Bony Bullrich CV
In his first three years as a plastic artist, Bullrich developed five projects. Zonas Liberadas (released zones), NeoXVIIIism, the reinterpretación of the icon “Audrey Hepburn”, curator of Alvear Fashion and Arts and the controversial “Art, Fashion and Popular Culture” in different localities from the Buenosairean conurbano, generating untiring debates in mass media.
1. Released zones:
1 Released zones: In released Zones B.B. decided to look for B.B. and thus it arrives at the concept of “released zone”, where it is not asked reason about what is new, old, peripheral or central, modern or primitive, success or failure. Released zones is the integration of many BB without denying nor hierarchizing any. It is the inner multifacétic interior of B.B. This is not the abandonment of the rationality but the search of forms of rationality more different, more adapted to contemporary art. To find the connection of this circuit with such variety of forms and content, is the task of the spectator. To go beyond the dissimilar appearances and find the poetic underlying, is a challenge to imagination. I will not make the description of the autobiographical installation because it would be an unfecund task since the word and image are parallel and complementary languages that cannot replace one to another and more in this case where the space has a fundamental roll. Although the works are descriptibles individually, say much more as a whole since they immediately do not reveal his mystery but after establishing the reciprocal connections. Today the world struggles in the search of forms and its valuation, in which we attended the loss of integrity, globality, systematization in exchange for the instability, of poli dimensionality, mutability and I believe that “released zones” perfectly respond to this definition of Omar Calabrese in “the neobarroque time”. This installation is in synchrony with the 26th biennial of San Pablo whose subject is: “free Territory”. Understood like territory of the aesthetic. It says his curator Alfons Hug: “Although the artists are inserted in conflicts do not duplicate the world but create free spaces within the reality by means of metaphors and symbols. The terrestrial raw material to a new perceivable been in favor of the senses. The art work reveals something different, is allegory “. (Cristina Dompé).
The photographies of sculptures and reliefs that appear in the section “virtual visit” of this site, are fragments of a “released zone”. Are developed in a space-time that is constructed from the apprehension of the intransmissible elements of the subject to model in its habitat. they appear linearly what makes difficult the compression of its meaning which is comprised in the universality for which they were thought (to see the section released zones and the analysis of its work by Cristina Dompé in the section “the artist
2. Alvear Fashion & Arts:
In the First edition I present/display in Cat Ballou “Pictures of Audrey Hebpurn. (Description in the section press). Note and photos. Magazine The Nation. In the second edition: NeoXVIIIismo. in Peter Kent. (see Neo-XVIII-ismo). In the third edition: “Everything about the towers” in Mayorano. An installation with four elements: a sweepings fish pound and trash with squashed tins. (the minutes in which still they were possible to have been saved the South tower. The mistaken decision. A boy who disappears, since we will always remember the icon but we will forget the lost men and women. Picture of Freud. Evenly floating attention and the fálico, unseen elements in the analysis.
3. Curator of “Alvear Fashion and Arts”:
( 2006), was curador of Alvear Fashion whose script was “Coincidences for an aesthetic for the new millenium “. Where he intends to get rid of the past and deal again. ( see section Alvear Fashion and arts. Script.)
Through the narration of the happenings in a celebration that took place in 2010 he describes the elements to us of the style: and it says:
“the D.J was Paul Okenfold, the host the mayor of Paris, Young person, Engineer, 35 years, metrosexual. The place was called the mechanical one near one of the doors of Paris. The inauguration was recently the 14 of November of 2010 . Vargas Llosa (jr) and many civilians were invited and also Maradona. The mechanical was a replica on scale of Versailles. Packed in steel with glass pilasters and polyester resin scrolls preceded by an obelisc of laser and giant screens flat. The fountains were supported by cranes.
In the entrance of the hall of mirrors there was a Comode with a label that it said: “Neon-regency”. Made in acrylic with steel marquetry and a baguette of rushes of barbed wire. Before a sofa that according to what explained a rasta jamaiquina (Too skinny but very qute that had gained a scholarship to study history of furniture in the Sorbonne) was Neo-Louis XV. Undertaken with the politeness of cressent but its legs were the shock absorbers of a truck. Over one bergere of corian was trumeau of white mink and a representative of greenpeace explained to me that was made with skins that use the Austrian in the guillotine. Everything had bolts and nuts. The baths had polystyrene of high impact. Inspired by the superposed mosaics of Louis XV. The gilded ones of then had been replaced by iron and steel. The wood by transparent polyester to accede visually to the structural privacy. The acrylic water sewers ran outside the walls. In order to understand this paradigm pas d´epoque I conceived an impossible neologism: “NeoXVIIIismo”. It is the civil union of Pompadour with David Beckham and its later cientológic ceremony (as they impose already consecrated elites of rodeo drive). Dressed in neogaultier of Nylon and horsehair.
The lovers of the modernist manierism watched with skepticism… a journalist of Venezuelan art of approximately seventy years who had been intimate of Borges and Restany explained that definitively it did not consider that a revival but that was not his thing and that went away so that it was arriving late at a sample of pre-Columbian art.
In one of the cranes of the Apolo fountain the wife of Rodriguez Zapatero explained to laura bush that finally went to Europe the splendor of the XVIII´s French century….Laura said to her that she wanted to modernize the white house but that “Double U” thought that federal style was more appropriate for its friends who in their majority were Anglican. The night was about to to finish while latoia Jackson contemplated two venecianos coal Moors with halogenous and cables at sight on molds of “Leni Kravitz”. A sonorous truce takes place that for the moment was house music. Naomi Campbell, the master of ceremonies, that wore only an alive constrictor boa and a diamond ring by Harry Winston in her tongue …announced the end… the great closing…. They are prepared to hear best classic music. A silence prevailed…. nobody understood anything…. Classic music?… asked the phenomenal Saramago…..She opened the velvet and silicone rubber drop curtain and in the scenic time-space were off course… the rolling stones.
5.Alicia of Arteaga: Analysis of the samples on Fashion Art and Popular Culture: An unthinkable cultural bridge:
The history, that began with a rebellious pole and cakes fried in the most French of the Buenosairean avenues in the 4th edition of Alvear Fashion & Arts, became a strategic alliance between the leader Raul Castells and Bony Bullrich, lawyer and artist.
What could have been a conflict of violent borders finished being a cultural bridge, when Castells defied Bullrich with a question: “You would take the Fashion to other zones of the city”. The answer was affirmative and the commitment, a fact. Parades in Laferrère, Matanza and Lanús became, with a proposal that alternated in the footbridge the presence of the models of Ricardo Piñeiro shining designs of Recoleta with girls of the Bolivian community with its typical and colorful aguayos. It is already in march the third encounter that Cristina Dompé, person in charge of the communication, announces “as the new cultural challenge of Raul Castells and Bony Bullrich”.
It will be Sunday, from the 12, in the communitarian dining room of Port Madero, where by a few days was waiter Huberto Roviralta, polista and Bon vivant, that arouse to fame through a flying ash tray that he threw to his former wife, Susana Giménez. Dompé rescues the absolute expressive freedom of the call: “there is no curatorial line, each one takes his work with which a great collective installation will be constructed”. With the motto of the search of equal opportunities through the art, in the scope of the most democratic scenario…the street.
The organizers reedit successful experiences like the one of the Caixa Forum in Barcelona or the Art in the Rúas, presented/displayed in the last Biennial of San Pablo by the Itaú Bank. To the communitarian dining room of Castells the artists of all the tendencies and all the creeds as of the noon are summoned. “the nonparticipant” public will be able to add itself after 3 oclock in the afternoon and will draw his own conclusions. The profession, crossroad and activity is surprising.
Castells assumes that the program is useful for its campaign of awareness, in which accompanies its woman, Nina Peloso, who, as well, is prepared to compete in Dancing by a dream, summoned by the entertainer Marcelo Tinelli. Bony Bullrich was a lawyer of the international bank before choosing the creation like the spine of its life. He was the curator of the 2006 edition of Alvear Fashion and Arts when the pole of Castells gave him a new course to its vocation. Although the change of scene had much mediatic repercussion, the organizers assume that the greater change was registered in themselves, when discovering how much energy available existed outside the traditional circuits of legitimation like museums, galleries or stores of the high range.
By Alicia de Arteaga to firstname.lastname@example.org
6. Raul Castells-Bony Bullrich. Why? Letter from readers to the Nation: Piquetero Art. (it called the newspaper)
This summer we made with Raul Castells “Art, Fashion and popular Culture” in different localities of the Buenosairean outskirts, that generated a great interest in mass media. Many have asked to me… Why?… I very intuitively seted out to Castells that night in “Alvear Fashion and Arts” when it made a popular pot against the sample of which I was curator seen by million viewers.
It has to do with the concrete action of being. To look for, to change, to happen. To evaporate preconceived ideas. To exercise tolerance and to educate ourselves mutually. The education also is urgent in my district: “The Recoleta”.
Castells is the Creator of the second greater social network of Argentina (1210 dining rooms, schools for adults, and centers of health). The ignorance of the circumstances of the other impoverishes the analysis. It is to go out to walk the “steep way” like society. It is to give solutions to our governors instead of protesting. Castells said to the press the 19 of January that “to close streets no longer has sense”. It was the confirmation of which it was worth the trouble: “we had solved something”… In the photo of the note Cristina Dompé explained to Castells a work of Secondigné. It is “to put in value” the urban being, delineated by its inhabitants: “the storekeeper, the priest, the rabbi, the cardboard one, the pro-government official, the anarchist, boy scout, the fat lady and the travesti”. He is to learn to respect to us. They educated me Respecting me. I was born in a catholic extreme family, did not accept divorced to its table and I am agnostic, I think that teologal mess is incognoscible reason why to understand it always will be useless in the practitioner and without sense in the theoretician. For all of this we worked with a leader of the people. Although later I will continue with my pictures of Audrey Hepburn and the struggle of classes is inexorable. To ask if this is art to me seems useless and uncontemporary. In addition this is happening…..somebody will put a name to this artistic tendency.
7. El otro Bony Bullrich:
-Lawyer. School of law. U.B.A. 1987.
– M.B.A. (Masters of Business Administration). Dowling College. New York State. 1992.
– Professor of Social Studies. New York City Board of Education. 1989.
– Multicultural Advisor. New York City Board of Education.1989-1992.
– Consulting. United Nations Development Program. (UNDP) Venezuela, Uzbekistán, Uruguay and Argentina. 1995-98.
– Market Analyst. Gruppo Alitalia. New York. 1992-94.
– Theater. The Victorial. San Telmo. The dramatic structure “Living Movie” with “Tamara” of Krisanck and Rose for the first time. That it obtained eleven prizes among them Moliere and ACE).
– Director of Companies of the group Zichy-Thyssen. (1999-2001).
8. Sinopsis de Prensa:
Enero 2007. Lanús Arte Moda y Cultura Popular. Luego del encuentro entre Raúl Castells y Bony Bullrich en Alvear Fashion and arts. Organizadores. Raúl Castells, Bony Bullrich, Cristina Dompe, Adrián Paiva, Sofía Camacho, Adriana, Sergio Lucena y otros colaboradores del MIJD.
Puerto Madero Moda Arte y cultura Popular. (Marzo 2007)
Puerto Madero Moda Arte y Cultura Popular (Abril 2007)
Lanús Moda Arte y Cultura Popular (Febrero 2007)
Inauguración de la Universidad Popular del MIJD, en Julio de 2007. Inaugurada por Raúl Castells, Mariano Naradowsky (Ministro de Educación del PRO), el Diputado Nacional Federico Pinedo, Osvaldo Quiroga, Cristina Dompé y la cantante Marikena Monti.
18 de Enero de 2007.
Telefe Noticias: El arte como símbolo de unión. Medio día y 20 horas.
Telenoche. El Encuentro de dos mundos. En vivo desde Lanús. Lanús Arte Moda y Cultura Popular.
La Nación, septiembre de 2007. “¿De qué integración estamos hablando?”
La Nación, enero de 2007. Un impensado puente cultural. Por Alicia Arteaga
Revista 7 Días, mayo de 2007. Nina Pelozo viene después de Simone de Beauvoir.
Revista Noticias, abril de 2007. Piquetero pop art
Revista Para Tí, abril de 2007. “Me di cuenta de cuántos prejuicios tenemos”
Revista Paula, junio de 2007. Repensar un siglo
Revista Viva, junio de 2007. “Si fuera pobre sería piquetero, sin dudas”
Libro: El atroz encanto de ser argentinos, de Marcos Aguinis
Diciembre: La Matanza Arte Moda y Cultura Popular.
Curador y artista de ” Alvear Fashion and Arts” 2006. Buenos Aires. Argentina.
Trench Gallery. Punta del Este, Uruguay.
Realiza un Espacio para conferencias sobre Arte, Cine y Teatro. En el Teatro de la Piedad. Pasaje de la Piedad. Buenos Aires. Argentina
“Repensar un Siglo”. Revista de La Nación. Domingo 7 de Mayo.
El Arte como Símbolo de Unión. Una muestra que no distingue entre clases. Vivo Telefe Noticias 20 horas.
El encuentro de dos mundos. Vivo Telenoche. 20 horas. Raúl Castells y Bony Bullrich organizan la Matanza Arte Moda y Cultura Popular.
Luego del encuentro entre Raul Castells y Bony Bullrich en Alvear Fashion and arts. Organizadores. Raúl Castells, Bony Bullrich, Cristina Dompe, Adrian Paiva, Sofia Camacho, Adriana, Sergio Lucena y otros colaboradores del MIJD.
La tolerancia es posible. Arte y Cultura Popular. Muestra conjunta de artistas y piqueteros. Diario de medianoche. Telefe.
La Biblia y el Calefón. Cámara testigo. 10 de Diciembre.
Castells en Alvear Fashion and arts…24 de Octubre…vivo. Telefe noticias 20 horas. Encuentro entre Raúl Castells y Bony Bullrich (curador del Alvear)
Castells en Alvear Fashion and arts…24 de Octubre…vivo. Telenoche 20 horas. Encuentro entre Raúl Castells y Bony Bullrich (curador del Alvear).
La Navidad de los pobres. “Árbol de navidad talado”. Bony Bullrich. Puerto Madero.
Telefe Noticias. La Navidad Solidaria.
Diario Clarín. 8 de Diciembre de 2006.
La Nación. 8 de Diciembre de 2006.
Tapa: Diario La Prensa.
Expositor de “Alvear Fashion and Arts” 2005. Muestra “NeoXVIIIismo”. Peter Kent
Galería Las estrellas. Punta del Este Uruguay. Muestra Individual.
Zona Liberada de D & D Arte. ARTEBA 2005.
Trofeo del “Match Race”. Puerto Madero. Buenos Aires.
Tapa revista D&D. “Vocación Liberada” . Marzo 2005
Tapa revista Cuisine & Vins. Febrero 2005.
“Zona Liberada. D & D”. Junio 2005.
“Radiografía del Art Business”. Revista Apertura. Junio 2005.
Alvear Fashion and Arts 2004. Cat Balou. Muestra de retratos de Audrey Hepburn.
Estudio Abierto 2004. Visitas a talleres.
Muestra Individual. Zonas Liberadas. Auspiciado por Bodegas Norton. Teatro de la Piedad.
Zona Liberada de Lisandro Arbizu. Capitán del Seleccionado Argentino de Rugby.
“En Busca de Bony Bullrich”. Revista Caras. Diciembre de 2004.
“Hay que Animarse”. Mujeres y Compañía. Agosto de 2004.
Diario La Nación. Tapa La Nación Deportiva. Zona Liberada del
Capitán del seleccionado Argentino de Rugby. 30 Julio de 2004.
“Proyecto Zona Liberada”. La Nación. 17 de Septiembre de 2004.
Diario Clarín. 21 de Junio de 2004. Nota sobre el Atelier de B.B.
Tendencia: “El arte se compra a medida”. Infobae. 20 de Octubre.
Analysis of her work, By Cristina Dompé.
Like the magician-priest-painter Palaeolithic BB has found its cavern at the old theater of La Piedad to reiterate the old ancestral ritual to be and create.
The chosen location has its own resonance, is an island within the vortex of the city. The history of the theater is mixed with his family and together they have treasured music theater and other drills. The door opens into an area where nothing is predictable. After the threshold the first encounter is a small sector where it is impossible to cover the works in their entirety by lack of perspective. This is what has sought Bony Bullrich to the space that forces us to see them individually so they acquire a different dimension to their own surface. Acefalía the beheaded venus with presidential sash seems to govern the order of the labyrinth. A curved staircase surround us and denied access to the courtroom. Once there, the space is off and no fixed points poses potential routes where visual and physical alternate objects, sculptures, paintings, furniture, mirrors that produce the feeling of having fallen to place of possible. In the most hidden and secret level of this maze is his workshop, where he forges his images, the manufactures of his ideas. His art is made of resin, color and zinc metamorphosed with passion and work. Today B.B. Has decided to seek B.B. And so reaches the concept of “liberated zone” where he does not ask himself about what’s new, what’s old, what should be peripheral or central, modern or primitive, success or failure. Liberated zone is the integration of many BB without denying or rank anynone. This is the multifaceted internal B.B. Today. This is not the abandonment of rationality, but the search for different forms of rationality more suitable for contemporariness. Finding the connection of this circuit with such a variety of forms and contents, is the task of the viewer. Go beyond dissimilar appearances to find the poetry behind them, it is a challenge to imagination. I will not do the autobiographical description of the facility as it would be a bit rich given that word and image are parallel and complementary languages that can not replace each other and in this case where space has a fundamental role. While the works are descriptibles individually, say much more as a whole because it does not reveal its mystery, but immediately after establishing connections with each other. Today the world is being discussed in the search for ways and in its recovery, which witnessed the loss of integrity of the globality of the systematization orderly in return for the instability of the poly dimensionality and the changeability and I think “liberated zones” responded perfectly to this definition of Omar Calabrese “The era neobarroca.” This facility is in sync with the St. Paul 26va biennial whose theme is: “Free Territory”. Understood as a territory of aesthetics. It says its curator Alfons Hug: “While the artists are embedded in conflict do not duplicate the world but create spaces within reality through metaphors and symbols transporting raw materials to land a new state perceived by the senses. The artwork reveals something different, it is allegory. The next step B.B. Is a collective work that will encourage tolerance, exercise permissiveness and win the freedom of each and every one and said: “I am making a call for artists to interact for two years, and will give as us the elements through which we can define our moment… our time-space. From a sample of cases that people will approach to us. That is why is inductive. We seek to penetrate the minds of the artists to make a liberated zone of our civility.
I imagine that will be seen through glass. A large space with high ceilings.
A kind of capsule installed in a place that takes perspective to the city so it can be defined.