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Pablo Reinoso
Paris, France
Pablo Reinoso is a French-Argentinian artist and designer.
He was born in Buenos Aires (Argentina) on March 8th, 1955, and has lived and worked in Paris since 1978.
Originally a sculptor but essentially an artist, Pablo Reinoso has practiced art in different ways since an early age. He created his first sculpture at thirteen and his first bench-sculpture at fifteen, but he had already made flesh and bookcases, and had invented the carts of France Square in Buenos Aires.
He was born to a French mother in Argentina and settled in Paris in 1978. His love for his French grandfather, a cultured man, an art lover, and a handyman, aroused his curiosity about human inventions of all kinds and enticed him to learn how to use carpenter tools. From his carving teacher he got his taste and respect for noble materials and relentless work. He won a scholarship to learn marble techniques in Carrara, and was thus spared the violence of the Argentine dictatorship. He decided to settle in France.
Pablo Reinoso works in series that he crosses, grinds up, and rummages through so as to explore different worlds and materials. As it might be possible with any series, it is always open-ended, conveying the permanent work in progress that constitutes its way of thinking. (1970-1980) [Articulations (1970-1980)], Waterscapes (1981-1986) [Landscapes of Water (1981-1986)], gold the discovery of America (1986-1989) [The Discovery of America (1986-1989)], Reinoso cast off these materials and ventured into other paths. He started a series of breathing works (1995-2002) made of fabric and air. Appropriating the architectural space between the installation and minimalism, he plays with the precariousness of our existence to evoke the body,
The culminating point of this period is a very important installation in the museum of Arte Moderno de Bahia (Bahia Modern Art Museum) in Brazil (1996). Two hundred (breathable) breathers flood the sound atmosphere and hit the eye with the colors of orixás, African deities that were part of the slaves' religious syncretism. Through the mixture of cultures - the virtues of crossroads, the unexpected paths bridging genres - history confronts us with time, and breathing refers insistently to human existence.
The installation Ashes to Ashes (2002, Casa de Américas, Madrid) marks a turning point in Pablo Reinoso's journey; it bursts the work-object, referring us to earlier, precursory projects in his work. The Coal Sea and the Prow Toward Democracy, where both the relationship and the architectural and political aspects of the world are present. In Ashes to Ashes Pablo Reinoso continues his reflection on time, the fragility of certainty, and the fleetingness of the established order, in a more mature way. He works with wood boards that he twists and breaks to make them free from their function. In this way, he introduces us to the question of loss and thus points to something of the impossible,
Continuing with this approach but having undergone, in the meantime, an intense experience in the corporate world as an artistic director and designer, in 2004 he tackled a series where he brought to the fore an icon of industrial design - the Thonet Chair. It places this functional and paradigmatic object at the center of the work while taking away its function, which provided the Thonet flesh with a goal and purpose. He creates complex compositions that, by way of humor and derision, face us with the lack, the essential powerlessness of human beings. Based on these sculptures he produced videos where Blanca Li, danced in the manner of Buster Keaton, uses comedy to lead us from impotence to the impossible, finding an original way of dealing with it.
Subsequently, Pablo Reinoso took public benches of anonymous design as a starting point for his reflection. These benches cross cultures and have something of the out-of-time and out-of-date about them. Named Spaghetti (from 2006) [Spaghetti (since 2006)], they start proliferating and finding their place in the most various spaces. Once again the artist is exploring the object-seat. Yet this time is no longer the object but it is freed from its function to summarize its path of wood, tree, vegetable. Reinoso stages benches that, having fulfilled their role as furniture, become once again branches that can grow and climb. They are no longer at the service of a function but retrieve their life and their condition. We might say that the desire of wood boards is revealed; that they indulge themselves and have fun while doing Thus they can express their architecture, roaming through places, exploring gaps, and giving free rein to their whims.
Finally, in his last series, Scribbling Benches (from 2009) [The Scribbling Benches (since 2009)], rather than an anonymous benchmark or an iconic chair, Pablo Reinoso uses a material - a steel beam - as his starting point . It is the unexpectedness of heaviness, destined to structure architecture, which is twisted like a string to a bench and draw light, transparent, contemplative spaces.
Having studied architecture but being multifaceted, curious, and often self-taught, Pablo Reinoso has always straddled disciplines (sculpture, photography, architecture, design). He views these various fields as many different ways of reading the world and conversing with it; of creating and tackling challenges. A constant feature in his work is his penchant for endlessly questioning, subverting, using materials or objects against their grain, bringing opposites together, and playing with the limits of impossibility. Yet he always takes an unforeseen, disconcerting path with a hint of humor and derision, that is, with much seriousness and conviction.
He was born in Buenos Aires (Argentina) on March 8th, 1955, and has lived and worked in Paris since 1978.
Originally a sculptor but essentially an artist, Pablo Reinoso has practiced art in different ways since an early age. He created his first sculpture at thirteen and his first bench-sculpture at fifteen, but he had already made flesh and bookcases, and had invented the carts of France Square in Buenos Aires.
He was born to a French mother in Argentina and settled in Paris in 1978. His love for his French grandfather, a cultured man, an art lover, and a handyman, aroused his curiosity about human inventions of all kinds and enticed him to learn how to use carpenter tools. From his carving teacher he got his taste and respect for noble materials and relentless work. He won a scholarship to learn marble techniques in Carrara, and was thus spared the violence of the Argentine dictatorship. He decided to settle in France.
Pablo Reinoso works in series that he crosses, grinds up, and rummages through so as to explore different worlds and materials. As it might be possible with any series, it is always open-ended, conveying the permanent work in progress that constitutes its way of thinking. (1970-1980) [Articulations (1970-1980)], Waterscapes (1981-1986) [Landscapes of Water (1981-1986)], gold the discovery of America (1986-1989) [The Discovery of America (1986-1989)], Reinoso cast off these materials and ventured into other paths. He started a series of breathing works (1995-2002) made of fabric and air. Appropriating the architectural space between the installation and minimalism, he plays with the precariousness of our existence to evoke the body,
The culminating point of this period is a very important installation in the museum of Arte Moderno de Bahia (Bahia Modern Art Museum) in Brazil (1996). Two hundred (breathable) breathers flood the sound atmosphere and hit the eye with the colors of orixás, African deities that were part of the slaves' religious syncretism. Through the mixture of cultures - the virtues of crossroads, the unexpected paths bridging genres - history confronts us with time, and breathing refers insistently to human existence.
The installation Ashes to Ashes (2002, Casa de Américas, Madrid) marks a turning point in Pablo Reinoso's journey; it bursts the work-object, referring us to earlier, precursory projects in his work. The Coal Sea and the Prow Toward Democracy, where both the relationship and the architectural and political aspects of the world are present. In Ashes to Ashes Pablo Reinoso continues his reflection on time, the fragility of certainty, and the fleetingness of the established order, in a more mature way. He works with wood boards that he twists and breaks to make them free from their function. In this way, he introduces us to the question of loss and thus points to something of the impossible,
Continuing with this approach but having undergone, in the meantime, an intense experience in the corporate world as an artistic director and designer, in 2004 he tackled a series where he brought to the fore an icon of industrial design - the Thonet Chair. It places this functional and paradigmatic object at the center of the work while taking away its function, which provided the Thonet flesh with a goal and purpose. He creates complex compositions that, by way of humor and derision, face us with the lack, the essential powerlessness of human beings. Based on these sculptures he produced videos where Blanca Li, danced in the manner of Buster Keaton, uses comedy to lead us from impotence to the impossible, finding an original way of dealing with it.
Subsequently, Pablo Reinoso took public benches of anonymous design as a starting point for his reflection. These benches cross cultures and have something of the out-of-time and out-of-date about them. Named Spaghetti (from 2006) [Spaghetti (since 2006)], they start proliferating and finding their place in the most various spaces. Once again the artist is exploring the object-seat. Yet this time is no longer the object but it is freed from its function to summarize its path of wood, tree, vegetable. Reinoso stages benches that, having fulfilled their role as furniture, become once again branches that can grow and climb. They are no longer at the service of a function but retrieve their life and their condition. We might say that the desire of wood boards is revealed; that they indulge themselves and have fun while doing Thus they can express their architecture, roaming through places, exploring gaps, and giving free rein to their whims.
Finally, in his last series, Scribbling Benches (from 2009) [The Scribbling Benches (since 2009)], rather than an anonymous benchmark or an iconic chair, Pablo Reinoso uses a material - a steel beam - as his starting point . It is the unexpectedness of heaviness, destined to structure architecture, which is twisted like a string to a bench and draw light, transparent, contemplative spaces.
Having studied architecture but being multifaceted, curious, and often self-taught, Pablo Reinoso has always straddled disciplines (sculpture, photography, architecture, design). He views these various fields as many different ways of reading the world and conversing with it; of creating and tackling challenges. A constant feature in his work is his penchant for endlessly questioning, subverting, using materials or objects against their grain, bringing opposites together, and playing with the limits of impossibility. Yet he always takes an unforeseen, disconcerting path with a hint of humor and derision, that is, with much seriousness and conviction.
Wescover creator since 2019
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