Darío Escobar’s desire to bring together Guatemala’s past and present first came to the fore in the early 2000s with a series of works exploring his country’s baroque past and the enthusiasm for sports that predominates among its population today.
—Alma Ruiz


Photo: Juan Brenner
PROJECT STATEMENT

Using skateboards and various other sports equipment, Darío has effectively and often humorously deconstructed the forms, uses, and meanings of the objects with which he works. While he has successfully applied this approach to a myriad of common objects such as bicycle tires, camping gear, McDonald’s cups, shopping carts, chrome bumpers, the perspective applied via his use of sports equipment is particularly relevant.

Darío’s upcoming edition with The Lapis Press is inspired by his work, Sin título, expands on Darío’s investigation into the global sports industry and the phenomenon of skateboarding as a lifestyle. In Sin título Darío literally deconstructs a skateboard and reconstructs it with a series of hinges. By removing its use value and re-contextualizing it as art (effectively appropriating Marcel Duchamp’s approach to his readymades), Darío presents in stark relief the culture of skateboarding beyond the sport.

Darío Escobar is a trained architect whose practice evolved from taking a critical view of buildings as forms to an investigation of forms, shapes, and ideas via objects. His work “possesses the distinct capacity to engage the avatars of… contemporary art, while simultaneously revealing the most definitive feature of contemporary sculpture: its ambivalence towards the cheap, disposable commodities that engulf and define our lives today.”2

Darío’s work has been widely exhibited and can be found in the collections of The Museum of Contemporary Art (MoCA), La Colección JUMEX, Nasher Museum of Art, Cisneros Fontanals Art Foundation (CIFO), Pizzuti Collection, Deutsche Bank Collection, et. al.


Release date: Spring 2016

To be alerted to the release of this work and receive more information from Lapis, please email studio@lapispress.com.

 

1 Alma Ruiz, Interview with Artist, A Singular Plurality: The Works of Darío Escobar, ed. Jose Luis Falconi, Harvard University, Cambridge, MA, 2013. p. 331
2 Jose Luis Falconi, ibid., p. 8

BIOGRAPHY

Born in Guatemala City, 1971.
Lives and works in Guatemala City, Guatemala.

Selected Solo Exhibitions:

2014
“Unions & Intersections”, Nils Stærk Gallery, Copenhaguen, Denmark.
“Broken Circle”, CAFAM Museum, Los Angeles, California.

2013
“Pintura abstracta No. 7 / Abstract Painting No. 7”, González & González, Santiago de Chile.
“Untitled”, kamel mennour Galerie, Paris.
“Dario Escobar / Blacksmith Paintings”, Josée Bienvenu Gallery, New York.
“Dario Escobar / Línea & Espacio”, ArteCentro,
Ciudad de Guatemala, Guatemala.

2012
“Dario Escobar / La experiencia del objeto” (MAC) Museo de arte Contemporáneo de Santiago, Santiago de Chile, Chile.
“Dario Escobar: Singular/Plural” (SCAD) Museum of Art, Savannah, Georgia / (SCAD) Atlanta – Gallery 1600, Atlanta, Georgia.
“Dario Escobar / trabajo reciente” Baró Galeria, Sao Paulo, Brasil.

2011
“Dario Escobar / Revisión” Museo Nacional de Arte Moderno Carlos Mérida, Ciudad de Guatemala, Guatemala.

2010
“Side and Back”, Kamel Mennour Galerie, Paris.
“Anverso y Reverso”, González y González, Santiago de Chile, Chile.

2008
“Playoffs” Josee Bienvenu Gallery, Nueva York.

2007
“La Línea Interrumpida”, (CCM) Centro Cultural Metropolitano, Ciudad de Guatemala, Guatemala.
“Dario Escobar/Project room”, Rotunda Gallery, Brooklyn, Nueva York.

2006
“Objetos en Transito”, Sala Gasco, Santiago de Chile, Chile.

2005
“Serpentario”, (CCEG) Centro Cultural de España Guatemala, Ciudad de Guatemala, Guatemala.

2004
“Out!” Galería Jacobo Karpio, Miami, Florida.

2003
“Espacios provisionales” (MADC) Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
“Visual Entertainments”, Museo de Arte Moderno de Mérida, Mérida, México.

2001
“Dario Escobar, Trabajo reciente.” Galería Jocobo Karpio, San José, Costa Rica.

2000
“Dario Escobar: Selección”, II National Biennial of Lima, Perú.

Collections:

The Museum of Contemporary Art (MOCA), Los Angeles
La Fundación/Colección JUMEX, Mexico City
The Nasher Museum of Art at Duke University, Durham, North Carolina
Cisneros Fontanals Art Foundation (CIFO), Miami, Florida
Pizzuti Collection, Columbus, Ohio
Deutsche Bank The Americas Collection, New York
Centre Georges Pompidou, Paris, France
The Jack S. Blanton Museum of Art at The University of Texas at Austin, Texas
The Museum of Fine Arts in Boston, Massachusetts

Selected Group Exhibitions:

2015
“5 - RPM (Revoluciones por minuto)”, the 9.99 gallery, Guatemala city, Guatemala.
“Beleza?”, Centro Cultural São Paulo, Brazil.

2014
“Largo x Ancho x Alto / Height x Width x Depth”, the 9.99 gallery, Guatemala City, Guatemala
“El día que nos hicimos contemporáneos”, (MADC) Museo de arte y diseño, San José, Costa Rica
“Gold”, Bass Museum of Art, Miami, Florida
“Fútbol: the beautiful game”, (LACMA) Los Angeles County Museum of Art, Los Angeles, California.
“Deslize” Opening of Museu de Arte do Rio / “Deslize” Apertura del Museu de Arte do Rio

2013
"Confusion in the vault / A selection for Jumex Collection", Museo Jumex, México D.F.
“Inaugural Exhibition”, the Pizzuti Collection, Columbus, Ohio.
“California-Pacific Triennial”, (OCMA) Orange County Museum of Art, Newport Beach, California / (CCC) Coastline Community College Art Gallery, Newport Beach, California.
“y... ¿entonces? / and... so?”, the 9.99, Guatemala City, Guatemala.
“The Collaborative: Question in the line” (MOLAA) Museum of Latin American Art, Long Beach, California.

2012
“The Island / A game of life”, Gallery One, Manarat al Saadiyat, Abu Dhabi.
“Play with me”, (MOLAA) Museum of Latin American Art, Long Beach, California.

2011
“Now” (Selección de obras de La Colección Jumex) Instituto Cultural Cabañas, Guadalajara, México.
“Video otra vez”, Museo de Arte Contemporáneo de Fortaleza, Fortaleza, Brasil.
“Proyecto ideal”, Centro Cultural de Sao Paulo, Sao Paulo, Brasil.
“From the Recent Past: New Acquisitions”, (MOCA) The Museum of Contemporary Art, Los Angeles, California.

2010
“Chapter II: Ruido”, 9.99/proyecto, Ciudad de Guatemala, Guatemala.
“Proyecto Ideal”, (MAC) Museo de arte Contemporáneo de Santiago, Santiago de Chile, Chile.
“Optimismo Radical”, Josee Bienvenu Gallery, Nueva York.
“XVII Bienal de Guatemala”, (CCM) Centro Cultural Metropolitano, Ciudad de Guatemala, Guatemala.
“Efecto Drácula”, Museo Universitario del CHOPO, Ciudad de México, México.
“Social Affects: A selection from the permanent Collection of the David Rockefeller Center for Latin America Studies/ Hardvard University”. Boston Center for the arts/Mills Gallery, Boston, Massachusetts.
“Four Views from the Permanent Collection exhibition” (MOLAA) Museum of Latin American Art, Long Beach, California.

2009
“Los impoliticos”, (PAN) Palazzo delle Arti Napoli, Nápoles, Italia.
“10 Springs in the fall”, Kamel Mennour Gallery, Paris.
“Périfériks”, (CAN) Centre d’art Neuchâtel, Nuchâtel, Suiza.
“Mundus Novus: 53 Bienal Internacional de Venecia”, Artiglerie dell’Arsenale, Venecia, Italia.
“0.3333333333333333…”, 9.99/proyecto, Ciudad de Guatemala, Guatemala.
“La nada y el ser”, Septima interpretación de La Colección Jumex, La Colección Jumex, Ecatepec, Mexico D.F.
“Video otra vez”, Metales Pesados, Santiago de Chile, Chile.
“Performing Localities”, (INIVA) Institute of International Visual Arts, Londres.
“Décima Bienal de La Habana”, Fortaleza de San Carlos de la Cabaña, La Habana, Cuba.

2008
“La invención de lo cotidiano”, (MUNAL) Museo Nacional de Arte, Ciudad de México, México.
“Object of Value”, (MAC-MAM) Miami Art Central, Miami, Florida.
“Playtime”, Bétonsalon/ Centre d’art et de recherche, Paris.
“World Histories”, Des Moines Art Center, Des Moines, Iowa.
“Visions From Abroad”, Flushing Town Hall, Nueva York.
“Elefante negro”, Museo Diego Rivera, Ciudad México, México.

2007
“Fortunate Object”, (CIFO) Cisneros Fontanalls Art Foundations, Miami, Florida.
“Silence & Echo”, Arena 1, Santa Monica, California.
“The Hours: Visual Arts of Contemporary Latin America”, Museum of Contemporary Art, Sydney, Australia.
“Poetics of the Handmade” The Museum of Contemporary Art (MOCA), Los Angeles, California.

2006
“El esquiador en el fondo del pozo”, Quinta interpretación de La Colección Jumex, La Colección Jumex, Ecatepec, México D.F.
“Stil Biuti”, Centro de Arte Contemporáneo Zamek Ujazdowski, Varsovia, Polonia.
“The Beautiful Game: Contemporary Art and Fútbol”, (BAM) Brooklyn Academy of Music, Brooklyn, Nueva York.
“Constant Disturbance”, The Spanish Cultural Center, Miami, Florida.

2005
“The Hours. Visual Arts of Contemporary Latin America”, Dublin Museum, Irlanda, Reino Unido.
“Living for the city” Jack Shainman Gallery, Nueva York / (CIEL) Centre International d'Expositions de Larouche, Toronto, Canadá.

2004
“Newpapers”, Josee Bienvenu Gallery, Nueva York.

2003
“Intangible”, (MADC) Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
“LA Freeways: Latin America”, (MOCA) The Museum of Contemporary Art, Los Angeles, California / America’s Society, Nueva York (2004).
“RAIN Project”, Pabellón Cuba, La Habana, Cuba.
“Stretch”, The Power Plant, Toronto, Canadá.
“TransEAT”, Food Culture Museum, Miami, Florida.
“VIII Bienal de la Habana”, Centro Wifredo Lam, La Habana, Cuba.

2002
“ARTitsmo”, (MADC) Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
“Contaminados”, (MADC) Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
“Del centro a la isla”, Casa de las Américas, La Habana, Cuba.
“Intimate/Universal”, Ateneo de Caracas, Caracas, Venezuela.
“Mesoamérica: Oscilaciones y Artificios”, (CAAM) Centro Atlántico de Arte Moderno, Islas Canarias, España.
“Zones in Tension”, de GANG Gallery, Harlem, Países Bajos.

2001
“Continuous Connection”, Felissimo Project, Nueva York.
“Short Stories”, La Fabbrica del Vapore, Milán, Italia.
“Spaces/Bodies/Identities”, Centro Cultural de España, San José, Costa Rica.
“13 Hours”, Sala Mendoza, Caracas, Venezuela.
“I Tirana Biennial”, National Gallery & Chinese Pavilion, Tirana, Albania.
“IV Caribbean Biennial”, Museo de Arte Moderno, Santo Domingo, República Dominicana.
“Barro de América” IV Biennial, Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.

2000
“2eme. Biennale du Design 2000”, Ecole des Beaux Arts de Saint-Etienne, Saint-Etienne, Francia.
“L’ art dans le monde”, Pont Alexandre III, Paris.

1999
“Guatemalan Art”, Sala Oficial Juan Ismael del Cabildo de Fuerteventura, Islas Canarias, España.
“II Iberoamerican Biennial of Lima”, Lima, Perú.

1998
“Fotojornada’98”, Museo Nacional de Arte Moderno Carlos Mérida, Ciudad de Guatemala, Guatemala.
“Without Title”, Plaza G&T; Ciudad de Guatemala, Guatemala.
“I Central American Biennale”, Centro Cultural Miguel Angel Asturias, Ciudad de Guatemala, Guatemala / (DUMA) Duke University Museum of Art, Carolina del Norte
“VI International Art Biennale of Cuenca”, Cuenca, Ecuador.

1997
“La Joven Estampa”, Casa de las Américas, La Habana, Cuba.

Selected Bibliography:

Astiasarán, Clara Elena Concepción. “Darío Escobar”, ArtNexus, No. 43, (January-March 2002): pp. 123-24.

Auerbach, Ruth. ARCOnoticias, No. 24, (Madrid 2002).

Bondone, Tomás. “Problematic and feverish”. ARCOnoticias, No. 23, (Spring 2002).

Brielmaier, Isolde. “Double Take: The art of Dario Escobar and Patrick Hamilton”, Exh. Cat. Objetos en Transito, Sala Gasco, Santiago de Chile, (2006): pp. 21–27.

Buckley, Annie. “Full Metal Skatebord”, Craft: No. 6, (2008) p. 17.

Burkhalter, Laura. “Turangawaewae”, Exh. Cat. “World Histories” pp. 42-45 Des Moines Art Center, Iowa, (2008).

Calvo, Enesto. “Espacios Provisionales: Sentidos difusos, significaciones equivocas”. Exh. Cat. “Serpentario” Centro Cultural de España en Guatemala, (2005): pp. 20, 26.

Cazali, Rosina. “Play offs”, Arte al Día International, No. 125, (November–December 2008): pp. 54-59.

“Ready Made Ready”, Exh. Cat.“Serpentario” Centro Cultural de España en Guatemala, (2005): pp. 20, 26.

“Darío Escobar: Fin’ amors for Objects”, ArtNexus, No. 38, (November 2000-January 2001): pp. 76-79.

“Le Guatemala: En route.” In L’art Dans le Monde. Exh. Cat. Paris, France: Beaux Arts, (2000).

“2nd Ibero-American Biennial of Lima”, ArtNexus, No. 35, (February-April 2000): pp. 92-95.

“Contemporary Art in Guatemala”, ArtNexus, No. 32, (May-July 1999): pp. 68-71.
“First Art Biennale of the Central American Isthmus,” ArtNexus, No. 31, (January-March 1999) p. 76.

“Darío Escobar, El becerro de oro”, Colloquia: Proyecto para el arte contemporáneo, n.d.

Cisneros, Dayamick. “Dessicated and Reconstituted”, Arteamérica, (January 2004).

Cummins, Thomas B.F. “At Play in the Arts of the Lord: The Early Work of Dario Escobar”, Book. A singular plurality: the works of Dario Escobar. Ed. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, Massachusetts,(2012).

Damian, Carol. “Art Miami 2001”, ArtNexus, No. 40, (April-June 2001): pp. 96-98.

Díaz, Tamara. “Art in Central America: The Critical Glance”, Atlántica, No. 31, (February 2002): pp. 40-69.

de Santa Ana, Mariano. “Hybrids on the Side”, Lápiz, No. 186, (September-October 2002).

Fajardo Hill, Cecilia. “Fortunate Objects”, Exh. Cat. Cisneros Fontanalls Art Foundation (CIFO)., (2007): pp. 66, 67.

Gallego P., Pablo. Dossier presented in Monografías, Galicia School of Architects, vol. 1: pp. 52-54.

Gallegos, Carina. “Dario Escobar”, ArtNexus, No. 55, (January-March, 2005): pp. 153-55.

Gomez Eduard M. “The Unmistakable Touch of the Hand”, Art & Antiques, (October 2007): pp. 157-160.
“Hip home for art in Mexico City”, International Herald Tribune, (April 27, 2005).

González, Lorena. “The Object´s Evil Genious”, Arte al Día News, No. 5, (2004): pp. 3-4.

Herrera, Adriana. “On Out!”, Miami Herald, (June 2004).

López Anaya, Jorge. “La fluida geografía del arte latinoamericano”, ARCOnoticias No. 23, (Spring 2002): pp. 52-54.

López Ramos, Rafael. “Objetos de Valor”, ArtNexus, No. 72 (March-May 2009) p. 137.

Loría, Vivianne. “Marginalidad y transculturación en el arte centroamericano”, Lápiz, No. 177, vol. 20, (November 2001): pp. 18-33.

“Mesoamérica: Oscilaciones y Artificios.” In Mesoamérica: Oscilaciones y Artificios. Exh. Cat. Centro Atlántico de Arte Moderno (CAAM). Canary Islands, Spain, (2002).

“Dario Escobar: Emblems of Modern Stubbornness.” In Visual Entertainments. Exh. Cat. Museo de Arte Moderno. Mérida, México, (2003).

Navarro, Mario. “Objetos en suspención”, Sol del Río Gallery, Guatemala, Guatemala, (February 2000).

Power, Kevin. “Dario Escobar: Simulacro local y glocal”, Book. A singular plurality: the works of Dario Escobar. Ed. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, Massachusetts, (2012).

Quirós, Luis. “En la Era de la Mitotécnia”, La Nación, San José, Costa Rica, (March 2000).

Ribeaux, Ariel. “Darío Escobar: The Seductive Perversity of the Road to El Dorado (Step by Step)”, Galería Sol del Río, Guatemala, Guatemala.

Ruiz, Alma. “Interview”, Book. A singular plurality: the works of Dario Escobar. Ed. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, Massachusetts,(2012).

"Donde la materia se une al mito" ArtNexus, No. 80, (March-May 2011): Cover. pp. 44-48.

"La Linea Interrumpida", ArtMedia, No. 14, (2007): pp. 46-54. "Poetics of the Handmade" Los Angeles, (2007): pp. 76-85.

Sommer, Doris. “Choose to lose: Dario Escobar´s winning game”, Book. A singular plurality: the works of Dario Escobar. Ed. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, Massachusetts,(2012).

Spinger, José Manuel, “Dario Escobar, KBK Arte Contempoáneo”, ArtNexus, No. 61, (2006): pp. 132-133.

Valdés, Emiliano. “Striking objects”, Contemporary, No. 66, (October 2004): p. 45.
“In the Labyrith of Consumptions and Creation”, Artes en Santo Domingo, Dominican Republic, (November 2004).

Valdés, Eugenio. “Stories of Alienatives (any similarities to real facts or persons are not purely coincidental).” In Short Stories: New Narrative Forms in Contemporary Art, Exh. Cat. La Fabbrica del Vapore. Milan, Italy: lalitotipo, (March 2001): pp. 41-49.

Valdés Eugenio and Keith Wallace. “Introduction”, In Stretch. Exh Cat. The Power Plant. Toronto, Canadá: press, (2003).

Viveros-Fauné, Christian. “The Sculpture of Everyday Life: Dario Escobar’s Readymade Sculptures”, Book. A singular plurality: the works of Dario Escobar. Ed. David Rockefeller Center for Latin American Studies, Harvard University. Cambridge, Massachusetts,(2012).

Zamudio-Taylor, Víctor. “La forma como estrategia”, Perspectivas de arquitectura y diseño, No. 3, (March-June 2008): pp. 82- 86.

“Objetos Relacionales: Darío Escobar & Patrick Hamilton”, Revista 180, No. 18, (December 2006): pp. 6-7.

“Objetos Relacionales: Darío Escobar & Patrick Hamilton.” Exh. Cat. Sala Gasco, (2006): pp. 10-13. Santiago de Chile, Chile.

Zaya, Antonio. “Dario Escobar”, Atlántica, No. 31, (Winter 2002): pp. 25-27.



Artists website:
darioescobar.com

Photo: Juan Brenner