HISTORIA UNIVERSAL DE LA PINTURA

UNIVERSAL HISTORY OF PAINTING

2012 / 2016

Universal History of Painting is a project that started as part of my undergraduate thesis project “The Funambulist World,” presented for Los Andes University at Textura Cultural Centre in 2012. The series U.H.P, which for the thesis installation comprised merely 15 pieces, was always thought as a larger project required to continue after my time in college. Until now, I have made 98 pieces plus three waiting to be completed, for a total of 101 paintings. Even if the essence of the project has remained intact, the project has evolved through new formats (medium and large sizes), more complex patterns, a new color (red,) and different ways of installing.

 

U.H.P. doesn’t pretend to be an academic discourse nor present coherent arguments regarding the evolution and classification of the universal history of painting. The result is, finally, capricious: like or dislike for certain pictorial manifestations that have appeared through the course of human history. If there is an election or discard, it is due to personal like and nothing else; if there is the inclusion of unknown artists and exclusion of great masters it is because I seek to cover styles, manners, and perceptions distant to each other. Compiling different formal, discursive, and material contents result indispensable to observe that, that in image visualization terms, there is no longer diversity: everything is reduced to zeros and ones, to endless chains of on and off transistors.

 

Information technology does not recognize anything; at the interior of computers, there are no intentions, there are no thoughts, there are no questions nor answers. This is what Universal History is about. Humanity has made sure to drag everything to the binary code in order to save space, to make everything more accessible, to make everything faster and more efficient. Everything perceivable is a print, a die-casted fabric that presents the binary code of its immediate referent.

 

Each painting is unique and unrepeatable, not only because each mother code is different, but because each painting is still executed manually, erratically and mechanically, despite their digital wrapping. The prints are made with a matrix printer (EPSON FX – 1180) that has a printhead with five needles that hit the fabric or any other substrate with which it’s fed. The printing options aren’t many because the printer doesn’t have a range of hues or colors. The needles, just like the code that they imprint, are "outside" or i"nside", “on” or “off”. There are black paintings and red paintings. There are mostly codes.

Alejandro Londoño Historia Universal de la Pintura en Feria de Arte Contemporáneo Odeón
Alejandro Londoño Historia Universal de la Pintura en Feria de Arte Contemporáneo Odeón
CRUZ DIEZ / 1975
HOKUSAI / 1833
ED RUSCHA / 1976
MONDRIAN / 1943
MUNCH / 1893
KANDINSKY / 1908
TWOMBLY / 1966
MAX ERNST / 1942
PAUL SANDBY / 1790
RAYMOND PETTIBON / 2011
EGYPTIAN DINASTY 21 / 1040-945 a.C
RICHARD ESTES / 1969
MONET / 1899
SIQUERIOS / 1956 copy
CARAVAGGIO / 1599
ANDREW WYETH / 1948
AUGUSTAN ROMAN / 30-10 a.C
ANCIENT PERU / 100-200 a.C
TIBET / 1350
GUO XI / 1080
ANTOINE JEAN GROS / 1835
PIETER BRUEGHEL / 1565
J.W.M TURNER / 1839
DECHIRICO / 1916
CANALETTO / 1755
RAFAEL / 1513
IVAN NIKITIN / 1725
BOTTICELLI / 1485
RUBENS / 1618
PIETER CLAESZ / 1628
MILLET / 1857
VERMEER / 1658
DURERO / 1502
FRANK STELLA / 1962
JACOB VAN RUISDAEL / 1670
JOSEPH WRIGHT / 1795
SEURAT / 1884
DA VINCI / 1503-1505
MALEVICH / 1913
FRANCISCO ANTONIO CANO / 1898
LUCIO FONTANA / 1965
HOCKNEY / 1971
MOHOLY-NAGY / 1922
CAILLEBOTTE / 1877
OTTO DIX / 1921
GIACOMO BALLA / 1912
ZOFFANY / 1778
JACQUES LOUIS DAVID / 1793
DA VINCI / 1498
LASCAUX CAVE / 15.000 a.C
EL GRECO / 1608-14
VELAZQUES / 1650
BENJAMIN WEST / 1797
JAN VAN EYCK / 1433
NICOLAS POUSSIN / 1648
HANS HOLBEIN (EL JOVEN)  / 1553
JASPER JOHNS / 1955
BASQUIAT / 1981
ROTHKO / ??
KLEIN / 1960
KAWARA / 1969
POLLOCK / 1952
NEWMAN / 1961
RAUSCHENBERG / 1963
TANSEY / 1982
KELLY / 1969
LICHTESTEIN / 1965
STILL / 1949
NASH / 1919
JOSEPH ALBERS / NO DATE
GOYA / 1822
BACON / 1953
BOGDANI / 1710
INGRES / 1806
EL BOSCO / 1504
GERICAULT / 1818
CEZANNE / 1898-1905
OUDRY / 1749
MATISSE / 1906
DELACROIX / 1830
VÁSQUEZ DE ARCE Y CEBALLOS /1673
MANET / 1863
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