Author Archive

Gustavo Acosta: “Inventory of Omissions”


September 7 – October 14, 2017

Follow 532 Gallery Thomas Jaeckel on Artsy

The paintings in Gustavo Acosta’s “Inventory of Omissions” may initially seem like discrete chapters in a visual essay on the oppressive bleakness of the modern city, but such a reading misses the point of his static but intensely hued portrayals of sites in Havana, Miami, New York, and Aleppo. A closer and more thoughtful observation of these canvases reveals the artist’s focus on drawing our attention to the small flashes of vitality and inspiration lurking within each setting’s apparent drabness, and quietly warning us about the things that threaten to obscure our awareness of the vibrant world that’s immediately around us. Throughout these works, there is a concern with engaging with the neglected and the antiquated in the hope of revealing its meaning and its living purpose for the present.

Acosta’s rectilinear overlays of strong, intensely moody colors are the defining element of a unique visual language that integrates multiple subtle allusions to reason and its traditions — the ideal planned-city street grid; the Golden Ratio and its long history as a supposedly true and self-evident compositional principle; the sharp-edged, no-nonsense Bauhaus aesthetic — each of which in turn so partly symbolizes humanity’s forceful and conceited imposition of a supposedly more perfect and efficient order upon nature’s seeming unruliness.

However, each filter-like patch of color also hints that there are life-affirming revelations awaiting discovery in the seemingly exhausted old world immediately around us. The dawn-to-midnight juxtaposition of yellow, maroon, and dark violet in Catalog of Missing Parts II (2017) suggests a single scene viewed at different times through disparate eyes; the painting’s sunny accentuation of a few lively windblown palm trees clustered alongside a massive, inert concrete complex speaks of life’s joyous persistence in the face of entropy, cultural stagnation, and humanity’s fussy and stubborn desire to forever halt time by means of structures and systems. Acosta has said that his use of color in these works is partly rooted in an old memory of people in his native Cuba crafting their own versions of color television by tinting their black-and-white screens with abstract patterns of bright pigments. The story is a perfect symbol of Acosta’s faith in people’s ability to create their way out of the stultifying constrictions of a programmed rational system, if only they can learn to look closely at the world around themselves in search of its small wonders.

Yet Acosta’s paintings also remind us of how easily memory and perception can become fuzzy, especially when technology and mediation intervene to obscure our most vivid and immediate experiences of the world around us. In The Temptation to Look Back (2017), the serene, dark-blue image of a ship’s wake is violently bisected by a thin, garish yellow band that distorts the sea’s graceful undulations into a garish pixelated parody (once again, a technological grid intrudes and has its way with the natural world). A view of Niagara Falls is given a similar treatment in The Great Systems  (2017), with an added wrinkle: the scene is derived from an 1857 painting by Frederic Edwin Church, making Acosta’s canvas an image of an image, a scene twice removed from nature and twice distorted by an additional level of nostalgic artistic and historical mediation. In these images, Acosta hints that we must never take nature or our connection with it for granted; there’s always another intrusive and artificial system of control lurking on the margins, waiting to deaden our perceptions. As in his cityscapes, the question as to whether our use of the world will help us perceive its concealed spark of divine life or lead us to snuff it out through domination and neglect is left up for grabs, and it’s up to us to never let our perpetually endangered sense of wonder become permanently entombed beneath the rubble of our collective past.



Gallery is currently closed and reopen  September 7th, 2017:  Gustavo Acosta’s  “Inventory of Omissions”


Gustavo Acosta

Inventory of Omissions
September 7, 2017



May 11 – June 29, 2017

Chris Ofili, Danny Rolph, Diana Copperwhite,  Elio Rodriguez, Mary Heilmann,  Jill Levine, Rebecca Smith, Vanessa Jackson

there is no harm in repeating a good thing

An exhibition of work which posits the idea that creativity exists in not knowing, maybe the answer is “I can’t go on, I’ll go on”.  Risk is imperative, but we still know very little about the potential of what works and why.  The pendulum has always swung between abjection and elation. Qualities such as tenderness and humour connect this ensemble, a conversation often overlooked in favour of what can be read or justified. An exhibition showing a particular group of artists, who look to possess these qualities, inhabit new and old at the same time.  History is apparent in a show like this but so is the future through the prism of the present.

The title refers to the Peter Bogdanovich film of 1971 “The Last Picture Show” which was shot entirely in black and white, harking back to an earlier time (again old and new) populated with a soundtrack of pop songs and presenting actors including Cybil Shepherd and Cloris Leachman at different stages of their respective careers in dialogue together. There seems no reason for the town they inhabit in the film (set in 1951) to exist, but the directness and simplicity of the depiction creates a space which allows for dialogue and a kind of transgression to occur?




Piers Secunda: ISIS Bullet Holes Paintings


Piers Secunda
ISIS Bullet Holes Paintings

April 6 – May 6, 2017

There is a horror and a fascination in something as apparently permanent as a building, something that one expects to last many a human span, meeting an untimely end.
— Robert Bevan, The Destruction of Memory: Architecture at War

All the shot works originate from the idea that the most valuable thing an artist can do is to record the world around them.
— Piers Secunda

Gathered together and displayed to potent effect at 532 Gallery Thomas Jaeckel, Piers Secunda’s ISIS Bullet Hole Paintings are the latest iteration of an ongoing project in which casts of bullet holes gathered from war torn or heavily militarized places are arranged into compositions that serve as both an indexical record of real world damage and a haunting reminder of the threat that contemporary armed conflict presents to our collective history. These works were created through a painstaking and sometimes risky process.
In late 2015 while under the protection of Peshmerga (Kurdish) soldiers, Secunda visited Iraqi villages recently liberated from ISIS and made direct casts of the damage inflicted on walls and other structures by gunfire. On returning to the studio, he arranged these within flat molds derived from ancient Greek and Assyrian artworks, poured in white industrial floor paint, and left it to set. The resulting objects are stark and compelling evocations of the barbaric violation of cultural heritage that is all too common in contemporary wartime. The violent erasure of noble classical imagery—gods, kings, elegant warhorses—beneath Secunda’s constellations of bullet-hole disfigurement elicits an acute feeling of loss and decay. In Assyrian Horse and a relief from the Pergamon:

Temple of Zeus (both 2016), the annihilation unfolds as a sequence of discrete moments frozen in time, with each succeeding panel rendered more fragmentary than the last until there is little to nothing of the original image discernable. Temple of Zeus is particularly pointed, for its use of a slick and absurdly faultless nineteenth-century restoration of the Pergamon Altar seems to hint at the futility of the age-old human desire to reverse the course of time in search of Eden.
Despite the obvious sculptural quality of these works, Secunda considers them to be a natural outgrowth of his continuing evolution as a painter, and has sometimes described them in terms that evoke the centuries-old tradition of arresting time’s passage in paint and freezing fleeting moments before they’re gone forever.

Although the ISIS Bullet Hole Paintings were not conceived as political statements per se, their emergence from his desire to capture the texture of geopolitics in paint has resulted in a body of works that succeeds as both a record of the ravages of time—aided in this case by much human brutality—and as a meditation on how fleeting and fragile even our greatest cultural achievements really are.

Recent exhibitions:
“Pergamon Alterations” New York University Institute of Fine Arts, New York 2016. “Perfectionism III”
Griffin Gallery, London 2016. “Piers Secunda, Circling Skies” Art Bermondsey Project Space, London 2016.
“The Missing: Rebuilding The Past” John Jay College CUNY, New York 2016.
“The Missing: Rebuilding ThePast” Jessica Carlisle Gallery, London 2016.
“Raw: Word And Image” Space 776, Brooklyn 2015.
“Community Hospital” WhyWhyArt, Shanghai 2015.

Art Newspaper March 30, 2017

Media Inquiries

Nadine Johnson & Associates Inc.
+1 212 228 5555

Gia Kuan

Anna Lund




Bernard Ammerer

Bernard Ammerer   (1978 Wien)

Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), ”Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group).


2003-2010 Universität für angewandte Kunst Wien bei Johanna Kandl und Wolfgang Herzig
2004    Teilnahme an der Sommerakademie für Bildende Kunst in Salzburg bei Xenia Hausner
2001     Abschluss des Studiums der Rechtswissenschaften

 Exhibitions (select) / Ausstellungen (Auswahl):

2017      „Hi(ghly) Unreal“ Galerie Frey, Wien (solo)
2016    „Interface“ 532 Gallery Thomas Jaeckel, New York (solo)
2015    DAGONG Art Museum, Qingdao, China (group)
„Figur,Struktur. STRABAG Artcollection“, RLB Kunstbrücke, Tirol (group)
2014    „Figuration zwischen Traum und Wirklichkeit“,  Museum Angerlehner, Wels (group)
“Subjekt“, Galerie Robert Drees, Hannover (group)
“vorher nachher“ Galerie Frey, Wien (solo)
2013    “A better Place”, Galerie Frey, Salzburg (solo)
“Pulse Miami art fair”, Solopräsentation
2012    “State of Mind”, Galerie Frey, Wien (solo)
“ABC”, Stadtgalerie Ternitz (group)
“Preview”, Galerie Frey, Salzburg (group)
2011    “You choose”, Berlin Art Projects, Berlin (solo)
2010    “The Essence”, Künstlerhaus, Wien (group)  Diplomausstellung Universität für angewandte Kunst
2009    “Exit strategies”, Galerie Frey, Wien (solo)
First Danube Biannale, Meulensteen Art Museum, Bratislava, Slowakei (group)
2008    “7 parallel 7”, Artexpo, Museum für zeitgenössische Kunst, Bukarest (group)
“6 X 3”, Galerie Frey, Wien (group)
“The Essence”, Museum für angewandte Kunst Wien (group)
2007    “RED”, Galerie Frey, Wien (group)
Preisträgerausstellung Strabag Art Award, Strabag Kunstforum, Wien (group)
Qingdao Art Museum, Qingdao, China (group)
“move”, Strabag Kunstforum, Wien (solo)
2006    “The Essence”, Museum für angewandte Kunst Wien (group)
“Two Perspectives”, Galerie Frey, Wien (sol0)
“REAL”, Kunsthalle Krems (group)
2005    “New Perspectives”, Galerie Frey, Wien (group)
“Frisch gestrichen”, Akademie der bildenden Künste Wien (group)
“Malstrom”, Universität für angewandte Kunst Wien (group)
“Alle reden vom Wetter”, Hotel Kunsthof, Wien (group)
2004    Stadtgalerie Vienna (group)

Awards/ Auszeichnungen:  Preisträger Strabag Art Award


The Weight of Words: Golden Irony

Jose Angel Vincench
“The Weight of Words: Golden Irony”
March 9 – April 1, 2017

My abstraction starts with testimony of the violent actions on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art. The artworks absorb the cynicism of this society, they are ironically based on the human drama found in images and words. – José Vincench

As an artist who lives, works, and raises his family in Cuba, José Vincench’s personal experience stems from a place where the fabric of free thought and expression is compromised. But seeing it through positive irony, the artist points the finger at this negative reality by creating works with hidden meanings embedded in deliberately smoothly executed and decorative gold abstractions. Vincench’s engaging creations provide an enticing combination of politicized practice, conceptual soundness and polished works of art.

In his geometrical abstractions, he applies a set of invented codes and characters to create a simplified alternate discourse and experience. In his action paintings, he references the defacement of dissidents’ homes by government enforcers (unreported in the controlled press) in a sheen of illuminating gold.

Images of strife are transformed into a shimmering landscape of gold abstraction. The depth of the dissident movement, with its suppression and injustices, is displayed in a vision that seeks an idealized sense of order.

A gold painting has its seductive allure in the metaphor of gold and vibrations of light, giving depth to the surface of the painting. In this group of José Vincench’s most recent Revolución series, the canvases, large, medium and small, create a world of opposites.

Against the use of rhetoric as a means of symbolic domination, criticism, or attempt to transform social reality by activism, José Vincench applies his own sets of characters, idioms and codes to freely deconstruct this reality in exquisite golden works of art.

This is José Vincench’s second exhibition at 532 Gallery Thomas Jaeckel. One of his sculptures is currently showing at The Bronx Museum, “Wild Noise”, through July 3.

Vincench is a tenured professor at the graduate program of the Instituto Superior de Arte in Havana. His works are in the collections of the Museo Nacional de Bellas Artes Havana; Frost Museum, Miami; Rubin Foundation, New York; Perez Collection, Miami; UBS Art Collection, New York; Chris von Christierson Collection, London; Celia Birbragher Collection, Miami; CIFO Collection Miami, among other public and private collections worldwide. He is the recipient of the 2016 Art Nexus-EFG Bank prize.


Winter Salon


February 4 – March 4, 2017

Reception: Saturday, February 4,  4-6pm

It’s that time of the year for the gallery’s annual Winter Salon.  This show features new works by Gustavo Acosta, Bernard Ammerer, Bergman & White, Marcy Brafman, Kathy Bruce, Marie Dolma Chophel, Jallim Eudovic, Reynier Ferrer, John A. Parks, Ian Hughes, Ilyan Ivanov, Julie Langsam, Nadja Marcin, Darrell Nettles, Alastair Noble, Eva O’Leary, Tanja Selzer.

Working across diverse media, including painting, photographs, mixed media, video, these artists pursue the addiction of art from varying and unique points of view. Brought together, their vibrant works create a space for seductive engagement and thoughtful perceptions.





Susana Guerrero at CCE Miami: January 12 – March 1, 2017


Jose Angel Vincench, Winner of the EFG – ArtNexus Latin America Art Award 2016


Transition Magazine Cover Armando Marino



Context Art Miami Nov 29 – Dec 4, 2016


Diana Copperwhite,  Confucious Confused 2016
( Detail) oil on canvas, 12″ x 16″


Booth #203

Works by
Bernard Ammerer
Maria Magdalena Campos-Pons
Susana Guerrero
Ian Hughes
Les Joynes
Julie Langsam
Nadja Marcin
Armando Marino
John Parks
Elio Rodriguez
Piers Secunda
Tanja Selzer
Jose Vincench

New CONTEXT Art Miami Pavilion
November 29 – December 4, 2016
Midtown Miami | Wynwood
118 NE 34th Street | Miami, FL 33127

for directions click here

preview work on artsy click here



Susana Guerrero


Professor at Miguel Hernández University, Fine Arts Campus, Altea, Spain, since 2003


2012 Fine Arts PHD Miguel Hernández University, Elche, Spain.
2007 D.E.A. (Advance Studies Award), Miguel Hernández University, Elche, Spain.
1997 Graduated in Print at Polytechnic University in Valencia, Spain.
1996 Graduated in Sculpture at Polytechnic University in Valencia, Spain.
1992 1st Course of Artistic Excellence at Ceramic´s School in Manises, Valencia, Spain.     1991 2º Curse at School of Fine Arts and Craftiness in Alicante.


2008 Workshop ‘Tácticas contra la destrucción del Territorio’, runs by Eva Lootz. CAM. Alicante, Spain.
Collage Workshop, “Recortar” with Sean Mackaoui, Culture´s Institute Juan Gil Albert. Alicante, Spain.
2006 Workshop ‘Ceci est mon corps…ceci est mon logiciel. Orlan y la experiencia de la carne’ runs by Orlan, Cendeac Institute. Murcia, Spain.
2005 Workshop of Arts’ Critic “la Consulta”. Miguel Hernández University, Elche, Spain.
Workshop ‘Performance Body’, runs by Marina Abramovic, Cendeac. Murcia, Spain.
2003 Workshop Arte y Naturaleza. Art Critics Association of Valencia, Alicante, Spain.
Ferrography Workshop runs by José Manuel Guillém, Institute Juan Gil Albert.  Alicante, Spain.
Workshop de Experimental Graphics runs by Fernando Bellver, Fuendetodos. Zaragoza, Spain.
2001 III University of Sculpture. Foundation Eduardo Capa in collaboration with Miguel Hernández University, Elche, Spain, Castle of Santa Bárbara, Alicante, Spain.


2009 Fellowship. Project LLP-Erasmus. Accademia Belle Arti di Macerata, Italia.
2004 Fellowship from Artists Residency in Lithography at Münchner Kúnstlerhaus. Munich, Germany.
2003 Ceramic Fellowship LABORATORIO DE FORMA. Empresa Grupo Sargadelos, Cervo, Lugo.
2002 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, runs by Gilberto Aceves Navarro.
2000 Fellowship ‘Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of  Fine Arts, México.
1997 Fellowship PROMOE, Universidad Nacional Autónoma de México, Centro de Extensión Taxco, Guerrero, México.
1995 Fellowship ERASMUS en la Anotati Scholi Kalin Tehnon, Atenas, Grecia.


2013 LECHE NEGRA. MANANTIAL DE MUERTE. Las Cigarreras Contemporary Art Center, Alicante, Spain.
PARA LLAMAR A LAS FUERZAS. Punto Rojo Gallery, Granada, Spain.
A MÍLAS FUERZAS. El Tragaluz Gallery, Granada, Spain.
FESTIVAL MIRADAS DE MUJERES. Las Cigarreras Contemporary Art Center, Alicante, Spain.
2011 A MI LAS FUERZAS. El Viajero Alado Gallery, Lebrija, Sevilla, Spain.
2009 PARA LLAMAR A LAS FUERZAS. Atrio de los Bambús Gallery, Palau de la Música, Valencia, Spain.*
2008 EL ALIENTO. Fundación ARTSUR, Madrid, Spain.
2006  DIE STÄRKEE; LAS FUERZAS. Deposito 14 Gallery, Madrid, Spain.
LAS FUERZAS. Elche Contemporary Art Museum, Spain.*
2005 NO SE SI CORTARME LA CABEZA. Espacio BOP Gallery, Madrid, Spain.
LOS LEONES BLANCOS NUNCA ATACAN. Aural Gallery, Alicante, Spain.
2004 DIE STÄRKEE, Kunstlerhaus, Munich, Germany*.
¡NO ME CORTES LA CABEZA!, CAM, Elche Alicante , Spain *.
¡NO ME CORTES LA CABEZA!, Charpa Gallery, Valencia, Spain.
DE CÓMO CRECIERON LAS ESPINAS. Hotel Prince Park, Benidorm, Alicante
2003 Congress Palace of Elche, Elche, Alicante, Spain.
2002 NARICES CORTAS, CHISMES MUCHOS, CHILES SECOS, MENTIRAS               BRILLOSAS. Punto y Línea Gallery, Oaxaca, México.
DE CÓMO CRECIERON LAS ESPINAS. Municipal Art Center of Mislata, Valencia, Spain.*
CÓMO TE GUSTARÍA QUE FUERA TU CAMA?. Centro 14 Gallery, Alicante, Spain.*
2001 INAUGURACIÓN. Gallery Aural. Alicante, Spain.
A MI CAMISÓN LE CRECIERON ESPINAS. Gallery Dipósit 19, Alicante, Spain.
2000 MI CAMA. Casa del Lago del Bosque de Chapultepec Gallery, México D.F.
MI CAMA EN MEZQUITE 7. Casa Borda, Taxco de Alarcón, Guerrero, México.
1999 DELICIAS 23; MI CAMA. Cultural Center Alfas del Pi, Alicante, Spain.
MI CAMA. Cultural Center C.M. de las Dehesillas, Leganés, Madrid, Spain.
1998 DELICIAS 23. Cultural Center, Casa Borda, Taxco de Alarcón, Guerrero, México.
1997 DELFOS. Cultural Center U.D.E.S. de  B.B.A.A. Atenas, Greek.
1996 MI CAMA. Gallery Tintorera, Jávea, Valencia, Spain.



2016 ART SOUTHAMPTON 2016. 532 Thomas Jaeckel Gallery, New York.
ART NEW YORK CONTEXT FAIR, 2016. 532 Thomas Jaeckel Gallery, New York.
PÓRTATE BIEN. Fábrica del Arte Cubano, Havana, Cuba.*
MADRID DOS GENERACIONES Y MEDIA. Gallery Odalys, Madrid, Spain.
ES – + ES – – ES + + ES +. Foundation Frax, el Albir, Alicante, Spain.
2015 EUSEBIO SEMPERE EN LA CASA BARDÍN. HOMENAJE. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
ARTE CISORIA. Casa Bardín, Institute of Culture Juan Gil Albert, Alicante, Spain.*
2014 DES DE DINS. ART CONTEMPORANI DES D´ALACANT. Museum of Alicante University (MUA), Spain.*
ARTE CISORIA. Art Center Gallery Taller d´Ivars de Benissa, Spain.*
REVELACIONES. Container Art, Sevilla, Spain.
ARTE CISORIA. Archeologic and History Museum of Elche (MAHE), Elche, Spain.*
TRAZAS. Art Cultural Center of El Carmen, Valencia, Spain.*
2013 IMAGINACIÓN Y DESEO. Rector Gallery of Miguel Hernández University at Elche, Spain.*
2012 IN FRAGANTI. ESPACIO TRAZA, Alicante, Spain.
2011 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Center of Development of Visuals Arts de La Habana, Cuba.*
2010 CARTOGRAFÍAS DE LA CREATIVIDAD. 100% VALENCIANOS. Modern Art Museum of Santo Domingo, Dominican Republic.*
EFEMMERAS. Cervantes Institute at Tanger, Marroco.*
MEMORIA PERCIBIDA. Contemporary Art Museum of Guatemala.*
I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
FM3. México Institute in Spain, Madrid, Spain.*
WHEN IMAGES…BECOME OBJECTS. Arte y Naturaleza Gallery, Madrid, Spain.
MIEJSCA PRZEKLETE, MIEJSCA SWIETE. Kazni Nowej, Cracovia, Polonia.
9ª BIENAL DE LA HABANA. Luz y Oficios Gallery, Havana, Cuba.
ESTAMPA 2005. Artsur Art Fair, Madrid, Spain.
ART FAIRE. Depósito 14 Gallery. Colonia, Germany.
VALENCIA IN MOMENTO. Villa Serena, Bolonia, Italy.
EL GRUPO, Gallery of Technical Superior School of Nautica, Santander, Spain.*
CORPOMODAMENTE. Planetario Gallery, Serre di Villa Rivoltella, Trieste, Italy.*
XX CONCURSO DE DISEÑO GRÁFICO, CARNAVAL 2006. San Vicente del Raspeig cultural Center, Alicante, Spain *.
PREMIO NACIONAL DE GRABADO MARBELLA 2004. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
PREMIO NACIONAL DE GRABADO MARBELLA 2003. Foundation Spanish Contemporary Print Museum of Marbella, Spain.
AGUA. Museo el Chamizal, Juárez City, Mexico
2003 ROT ROSTIG ROT. Haus der Kunst, Munich, Germany.
2002 FUERA DE REGISTRO. Oaxaca, Mexico.
UNA GOTA DE AGUA. Manzanillo University Gallery, México.*
DES DE L´ALTRA RIBA. Contemporary Art Museum of Ibiza, Spain.*
11 MUJERES, 11 MIRADAS. Rigoberta Menchú, Leganés, Madrid, Spain.
IX PREMIO NACIONAL DE GRABADO Y ARTE GRÁFICO. National Chalcography, Fine Art Royal Academy  of San Fernando, Madrid, Spain/ National Chalcography Gallery, Madrid, / Pontevedra Museum/ Extremeño and Ibero-american Contemporary Art Museum, Badajoz/ Iglesia de las Francesas, Valladolid, Spain.*
PREMIO NACIONAL DE GRABADO MARBELLA 2001. Spanish Contemporary Print Museum of Marbella, Spain.*
2000 ENCUENTROS DE ARTE CONTEMPORÁNEO 2000. Museum of Contemporary Art at Elche, Alicante, Spain.*
DI-VERSO. Museo Del Fuego Nuevo, Iztapalapa, Mexico D.F.
XIII JORNADAS ALARCONIANAS .Casa Borda, Taxco de Alarcón. Guerrero, Mexico.*
X ANIVERSARIO, MUSEO VIRREINAL, Casa Humboldt, Taxco. Guerrero, Mexico.
ARTE. Tixtla, Guerrero, Mexico.
CERTAMEN DE PINTURA SALVADOR SORIA- VILA DE BENISSA 2000. Cultural Center at Benissa, Spain *.
TODOS AL ARTE. Theater Mª Luisa Ocampo, Chilpancingo, Guerrero, México.
II PREMIO NAVARRA. Navarra Museum.*
POR MI RAZA HABLARÁ EL ESPÍRITU, Taxco Cultural Center, Autonomic Nacional University of Mexico.*
LA LUNA PUDO DETENERSE AL FIN. Homage to Federico García Lorca, International Center of India, Nueva Delhi, India. Installation and video (‘cada ver vivo’).*
II BIENAL DE ESCULTURA VILA DE MISLATA. Mislata Cultural Center Gallery, Valencia, Spain *.

(*) Catalog


2013 Selected. MULIER, MULIERIS. VII CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2012 Acquisition. Fine Arts Contest 2012. Alicante City Hall, Spain.
Selected. MULIER, MULIERIS. VI CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected. MULIER, MULIERIS. V CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
Selected MIRADAS desde la Fotografía: ARQUITECTURA ALICANTINA. Alicante Institute of Culture Juan Gil-Albert, Spain.
Selected. Fine Arts Contest 2011. Alicante City Hall, Spain.
2010 Selected. MULIER, MULIERIS. IV CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2009 Selected. MULIER, MULIERIS. III CONVOCATORIA DE ARTES PLÁSTICAS, Museum of Alicante University, Spain.*
2008 Acquisition. Certamen Galería 2007 Fine Arts Contest. Miguel Hernández University, Elche, Alicante, Spain.
Selected. I BIENAL DE ARTE PÚBLICO de Navacerrada, Madrid, Spain.*
2007 Selected. . Fine Arts Contest 2007. Alicante City Hall, Spain.
2006 Selected.  IX Mostra Internacional Unión Fenosa, Spain.
Selected.  XXXIII Premio Bancaja de Pintura, Escultura y Arte Digital, Spain.
2005 Finalist. ‘5 Award ARTIFICE de Pintura sobre papel’, Loja, Granada, Spain.
2003 Selected. Gallery Edgar Neville. Season 2004/2005. Valencia, Spain.
‘Premio CORZON’, Print National Award Marbella 2003, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2002 Award ´El Catalejo Gallery’. National Print Award Marbella 2001, Foundation Spanish Contemporary Print Museum of Marbella, Spain.
2001 Selected. Fine Arts Contest ‘Propuestas’, Centro 14 Gallery, Alicante, Spain.
Finalist. ‘International Award of Sculpture Elisa’, Barcelona, Spain.
Accésit. Hogueras Experimentales 2001. Alicante, Spain
Selected.’Propuestas artísticas para la sala de exposiciones’. Mislata, Valencia, Spain.
2000 Finalist. ‘Premio de Escultura Fray Luis de León’, Plasencia. Spain
Selected en el ‘Certamen de Jóvenes Creadores’ del Instituto Juan Gil Albert, Alicante, Spain.
1999 Acquisition de la obra en la ‘Convocatoria de Artes Plásticas 1999’, Alicante City Hall, Spain.
Selected. ‘II Premio Navarra de Escultura’. Pamplona, Navarra, Spain.
Selected. ‘Certamen de pintura puerto de la Luz’. Art Center La Regenta, Las Palmas de Gran Canaria, Spain.
1998 Selected. LXI CONCURSO NACIONAL DE PLATERÍA. Virreinal Museum, Taxco de Alarcón, Guerrero, México
1997 First Award. ‘National Sculpture Contest Villa de Leganés 1997’, Leganés.  Madrid, Spain (public sculpture)
Acquisition. ’Convocatoria de Artes Plásticas 1997’.  Alicante, Spain.
Selected. ‘XXIV Premio Bancaja de Pintura y Escultura’. Valencia, Spain.
Selected. ‘VII  Bienal de Escultura de Mislata”, Mislata. Valencia, Spain.
1995 Mention of Honor. ‘VI Premio de Artes Plásticas de Viguer’. Valencia, Spain
1994 Mention of Honor. ’V Premio de Artes Plásticas de Viguer’. Valencia, Spain.


Kunstlerhaus, Múnich, Germany.
Instituto Mexicano de Cooperación Internacional, México.
Universidad Nacional Autónoma de México.
City Hall of Alicante, Spain.
City Hall of Leganés, Madrid, Spain.
City Hall of Elche, Alicante, Spain.
Instituto de Cultura Juan Gil Albert, Alicante, Spain.
Universidad de Cantabria, Spain.
Foundation Spanish Contemporary Print Museum of Marbella, Spain.
Universidad Miguel Hernández, Elche, Spain.
Palau de la Música. Valencia, Spain.


2010 Printing workshop. University of Pittsburgh, PA, USA.
Lecture. University of Pittsburgh, PA, USA.
Workshop La pantalla serigráfica como un lienzo: la técnica de la pantalla abierta. Miguel Hernández University. Altea, Spain.
2009 Lecture. Accademia Belle Arti di Macerata, Italy.
2008 Lecture at I.S.A. (Higher Institute of Art) Habana, Cuba.
2007 Printing workshop. University of Pittsburgh, PA, USA.
2002 Workshop. Exposición ¿cómo te gustaría que fuera tu cama?. Centro 14 Gallery, Alicante.
2000 Workshop ‘la Conceptualización en el Arte’. Instituto de Cultura de Morelos, Morelense Arts Center, Cuernavaca, México.


‘La cama de José’. Sculpture Museum of Leganés City, Madrid, Spain.


Depend on the Morning Sun


Diana Copperwhite
Through January 28, 2017
Depend on the Morning Sun

The exhibition effectively extends the continuum of abstractions in color that have engaged the artist in recent years.  Fusing schematic shapes and fragments, her apparent abstractions recall a flash of connections through time, or maybe a glimpse of switching of identities, or the way an interior, or an external, space may be seen via moving digitized images.  We are drawn by the vivid light and color of her paintings and are left with a test in our bringing an identification of her imagery.

The exhibition is accompanied by new monograph ‘Fake New World’ with an essay by Gail Levin.
Diana Copperwhite makes big bold oil paintings that excite and stir our twenty-first-century perceptions.  Her compelling images are both complex and energetic.  She is never at a loss for the impulse to paint, though she is coy about revealing her concerns, often throwing the viewer just a few clues and leaving a lot of room for the imagination.  She creates an exquisite tension between abstraction and figuration or representation of any kind.  She appears to tease out this tension to hold our interest, as we both take in the visual splendor of her paintings and try to fathom what they are about.” (Excerpts from Essay)

Gail Levin PhD, Professor of Art History, American Studies, and Women Studies at Baruch College and the Graduate Center of CUNY. Review by Stephen Maine “Signal to Noise” January 7, 2017

Diana Copperwhite, born 1969, lives and works in Dublin.  Copperwhite has exhibited widely in Ireland and other countries in Europe.  Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin, 2016, A Million and One Things Under the Sun, Kevin Kavanagh, Dublin, 2015, Shadowland, Thomas Jaeckel, New York, 2014, solo presentations at PULSE NY, 2015 where she was nominated for the PULSE prize and at Volta NY, 2013.  Copperwhite was awarded the AIB Art Prize in 2007 and her work is held in many important public collections, including the Office of Public Works, the Irish Museum of Modern Art, the Arts Council of Ireland, Limerick City Gallery of Art, Dublin Institute of Technology as well as private collections in Ireland, across Europe and in the United States.



Susana Guerrero: Anatomy of a Myth



Susana Guerrero: Anatomy of a Myth
September 15 – October 22, 2016


We are pleased to present Susana Guerrero’s first US solo exhibition, Anatomy of a Myth in New York.

Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream.  She allows a perceptual interpretation of a different kind.

Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.

There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations.

In the process of making the artwork, Guerrero reveals a binding ritual.  The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.

Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system.  Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states.  As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.

Her most vivid construction would be derived from a varying “mythopia”.  The result is formed with features that may be confrontational or bacchanal.  Parts of it may be supposed to urge identification or resist it.  In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas.

Susana Guerrero is a Fine Arts PHD, Miguel Hernandez University, Elche, Spain (2012).  She received an Advanced Studies Award (D.E.A.), Miguel Hernandez University, Elche (2007), and graduated Sculpture and Print, Polytechnic University in Valencia, Spain (1996-1997).  She was granted Fellowships from: Project LLP-Erasmus, Academia Belle Arti di Macerata, Italia (2004); Artist Residency in Lithography at Münchner Kunstlerhaus, Munich, Germany (2004); Ceramic Fellowship LABORATORIO DE FORMA, Empresa Grupo Sargadelos, Cervo, Lugo (2003); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, run by Gilberto Aceves Navarro (2002); Program of Artistic Residency from Mexican Government thru Mexican Institute of International Cooperation from Foreign Affairs of Mexico, National School of  Fine Arts, México (2000); PROMOE, Universidad Nacional Autonoma de Mexico, Centro de Extension Taxco, Guerrero, Mexico (1997); ERASMUS Anotati Scholi Kalin Tehnon, Athens, Greece (1995).

She is a professor at Miguel Hernandez University, Fine Arts Campus, Altea, Spain, since 2003.  Guerrero’s work is in several institutional collections, including: Kunstlerhaus, Munich, Germany; Instituto Mexicano de Cooperacion Internacional, Mexico; Universidad Nacional Autonoma de Mexico; City Hall of Alicante; City Hall of Leganes, Madrid; City Hall of Elche; Alicante Instituto de Cultura Juan Gil Albert; Universidad de Cantabria; Foundation Spanish Contemporary Print Museum of Marbella; Universidad Miguel Hernandez, Elche; Palau de la Musica, Valencia.



Artnet News

Piers Secunda Unleashes the Horrors of War at the Duke House

by Anthony Haden-Guest, July 13, 2016


Art Southampton


Diana Copperwhite at Royal Hibernian Academy


Bernard Ammerer “Interface”

Bernard Ammerer

May 19 – June 30, 2016

A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of young men hovers in a strange white space, suspended in time. Solitary wanderers traverse barren plains toward destinations that loom invitingly in the distance, yet fade into disheartening insubstantiality upon arrival. At every turn, there is the sense of something forever sought but never seized.

In his first solo show in the United States at 532 Gallery Thomas Jaeckel, Bernard Ammerer depicts a private domain of desolate landscapes and vaguely restless figures that would border on the surreal if it didn’t feel so eerily familiar. Across the exhibition’s dozen canvases—all from this year and last—we see small cliques of physically and psychologically isolated people at uneasy rest or in frantic motion; cloud-filled skies looming serenely over flat, featureless, stark-white plains; and lone travelers in obscure territories that are shrouded in fog, reduced to cartoonish black silhouettes, or completely replaced with generic words—Wood, Field—that diminish nature to a worthless and empty abstraction.

Ammerer’s pointed and ironic titles often hint at the somber thread of disaffection that ties these works together. Interface—a six-foot-square canvas depicting a constellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void—is most notable for the palpable lack of physical and psychological interaction among its inhabitants. Fulfillment Problem—that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration—is paired with the image of a cloudy yellowish sky overrun with a chaotic, maze-like swarm of identical running figures lifted from a Children At Play traffic safety sign. The infantile and perpetually unsatisfying urge toward instant gratification that’s satirized here is subtly underscored by Boyhood, which presents the sad and wistful disembodied head of a child floating alone in a dark, nebulous space. It’s the only place in these works where an actual face can be seen, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity that no hoard of shiny toys, transient pleasures, or wanderlust can amend. The moral—for Ammerer’s oblivious protagonists as well as us—is perhaps best embodied in Home, with its ghostly white house at the end of a blank path in a barren field: far too often, our ill-considered quests away from ourselves in pursuit of the Next Perfect Thing leave us alone and exhausted before a hollow apparition.

Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), “Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group)

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at

Preview works here


BBC: Palmyra’s Arch of Triumph recreated in London

One of the most visually striking pieces at the gallery is by British artist Piers Secunda, who creates moulds of bullet holes made by so-called Islamic State militants and casts them in replicas of ancient reliefs.

Art New York & CONTEXT New York Reveal 2016 Subway Series





Elio Rodriguez: “On Guard” April 8- May 30th; Hutchins Center, Cambridge


Vincench Caligrafia del Silencio

El Diario NY March 10


532 Gallery Thomas Jaeckel | Phone 917.701.3338 | | 532 West 25th Street NY 10001 Tuesday - Friday 11-6pm, Sat 12-6pm Follow 532 Gallery Thomas Jaeckel on Artsy