Gallery

"Since we began discussing Juanjo Cambre's exhibition at CRUDO, there's a phrase he mentioned in an interview a few years ago (and reformulated in one of our conversations) that embedded itself in me like a kind of key or threshold from which to approach his work: 'every color has its moment.' The phrase implicitly addresses how colors—invariably flat and solid—engage with time and, consequently, with how we perceive them. A yellow, for instance, is never the same throughout, even within the same series. It may appear identical, but it isn't, precisely because each has its 'moment,' each yellow is overlaid with another layer of color—within this body of work, he has primarily worked with opposites—through thin and subtle veils (...)"

Excerpt from the text by Florencia Battiti.

Juan José Cambre
Juan José Cambre With a distinguished career, among his numerous awards and distinctions, he won the First Prize in Painting at the Salón Municipal Manuel Belgrano in 1981 and a scholarship to relocate to New York in 1982. In the 1980s, he was part of the group La Nueva Imagen, participating in their presentation at the São Paulo Biennial in 1985. In 1993, he received the First Prize Amalia Lacroze de Fortabat, and in 2005, the First Prize Trabucco.

Between 1993 and 1995, he created murals for 19 branches of Banco Credit Lyonnais. He has also worked on the set design for numerous theater productions, operas, and films. In 2008, he published the book "Cambre," a compilation of his works up to that date by Ediciones Vasari. In 2016, he was included in the artist selection for the book "Vitamin P3" by Phaidon.

Among his notable solo exhibitions are: "Mano de obra," Colección Amalia Lacroze de Fortabat, 2017; "Un bárbaro en las sierras," Prisma KH, 2015; "Desde el paisaje," Museo Caraffa, Córdoba City, and Museo Castagnino-MACRO, Rosario, 2014; "Azul," Museo López Claro, Azul, 2013; "Cromática," MACBA, 2013; "Secesión," Galería Vasari, 2012; "Novum Ovum," Instituto Di Tella, 2012; "Cambre 2010/2012," Museo de Olavarría, 2012; "Espectadores de la Laguna," Centro Cultural Recoleta, 2008; "Hogar Collection Gallery," Brooklyn, 2005; "Fondo Nacional de las Artes," 2003; "El hombre invisible: veinticuatro estudios de color," Centro Cultural Recoleta, 2001; "Fundación Federico J. Klemm," 2000. His works are part of numerous national and international collections. He currently lives and works in Buenos Aires.

Florencia Battiti
Florencia Battiti is a curator, art critic, and contemporary art teacher. She serves as Chief Curator at the Parque de la Memoria, overseeing the Public Art Program and curating the exhibition hall where the first shows of Bill Viola, Alfredo Jaar, and Anish Kapoor were held in Argentina. She curated both editions of arteBA Focus (2016 and 2017) and curated "Disruptions" as part of Art Basel Cities, Miami Beach in 2019. She has conducted workshops for artists in programs by the National Fund for the Arts, Entrecampos Regional, and Boomerang, and also art collecting workshops for arteBA in Cordoba, Mendoza, and Buenos Aires. In 2013, she received the Trabucco Fellowship for a research project on the emergence of political memory in Argentine art during the 1990s. In 2016, she was awarded the Radio France Internationale and Radio Cultura Prize for Arts Promotion for the Curatorial Program at Parque de la Memoria. In 2019, she curated Argentina's submission to the Venice Biennale. Currently, she is the President of the Argentine Association of Art Critics (AACA), Professor in the Curatorial Master's Program at the University of Tres de Febrero (UNTREF), and a member of the Curatorial Committee of BIENALSUR.