• Juan José Cambre

    Fondo Nacional de Las Artes

    “How to undergo the last twenty years of Argentina’s provincial rush toward the latest fashions in art and not only survive but come up with a style”: This should be the title of Juan José Cambre’s latest miniretrospective, “Pentateuco” (Pentateuch). Because if anything is made immediately clear here, it’s that Cambre has over the years forged a style of his own—by which we mean not a cluster of recipes but, as André Gide would define it, “a vision of the world.”

    Cambre’s early work, like Narciso, 1984, with its combination of crude drawing and ravishing brushwork, still seems linked to strategies

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