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The Armory Show

Booth 920

Pier 94

March 5 – 8, 2020

Liliana Porter, “…and levitating Rabbit”, 2019. Acrylic on canvas and assemblage, 36 1/2 x 78 x 3 1/2 in., (92.7 x 198.1 x 8.9 cm.)

Liliana Porter, “…and levitating Rabbit”, 2019. Acrylic on canvas and assemblage, 36 1/2 x 78 x 3 1/2 in.

(92.7 x 198.1 x 8.9 cm.)

Liliana Porter, To Fix it [silver clock], 2019. Figurine and broken clock on white shelf, 4 1/2 x 6 x 4 in., (11.4 x 15.2 x 10.2 cm.)

Liliana Porter, To Fix it [silver clock], 2019. Figurine and broken clock on white shelf, 4 1/2 x 6 x 4 in.

(11.4 x 15.2 x 10.2 cm.)

Liliana Porter, Tejedora, 2017. Fabric, figurine, string on wooden base, 22 1/2 x 96 1/2 x 90 in., (57.2 x 245.1 x 228.6 cm.)

Liliana Porter, Tejedora, 2017. Fabric, figurine, string on wooden base, 22 1/2 x 96 1/2 x 90 in.

(57.2 x 245.1 x 228.6 cm.)

Liliana Porter, For Sale [Kitchen items], 2019. Acrylic and assemblage on canvas, 24 x 18 x 2 1/2 in., (61 x 45.7 x 6.4 cm.)

Liliana Porter, For Sale [Kitchen items], 2019. Acrylic and assemblage on canvas, 24 x 18 x 2 1/2 in.

(61 x 45.7 x 6.4 cm.)

Liliana Porter, For Sale [White Stove], 2019. Acrylic and assemblage on canvas, 16 x 12 x 1 1/2 in., (40.6 x 30.5 x 3.8 cm.)

Liliana Porter, For Sale [White Stove], 2019. Acrylic and assemblage on canvas, 16 x 12 x 1 1/2 in.

(40.6 x 30.5 x 3.8 cm.)

Liliana Porter, For Sale [Bed and Dresser], 2019. Acrylic and assemblage on canvas, 24 x 18 x 1 1/2 in., (61 x 45.7 x 3.8 cm.)

Liliana Porter, For Sale [Bed and Dresser], 2019. Acrylic and assemblage on canvas, 24 x 18 x 1 1/2 in.

(61 x 45.7 x 3.8 cm.)

Liliana Porter, Tennis Player [Blue Shorts], 2018. Assemblage on wood, 12 x 9 x 3 3/4 in. (30.5 x 22.9 x 9.5 cm.)

Liliana Porter, Tennis Player [Blue Shorts], 2018. Assemblage on wood, 12 x 9 x 3 3/4 in. (30.5 x 22.9 x 9.5 cm.)

Liliana Porter, Reconstruction [Girl with dark hat], 2018. Framed digital photograph, wooden shelf and porcelain figurine, 13 1/2 x 15 3/4 x 3 1/4 in. (34.3 x 40 x 8.3 cm.)

Liliana Porter, Reconstruction [Girl with dark hat], 2018. Framed digital photograph, wooden shelf and porcelain figurine, 13 1/2 x 15 3/4 x 3 1/4 in. (34.3 x 40 x 8.3 cm.)

Gustavo Díaz, Not yet titled, 2019. Cut out paper, 8 1/2 x 10 7/8 x 2 3/8 in. (21.6 x 27.6 x 6 cm.)

Gustavo Díaz, Not yet titled, 2019. Cut out paper, 8 1/2 x 10 7/8 x 2 3/8 in. (21.6 x 27.6 x 6 cm.)

Gustavo Díaz, De la Serie: “Excéntricas teorias sobre la incertidumbre”. Modelo Hipotético 04. Zadeh se aproxima al borroso bosque. Se encuentra con  Borges que dice, “…en el sueño del hombre que soñaba, el soñado se despertó”.  Zadeh es el soñado., 2020., Cut out paper, pigment, & colored pencil, 26 5/8 x 26 5/8 in. (67.6 x 67.6 cm.)

Gustavo Díaz, De la Serie: “Excéntricas teorias sobre la incertidumbre”. Modelo Hipotético 04. Zadeh se aproxima al borroso bosque. Se encuentra con  Borges que dice, “…en el sueño del hombre que soñaba, el soñado se despertó”.  Zadeh es el soñado., 2020.

Cut out paper, pigment, & colored pencil, 26 5/8 x 26 5/8 in. (67.6 x 67.6 cm.)

Gustavo Díaz, De la Serie: “Excéntricas teorias sobre la incertidumbre” Modelo Hipotético 01. Zadeh se aproxima al borroso bosque. Se encuentra con  Borges que dice, “…en el sueño del hombre que soñaba, el soñado se despertó”. Zadeh es el soñado., 2019., Cut out paper, pigment, & colored pencil, 25 11/16 x 25 11/16 x 2 in. (65.3 x 65.3 x 5.1 cm.)

Gustavo Díaz, De la Serie: “Excéntricas teorias sobre la incertidumbre” Modelo Hipotético 01. Zadeh se aproxima al borroso bosque. Se encuentra con  Borges que dice, “…en el sueño del hombre que soñaba, el soñado se despertó”. Zadeh es el soñado., 2019.

Cut out paper, pigment, & colored pencil, 25 11/16 x 25 11/16 x 2 in. (65.3 x 65.3 x 5.1 cm.)

Gustavo Díaz, Mientras Stravinsky escribe Pájaro de Fuego, Messiaen vuela y dibuja. [El cardenal no sabe que te consuela], 2019. Cut out paper, 70 1/2 x 24 1/4 x 3 1/2 in. (179.1 x 61.6 x 8.9 cm.)

Gustavo Díaz, Mientras Stravinsky escribe Pájaro de Fuego, Messiaen vuela y dibuja. [El cardenal no sabe que te consuela], 2019. Cut out paper, 70 1/2 x 24 1/4 x 3 1/2 in. (179.1 x 61.6 x 8.9 cm.)

Gustavo Díaz, De la Serie: “El acumulador de crepúsculos”. El primer crepúsculo., 2019. Cut out paper, 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)

Gustavo Díaz, De la Serie: “El acumulador de crepúsculos”. El primer crepúsculo., 2019. Cut out paper, 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)

Gustavo Díaz, De la Serie: “El acumulador de crepúsculos”. El segundo crepúsculo., 2019. Cut out paper, 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)

Gustavo Díaz, De la Serie: “El acumulador de crepúsculos”. El segundo crepúsculo., 2019. Cut out paper, 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)

Gustavo Díaz, Zona Prigogine/Zadeh, Estructura Disipativa Borrosamente Coherente [detail], 2018. Cut out paper, 45 x 41 5/16 x 30 11/16 in. (114.3 x 105 x 78 cm.)

Gustavo Díaz, Zona Prigogine/Zadeh, Estructura Disipativa Borrosamente Coherente [detail], 2018. Cut out paper, 45 x 41 5/16 x 30 11/16 in. (114.3 x 105 x 78 cm.)

Gustavo Díaz, La ventana de Deleuze se cierra de modo rizomático., 2018. Cut out paper, 93 1/4 x 38 1/2 x 1 3/4 in. (236.9 x 97.8 x 4.4 cm.) 

Gustavo Díaz, La ventana de Deleuze se cierra de modo rizomático., 2018. Cut out paper, 93 1/4 x 38 1/2 x 1 3/4 in. (236.9 x 97.8 x 4.4 cm.) 

Gustavo Díaz, Pensamiento diagonal [la linea recta es atea], 2019. Cut out paper, 18 7/8 x 13 3/8 in. (48 x 34 cm.)

Gustavo Díaz, Pensamiento diagonal [la linea recta es atea], 2019. Cut out paper, 18 7/8 x 13 3/8 in. (48 x 34 cm.)

Gustavo Díaz, Paisaje borroso. Todo se aleja y se confunde hasta quedar perfectamente visible, 2019. Cut out paper, 15 5/16 x 29 1/2 in. (39 x 75 cm.)

Gustavo Díaz, Paisaje borroso. Todo se aleja y se confunde hasta quedar perfectamente visible, 2019. Cut out paper, 15 5/16 x 29 1/2 in. (39 x 75 cm.)

Press Release

Sicardi | Ayers | Bacino is pleased to announce our participation in The Armory Show 2020, presenting an exhibition of works by Gustavo Díaz [Argentina, b. 1969] and Liliana Porter [Argentina, b. 1941], with text written by independent curator Tobias Ostrander.

 

As Ostrander notes, "While the practices of each artist represent distinct aesthetic trajectories and generations, they share several conceptual interests and strategies. Scale is important for both artists, specifically the use of small size compositions, which range from the miniature to the microscopic. This structuring intentionally creates intimate situations that draw the viewer into special acts of looking, which often result in the creation of moments of wonder, miraculous events appear to occur, or philosophical questions are generated. Time is an additional interest of both artists, particularly an understanding and articulation of non-linear time, often inspired by the writings of Jorge Luis Borges and his use of simultaneously occurring temporalities within his narratives, in order to articulate time as solely existing as metaphor, as non-linear and subjective in character."

 

A native of Buenos Aires, Argentina, Gustavo Díaz currently resides in Houston, TX, where he continues to investigate the subject he has been researching for over ten years: the behavior of complexity. Díaz presents his findings through intricate, abstract works on paper and installations that map the conceptual connections between disparate, yet related, theories, from Chaos Theory to Dissipative Structures and Fuzzy Logic. Díaz's work is included in many private collections worldwide, and in the permanent collections of the Museum of Fine Arts, Houston, TX; the Fine Arts Museum System of San Francisco (Legion of Honor, de Young Museum, & Achenbach Foundation for Graphic Arts), San Francisco, CA; the Noble Energy Collection, Houston, TX; The Transart Foundation for Art and Anthropology, Houston, TX; Proyecto A Collection, Buenos Aires, Argentina; Balanz Capital Collection, Buenos Aires, Argentina; and Puerto Madero, Buenos Aires, Argentina, among others.

 

Also a native of Buenos Aires, Liliana Porter relocated to New York in 1964. In 1965, along with artists Luis Camnitzer and José Guillermo Castillo, she co-founded the New York Graphic Workshop, which produced prints while redefining conventional models for making and distributing art. Porter’s work often places carefully chosen small figurines and other objects in monochromatic empty backgrounds, addressing larger philosophical questions and emotional states. Alongside printmaking, she has also worked extensively in the media of photography and video, and has created works on canvas, drawings, collages, and installations. 

 

Porter's work is included in the permanent collections of many museums worldwide, including Museum of Modern Art (MoMA), New York, NY; The Metropolitan Museum of Art, New York, NY; Whitney Museum of American Art, New York, NY; Museo del Barrio, New York, NY; The New York Public Library, New York, NY; Brooklyn Museum of Art, Brooklyn, NY; Bronx Museum for the Arts, Bronx, NY; Museum of Fine Arts, Boston, Boston, MA; Fogg Art Museum, Harvard University, Boston, MA; Davis Museum and Cultural Center, Wellesley, MA; Philadelphia Museum of Art. Philadelphia, PA; Museum of Fine Arts, Houston (MFAH), Houston, TX; Phoenix Art Museum, Phoenix, AZ; Miami Art Museum, Miami, FL; Smithsonian American Art Museum, Washington, D.C.; Tate Modern, London, UK; La Bibliothèque Nationale, Paris, France; British Museum, London, UK;  Museo de Arte Latinoamericano de Buenos Aires (MALBA), Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo de Arte Moderno, Bogotá, Colombia; Museo de Bellas Artes, Caracas, Venezuela; Museo de Bellas Artes, Santander, Spain; Museo de Bellas Artes, Santiago, Chile; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Museu de Arte Moderna do Rio de Janeiro, Brazil, among others.

 

Gustavo Díaz's solo exhibition Incompleteness: The Poetics of the Intangible is on view at Sicardi | Ayers | Bacino in Houston, Texas through Saturday, March 14, 2020 and Liliana Porter's solo exhibition Red Brush and Other Situations opens Thursday, March 19, 2020.

 

For more information, please call 713.529.1313 or email William Isbell at william@sicardi.com or Melissa Caspary at melissa@sicardi.com.

 

Location:

Booth 920

Piers 90 and 94

711 12th Avenue

New York, NY 10019

 

Fair Schedule:

VIP Opening

Wednesday, March 4 (by invitation only)

Public Days
Thursday, March 5, 12–8pm
Friday, March 6, 12–8pm
Saturday, March 7, 12–7pm
Sunday, March 8, 12–6pm

 

Please buy tickets here.