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craftsmanship. And artists dealing with general notions of history cannot personalise it, otherwise they land up with psychology and expressionism. I like to work with these tensions and have them present in my work. I am concerned with pointing to new contexts and transforming concepts into material objects. There is a visual as much as a conceptual dimension in the work I do, and I love dealing with both. I love this complexity (Carlos Capelán in an interview on his installation
384:. Free from specific trends or formal boundaries, he works with structures of ideas with a material and formal diversity operating from the language of representation, referrinig to his identity as an artist as well as the artwork's itself. Capelán's language includes drawing, print-making, painting, photography, installation, sculpture, objects, performance, workshops, lectures and texts, as well as his activity as curator.
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Hooks imply games of irony, one of the fundamental mechanisms that art uses to distance itself from its own setting, observing it, commenting it, as if it were something outside itself. Some of Capelán’s paintings, in which he paints with his hand instead of a brush, constitute a hook because they
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I am not a modernist. I’m not leaving the past and escaping into the future at all. So I don’t see any complication between body and soul, nature and culture, conscious and unconscious processes. Traditionally an artist dealing with art based on ideas and concepts is not supposed to deal with
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exhibit manual dexterity but advance concepts that have nothing to do with the art of painting. Threatened on one side, and attacked on the other, the observer is forced to remain on guard, distrusting that which is seen, forced to track meaning where it does not appear. (Escobar, T. 2008)
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Every time
Capelan announces the limit of a concept or the insufficiency of one model he is also invoking the question of sufficiency and need to take a step in another direction. There is no ultimate end. Each declaration of opposition is another form of entanglement with the opponent.
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Capelán has participated, among others, in the biennials of Venice (Italy), São Paulo (Brazil), Kwang-ju (Korea), Johannesburg (South Africa), Site Santa Fe (USA), Auckland (New
Zealand), MERCOSUR (Brazil), Bienal del Barro (Venezuela) and Bienal Paiz (Guatemala).
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Professor at the Art
Academy in Bergen, Norway, between (2000-2006) and a guest professor at the Art Academy in Oslo teaching as well in New Zealand, Italy, Cuba, Spain, China, Sweden, Colombia, China, New Zealand, Australia, Germany, Mexico, Spain, and Uruguay.
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In 1996 he discotinues working with his galleries in
Germany, Colombia, Spain and France, and moves with his family to Costa Rica where he will live until 2001. During tha period he starts a close collaboration with
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After two years hitch-hiking across South
America, he returns to Montevideo in 1970 and opens a weaving studio. In 1971, his studio is raided five times by police and military. In 1972, he moves to the island of
279:. From Costa Rica he moves to Santiago de Compostela, Spain where he will live until 2006. He moves back to Lund and then, in 2010 to Montevideo. Capelán moves back to Lund in 2013, where he still resides.
419:. (2000). Gavin Jantjes in conversation with Carlos Capelan. In Carlos Capelán - Jet Lag Mambo (exhibition catalogue). Hovikodden, Norway: Henie Onstad Kunstsenter. Cited in Marsh, L (2010)
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He has been awarded the prize of the Third
Havanna Biennial, the Guggenheim Fellowship in 1995, the National Prize Award in Uruguay in 2013 and The Swedish Royal Academy Prize among others.
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in 1978 and opens his first solo show at Andres
Tornberg Gallery. Between 1980 and 1981 he lives in Mexico where he leads courses at the studio of Uruguayan artist
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as a weaving technician. In 1973, he is detained and
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421:"THE TROUBLE WITH BEING A PROUD PĀKEHĀ"
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