Nicolás García Uriburu was born in Buenos Aires in 1937. He studied architecture at the University of Buenos Aires, at the same time that he developed his artistic production. In 1954 he held his first solo exhibition of paintings at the Müller Gallery and in 1960 he exhibited at the Lirolay Gallery. In 1965 he received the Braque Prize and, together with his wife, moved to Paris, where they lived for some time. In 1968 he won the Grand Prize at the National Salon of Plastic Arts, with The Three Graces, a work that approaches pop aesthetics. That same year, at the Iris Clert Gallery in Paris, he presented the exhibition entitled Prototypes for an artificial garden, an installation with animals and acrylic plants. On June 19 1968, within the framework of the Venice Biennial, Uriburu carried out his first intervention in nature, coloring the waters of the Grand Canal with fluorescein green (a harmless fluorescent sodium used by NASA). This intervention marks the beginning of a series of actions carried out by the artist, against water pollution, developed later in rivers at New York, Paris and Buenos Aires and in fountains and ports around the world. He also makes a series of paintings in which he represents endangered species, landscapes and South American animals. In 1981, together with the German artist Joseph Beuys, he colored the Rhine and planted 7,000 oaks during Documenta 7 in Kassel. In 1982 he plants 50,000 trees in the streets of Buenos Aires, an action that he will repeat several times. In the 80s he painted the Buenos Aires myths: Eva Perón, Carlos Gardel and the Virgin of Luján. In 1993 he presented Utopia del Sur, an individual exhibition, at the Ruth Benzacar gallery in Buenos Aires. Uriburu is a founding member of Grupo Bosque, with which he participated in the reforestation campaigns in Maldonado, Uruguay, and has participated in joint actions with the Greenpeace organization. Currently the Uriburu Foundation, is responsible for disseminating the art of indigenous people and the work of the artist.
We travel to venice in the framework of the 57th biennial of art where 6 works of nicolás are exposed. The sample "viva arte viva" has the intercontinental hydrochrome work that records the colorations that uriburu carried out at the grand canal of venice- during the art biennial of 1968-; in the río de la plata, buenos aires; the river sena in paris and the east river in new york. Also exhibits the portfolio (manifesto) of 6 serigraphs.
The ministry of culture collaborated transfering of these works belonging to the costantini foundation, fortabat collection and a private collector. The same will remain exposed until sunday, november 26th.
The international exhibition, viva arte viva, will be open to the public from saturday, may 13 until sunday, november 26, 2017 and it has the participation of 120 invited artists from 51 countries, of which 103 participate in the biennial for the first time. It also includes 87 national participants in the historical pavilions of giardini, the arsenale and in the historical center of the city of venice. About the exhibition, curator christine macel expresses: "today, in a world full of conflict and conception, art is the most valuable witness that becomes a human being. It is the main land for reflection, individual expression, freedom and fundamental questioning. (...) The role, the voice and the responsibility of artists are more crucial than ever in the framework of the contemporary debates.
About the exhibition, curator christine macel expresses: "today, in a world full of conflict and conception, art is the most valuable witness that becomes a human being. It is the main land for reflection, individual expression, freedom and fundamental questioning. (...) The role, the voice and the responsibility of the artists are more crucial than ever in the framework of contemporary debates.
It is in and through these individual initiatives that the world of tomorrow takes form, something - certainly uncertain - that artists perceive better than others. Viva arte viva is an exclamation, a shout driven by art and the position of the artist. Viva arte viva is a biennial designed with artists, by artists, and for artists. It confronts with the forms that they propose, the questions that they define, the practices that they develop and the ways of life that they choose ".
Works by nicolás garcía uriburu will be part of "a tale of two worlds", an exhibition where latin american art enters into dialogue with the collection of the mmk -museum für moderne kunst- of frankfurt
The MMK, with the collaboration of the modern art museum of buenos aires, presents one of its largest exhibitions: 500 works of artists and collectives from latin america, the united states and europe from the year 1940 to the 1980.
A "tale of two worlds" can be visited from november 25 to april 2 at Frankfurt, and then it will be presented at the modern art museum of Buenos Aires between july 7 and october 14, 2018.
Green Rhein - 1981 the rhine, as loaded by history as industry waste. Uriburu and Beuys down to the shore, remove a water cube. Uriburu pours fluorescent sodium in contaminated water that becomes green emerald.
Uriburu making his the utopia of unity from bolivar.
"Hello world revising a collection" is the name of the exhibition where the museum presents over 120 paints, sculptures, facilities and movies of 80 artists, chosen from the collection of the national gallery and berlin, along with some international work loans.
Nicolas will be present there with his portfolio - manifesto and a box with bottles of stream coloration, year 2010. With the cursuring of Sebastián Vidal Mackinson as curator, the exhibition presents works of argentine artists produced since the '60s where ecology is the central axis.
In this exhibition at the proa the work of nicolás garcía uriburu will be present with audiovisual documentation of the coloration of venice, 1968 and the coloration of the river of 2010. Contradicción y continuidad is composed by 170 works of different artists, the sample examines crucial periods and aesthetic movements in which photography performs a fundamental role.
We are full of pride to leave a portion of uriburus legacy in the most visited museum of that city, and one of the 5 most important in the world, so that thousands of visitors can witness his work.
The collection of pre-Colmbian art that belonged to the plastic artist Nicolás García Uriburu was donated to the National Historical Museum, which is one of the largest donations of pre-Hispanic pieces that the museum receives. The exhibition invites us to explore the ceramics, feathers and textiles that form a journey through the origins of our culture, leaving in evidence the history, beliefs and interests of the people who inhabited our country and continent. Nicolás García Uriburu dedicated part of his life to the collection of American pieces belonging to the pre-Columbian period. Through his work, Nicolás sought to recover Bolívar's old dream of continental unity and give testimony of the unity of the original cultures on American soil before the political divisions.
Federico Fischbarg, National Director of Museums, and Viviana Melloni de Mallol, Director of the National Historical Museum, invite people to come by the exhibition that counts with the curatorship of Patricio López Méndez and can be visited from Wednesday 10 April at the National Historical Museum ( Defense 1600) from Wednesday to Sunday and holidays, from 11 a.m. to 6 p.m.
Utopia of the Bicentennial (1810-2010) 200 years of Pollution, as García Uriburu called this action, adds to his long list of similar artistic interventions that began in 1968 when he dyed green the waters of the Grand Canal in Venice, during the Biennial of Art, within the framework of his personal commitment related to the care of the environment and that, in this opportunity, he made for the first time in the Riachuelo, one of the most polluted rivers in the world. The intervention was carried out on the International Day of Water (1) in order to increase the alert for the serious state of the Riachuelo and the need to take care of a resource that is increasingly scarce.