TĂ©llez, Argelia Bravo and the duo Nascimento-Lovera, as well as Carlos Julio Molina, formed a heterogeneous group of artists already established and/or in training, who explored and used the installation to develop their work. Molina's work is located precisely in this trench, where the modes and ways of conceiving, elaborating and distributing the work of art are altered. Carlos Julio Molina is a Venezuelan artist born in New York in 1972. He has received his artistic training at the Federico Brandt Art Institute (Caracas, Venezuela), Concordia University, Nova Scotia College of Art and Design (Montreal and Halifax, Canada) and at the San Francisco Art Institute (San Francisco, USA). He also alternates his forays into the visual arts with the world of music as a DJ, music producer and also in the performing arts as a film and television actor. The artist has always used satire as a rhetorical device, thus exposing reality with apparent humour. He uses ridicule, irony and double entendres to show individual and collective defects, arbitrariness and disorders, always moving away from pamphlets and redemptive moralizing. He uses the possible languages of the visual arts, the mixing of music and forays into film and television to express his frontal and intelligent attack on canonical discourses and poses. In Absurds and Suicides, two works by this Venezuelan artist are shown. The first is Lo: Cal, an installation made up of five pieces: Aida / Bad Breath, and the objects Fall (Suicide of the Rifle), Fall (The Fastest Man in the World), Fall (Sudden Act of Absence) and Bad Breath, all from 1997. This installation is representative of Molina's interest in the strategies of creating the work in collaboration or by commission and the arrangement of objects, which allow the role of the artist as author and all the labels or clichĂ©s that surround his image to be openly challenged and debated with humor. It also questions the value of the work as an absolute object and of artisanal manufacture. He is accompanied by Jolly Roger (1994), a work that obtained a special mention in the VII Edition of the Eugenio Mendoza Prize and which consists of seven panels of silkscreen on vinyl in which he reproduces a performance in the form of comic strips. There, the transvestite artist satirically narrates the domestic vicissitudes of a character, who, through a game of substitutions and representations, refers to the identity and role of the artist, the dissolution of the barriers between the public and the private and the constant permeability between reality and fiction. This exhibition is presented as an opportunity for the public to approach the work of Carlos Julio Molina and to re-draw the meaning of the museum as a meeting place with emerging artists and the most innovative expressions. AS/COA Americas Society / Society of the Americas Art Exhibitions(2002) As A Satellite Space: La PanaderĂa Gabriel Acevedo, Nikolenka Beltrán, Samuel Chenillo and Renato Ornelas, Kirby Conn, Andrea Ferreyra, RubĂ©n Gutierrez, Gonzalo Lebrija, Christopher Lipomi and Pilar Wiley, Carlos Julio Molina, Yoshua Okon TITLEComienzos en viloAUTHORRivero, TahiaYEAR1994 INII Bienal Camille Pissarro. -- Caracas, Venezuela : Centro Cultural Consolidado, 1994 Molina, Carlos Julio, 1972- SYNOPSISThe critic and curator TahĂa Rivero outlines the objectives of the II Bienal Camille Pissarro, which was held at the Centro Cultural Consolidado in Caracas in 1994. As Rivero says, the biennial was unquestionably “a far-reaching, innovative event designed to encourage the creation and development of languages in the field of contemporary visual art.” It therefore focused on young, developing artists, with an emphasis on “creative effervescence” and experimentation. In her essay, Rivero discusses the work of the biennial’s youngest artists: Eduardo Azuaje, Alessandro Balteo, Julián Chávez, Carlos Julio Molina, Juan Nascimento, Yobel Parra, Humberto Salas, and Luis Salazar. ANNOTATIONSThis critical essay by the curator TahĂa Rivero (b. 1951)—which was published in the catalogue for the II Bienal Camille Pissarro (Caracas, 1994)—is of great interest because it documents the inclusion of works by the youngest artists working in the visual arts in Venezuela in the early 1990s. This was an extremely significant move because it represented an acceptance of the newer trends that were beginning to emerge and compete with the painting that was so popular during the 1980s. It should be noted that the first edition of the SalĂłn Pirelli de JĂłvenes Artistas (the event for young artists organized by the Museo de Arte Contemporáneo in Caracas) took place in 1993. The SalĂłn was an undisguised attempt to support and promote the country’s young, experimental artists, in a radical departure from what art salons in Venezuela had traditionally done. In her essay, Rivero also reviews what was going on at salons and art biennials in Venezuela, and specifically addresses the matter of training for artists. ArtNexus 30Arte en Colombia 76Sep - Dec 1998 By: VĂctor GuĂ©dez The Caracas FIA (International Art Fair) 98 demonstrated its firm grounding in the Venezuelan cultural structure as a consequence of perseverance that has turned out to be more powerful than any sociopolitical or economic circumstance. The Caracas FIA has ceased to be an isolated and circumstantial event and has become an axis around which the cultural programming in the city is organized. That impact was also highlighted through additional activities designed within the context of the Fair such as the affiliated events that were organized along with it. Of note was the seminar titled From the Plenitude of the Canvas to the Overflowing of the Painting, by Fernando Castro-FlĂłrez, which generated a significant response among the intellectual media connected to the visual arts. Likewise, emphasis should be placed on the interest awakened by the presence of Norton Batkin, Director of the Center for Curatorial Studies at Bard College in New York, and of Phyllis Tuchman, an important critic from the United States. Of similar importance was the Young People's Salon, where, under JesĂşs Fuenmayor’s curatorship, ten artists were brought together and evaluated by a qualifying jury composed of Cecilia Fajardo, Fernando Castro-FlĂłrez, and the Costa Rican gallery owner, Jacob Karpio. The award winner was Alfredo Sosa for his work From the design to the fact of boxes leaning up against a wall and brimming with provocative images. Several special mentions were awarded to the duo of Daniela Lovera and Juan Nascimiento and to the important work of Carlos Julio Molina.
Price: 975 USD
Location: Orange, California
End Time: 2024-09-23T00:43:31.000Z
Shipping Cost: 45 USD
Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
Production Technique: Oil Painting
Artist: Carlos Julio Molina
Unit of Sale: Single Piece
Signed By: Carlos Julio Molina
Size: Large
Signed: Yes
Period: Contemporary (1970 - 2020)
Title: "Pacal"
Material: Canvas, Oil, Mixed Media
Region of Origin: California, USA
Framing: Unframed
Subject: Animal Head, Biblical, Cats, Costumes, Figures, Ladies, Maria (biblical), Men, Nuns, Rabbit, Silhouettes, Skulls, Street Art, Women, Venezuela
Type: Painting
Year of Production: 1991
Original/Licensed Reproduction: Original
Item Height: 38 1/2 in
Style: Abstract, Avant-garde, Contemporary Art, Experimental, Expressionism, Figurative Art, Modernism, Postmodernism, Surrealism
Theme: Animals, Art, Biblical, Continents & Countries, Cultures & Ethnicities, Exhibitions, Graffiti, History, People, Portrait, Religious
Features: One of a Kind (OOAK)
Country/Region of Manufacture: Venezuela
Item Width: 33 in
Handmade: Yes
Time Period Produced: 1990-1999
