Carmelo Arden Quin
biography

Born in 1913 in Riviera, Uruguay, he began to be interested in art at a young age thanks to the encouragement of the Catalan writer and family friend Emilio Sans. In 1935 he met Joaquin Torres-Garcia, someone who was to be all-important for his artistic-professional orientation. In fact, Torres-Garcia had shortly returned from Europe where he had come to know Mondrian and Seuphor and, together with them, he had founded in 1930 the Cercle et Carré group. 

 

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biography

Born in 1913 in Riviera, Uruguay, he began to be interested in art at a young age thanks to the encouragement of the Catalan writer and family friend Emilio Sans. In 1935 he met Joaquin Torres-Garcia, someone who was to be all-important for his artistic-professional orientation. In fact, Torres-Garcia had shortly returned from Europe where he had come to know Mondrian and Seuphor and, together with them, he had founded in 1930 the Cercle et Carré group.

Torres-Garcia became Carmelo Arden Quin’s mentor and the young man was impressed, above all, by his transformable and adjustable sculptures. In 1936 Arden Quin created his first irregularly-outlined and non-orthogonal works. In the same year some of these works were exhibited at the Casa de España, Montevideo.

Towards the end of 1937 he moved to Buenos Aires where he frequented avant-garde artists and enrolled for the courses at the university’s faculty of philosophy and literature. In 1938 he joined the Grupo de pintores de vanguardia group together with Guy Ponce De Léon, Pablo Becker, Luis Lloret Castels, and Amaury Sarmiento. In 1941 he was the co-founder of the magazine “El Universitario” and, in 1944, he founded the Arturo group with Edgard Bailey, Gyulia Kosice, Tomàs Maldonado, and Lidy Prati, and together they published a magazine with the same name. In 1945 he organised, together with Enrique Pichòn Rivére, president of the Sociedad Psicoanalitica Argentina, the first exhibition of Arte Concreto Invenciòn. In 1946 the Arturo group of artists split into the Asociación Arte Concreto Invención and the Gruppo Madi, the manifesto of the latter group was given a public reading by Arden Quin on 3 August 1946 at the Institut Français des Hautes Études in Buenos Aires. In this period the artist made works with polygonal frames, and abandoned a flat and frontal vision in order to create irregularly curved forms in wood or cardboard which alternated convex and concave forms that, later on, he was to call “Formesgalbée”. Furthermore, he began to create his “Coplanals”, works consisting of diverse polygons, at times joined together and at others separated, as well as mobiles and pictures/objects.

Having moved to Paris in 1948, Carmelo Arden Quin began to frequent the greatest artists and exponents of European and international culture: Vantongerloo, Michel Seuphor, MarcelleCahn, Auguste Herbin, Jean Arp, Georges Braque, and Francis Picabia. He created the Centre de Recherches et d’Études MADI in his studio in Rue Froidvaux and experimented with works with various combinations of colours and mobile structures: his “mobiles”.

Together with the Madi group he exhibited annually at the Salon des Réalités Nouvelles, and at the Colette Allendy, Denise René, and Suzanne Michel galleries, to mention just the best-known galleries of the time.

In the 1950s he created works from white plastic or enameled and polished wood. This was a very lengthy process given that each layer had to be perfectly dry before the next application. In 1954 in Buenos Aires he founded the Arte Nuevo group that held its first show at the Van Riel gallery. In Paris he published “Opplimos” and edited the magazine “Ailleurs”; in the 1960s he joined the Concrete Poetry movement.

He created mobile works and, until the 1970s, he worked with collage, decoupage, and picture-objects, while he continued to experiment with H-shaped forms which led to fractioned reliefs open in two directions. In 1970-71, after fifteen years of abstinence, he began to paint again; he re-elaborated the “Coplanals” and the “Formesgalbées”. In this period he held many group and solo shows in museums and private and public galleries in Europe and America; he continued his activity as a cultural promoter and published poems, novels, and art books. In 1986 he held his first solo show in Italy at the Sincron gallery, Brescia; this was followed over the years by others, many of them at the Galleria Arte Struktura in Milan. His works are to be found in major museums throughout the world.

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exhibitions

2018

Milano, MAAB Gallery, Más alle del marco [Beyond the Frame]

 

2017

Buenos Aires, Galeria Vermeer, Carmelo Arden Quin. Obras 1945 – 2010

 

2014

Curitiba PR, Simões De Assis Galeria de Arte, Carmelo Arden Quin. A invencão lúdica. Décadas de 1940/2000

Miami, Durban Segnini Gallery, Carmelo Arden Quin. Retrospective Exhibition 1938-2009

 

2013

Cordóba, MEC- Museo Emilio Caraffa; San Juan, MPBA – Museo Provincial de Bellas Artes Franklin Rawson, Carmelo Arden Quin: la invención lúdica

Houston, Sicardi Gallery, Carmelo Arden Quin, painting, collages, mobiles, 1930-1970

Champlan, Galerie Aller Simple, Carmelo Arden Quin 1913- 2010

 

2012

Punta del Est, Galeria Del Paseo, Arden Quin

Buenos Aires, Braga Menendez Arte Contemporaneo, Carmelo Arden Quin

 

2011

Nice, CIAC – Centre International d’Art Contemporain Château de Carros, Conscience Polygonale – de Carmelo Arden Quin à Madi Contemporain (sala personale)

Bueno Aires, ArteBA, Homenaje a Carmelo Arden Quin

Bergamo, Galleria Marelia, Arden Quin & Bolivar, due protagonisti del Madi Internazionale

 

2010

Montevideo, Centro Cultural de España, Arden Quin, La Vanguardia Rioplatense, Retrospectiva

 

2009

Paris, Galerie Nery Mariño

Buenos Aires, Museo Nacional de Arte decorativo

 

2008

Paris, Maison de l’Amerique Latine (sala personale)

Buenos Aires, Galeria Laura Haber, Coplanares y esculturas

Buenos Aires, Centro Cultural Borges, Blanco

Buenos Aires, Museo Sivori

Buenos Aires, Galeria Laura Haber, Carmelo Arden Quin

 

2007

Buenos Aires, Fondo Nacional de las Artes, Casa de la Cultura, Coplanares 1947-2007

Paris, Galerie Drouart, Retrospective

 

2006

Miami, Durban Segnini Gallery

 Tarpon Springs, Leepa-Rattner Museum, A Celebration of Geometric Art: MADI Homage to Carmelo Arden Quin

 

2005

Buenos Aires, Museo MALBA – Museo de Arte Latino American

Santa Fe, Museo de Arte Contemporaneo, Retrospectiva

Córdoba, Museo Carafa

 

2004

Buenos Aires, Centro Cultural Borges

Buenos Aires, Museo Saavedra, Confluencias

 

2003

Buenos Aires, Galeria Loreto Arenas, Retrospectiva

 

2001

Buenos Aires, Galerie del Infinito, Confrontaciones Arden Quin-Iommi

 

2000

La Plata, Museo MACLA – Museo de Arte Contemporáneo Latinoamericano

Paris, Galerie Claude Dorval

 

1999

Paris, Galerie Franka Berndt

 

1998

Buenos Aires, Galerie Ruth Benzacar, Pinturas y objetos

 

1997

Madrid, Fundación Arte y Tecnologia, Retrospectiva

 

1996

Paris, Galerie Claude Dorval

 

1995

Buenos Aires, Galerie Centoria, Continuidad MADI

Montevideo, Fundación Torres García, Anterioridad y continuidad MADI

 

1994

Metz, École des Beaux-Arts, Retrospective

Metz, Galerie Esplanade

Paris, Galerie Claude Dorval

 

1992

Saint-Paul-de-Vence, Galerie de La Salle, Arden Quin et Madi

 

1990

Paris, Galerie Keller

 

1989

Pontoise, Musée de Pontoise, Peintures 1936-52

 

1988

Bremen, Galleria El Patio

 

1987

Paris, Galerie Down Town

 

1986

Brescia, Galleria Sincron

Brescia, Galleria Nizza

 

1985

Nice, Galerie des Ponchettes

Saint-Paul-de-Vence, Galerie Alexandre de La Salle

Roma, Espacio LatinoAmericano, Retrospettiva

 

1983 

Paris, Espace Latino-Americano, Hommage à ses 60 ans

 

1980

Nice, Galerie Alexandre de La Salle

 

1979

Paris, Galerie François Polluel, Formes Galbées

 

1978

Saint-Paul-de-Vence, Galerie Alexandre de la Salle

Paris, Galerie Trente; Nice, Galerie Lieu, Coplanares

 

1977

Paris, Galerie Quincampoix

Lot, Casa Françoise Tournée Carenac

 

1976

Buenos Aires, Galería Arte Nuevo

 

1973

Paris, Galerie Charley Chevalier

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