Pabli Stein

Pabli Stein
Buenos Aires, 1986.

Solo exhibitions

2017 Pinturas recientes, Otto galeria, Buenos Aires, Argentina.
2016 Los pies y la ventana, Site Specific para Quimera del arte, Buenos Aires, Argentina.
2015 Color oculto, Espacio ENSO, Buenos Aires, Argentina.
2015 Head over heels, P Gallery, Jose Ignacio, Uruguay.
2014 La otra luz, Espacio ENSO, Buenos Aires, Argentina.
2013 Cada vez mas cerca, Bisagra Arte Contemporáneo, Bs As, Argentina.
2012 Everything must glow, P Gallery, José Ignacio, Uruguay.
2012 Up right Blood, WTC, Montevideo, Uruguay.


Group exhibitions (selection)

2017 Form As Context, Frost Art Museum, Miami, Florida.
2016 Bosquejar, esbozar, proyectar, Quimera del Arte, Buenos Aires, Argentina.
2016 AAF art fair, Escarlata, Nueva York, USA.
2015 Colección Patricia Rizzo, Museo Evita-Palacio Ferreyra, Córdoba, Argentina.
2014 Antiarruga, Granate Galería, Buenos Aires, Argentina.
2013 Aventura, 2A, Miami, FL, USA.
2012 Convivir, Zavaleta Lab, Buenos Aires, Argentina.
2011 Post, Meridion AC Galería, Buenos Aires, Argentina.
2011 Ideas, Mundo Nuevo Art Gallery, Bueno Aires, Argentina.


Art fairs

2016 L.A. Art show, Escarlata, Los Angeles, California, USA.
2015 ARTEBA, Proyecto A arte contemporáneo, Buenos Aires, Argentina.
2015 ESTE arte, Marte arte contemporáneo, Punta del Este, Uruguay.
2013 ARTEBA, Bisagra Arte Contemporáneo, Buenos Aires, Argentina.
2012 ARTEBA, Bisagra Arte Contemporáneo, Buenos Aires, Argentina.
2011 Expotrastiendas, Galería Selva, Buenos Aires, Argentina.


Prizes

2012 Premio Proyecto A (11º edición), Proyecto A arte contemporáneo, Bs As, Argentina.
2011 Premio Proyecto A (10º edición), Proyecto A arte contemporáneo, Bs As, Argentina.
2010 Premio Proyecto A (9º edición), Proyecto A arte contemporáneo, Bs As, Argentina.


Co-projects

2017 Stein Muro, Clubhouse, Buenos Aires, Argentina.
performance y video instalación en conjunto con Sebastián Muro.
2015 ARTEBA, Proyecto A arte contemporáneo. Buenos Aires, Argentina.
Performance y videoinstalación en conjunto con Sebastián Muro.
2014 Noche y día. Quimera del arte, Buenos Aires, Argentina.
Performance and video installation in collaboration with Sebastián Muro and the participation of Salvador Rivera.


Publications / Press (Selection)

AAVV. (2014) Latinoamerica al limite. Santiago de Chile, Arte Al Limite.
DI MAGGIO, Nelson. (2012).“Dos tiempos en la pintura” en La Republica (Uruguay), 28 de Julio de 2012.
ESTEVEZ, Loreto. (2014). “Pabli Stein: Seductor contraste de imagines y color” en Arte Al Límite, vol. 65, p. 86-89.
KUMMERFELDT QUIROA, Alina. (2014).“Interview” en Haufen Magazine, vol.2, p. 54-55.
MEGGIOLARO, Mariana. (2015). “Figura y figurín” en Harper’s Bazaar Argentina, agosto de 2015.
RIAL UNGARO, Santiago. (2014).“Te robaré un color” en Página 12, 23 de octubre de 2014.
SOBRERO, Nicolas. (2012).“Todo debe resplandecer” en BK Mag,18 de diciembre de 2012.


Eduardo Stupia, Abril 2017:

En la pintura de Pablo Stein parece manifestarse, o producirse, un cierto estado de conflicto, de
conflagración entre elementos que pugnan por prevalecer unos sobre otros, sin que ninguno aparezca
en última instancia como dominante. Y esto puede deberse a una decisión ordenada, a un programa
estructural, o bien ser consecuencia de una cualidad interior del artista, debatiéndose entre fuerzas,
magnitudes y movimientos que irrumpen y retroceden indistintamente en el territorio de la conciencia
práctica pictórica, y que hacen del soporte y del lienzo una suerte de campo de batalla.
Inequívocas figuras invariablemente femeninas y casi siempre de espaldas, o bien mostrando de soslayo
un terso semiperfil, elaboradas a mitad de camino entre la referencia y la síntesis geométrica, a veces se
metamorfosean en siluetas informes, en bultos extrañamente voluptuosos, y sobreviven forzadamente
al embate de una convulsionada exudación de pintura chorreada, sopleteada, en una pelea disrruptiva
de gruesas tachaduras, salpicaduras y brochazos.
Si hubiera que ensayar una taxonomía de esos componentes, podría verse que provienen tanto de
fuentes iconográficas muy pregantes e identificables – la retórica y los manierismos de la fotografía de
modas, la estilización figurativa – como de diversos géneros y técnicas – la abstracción matérica, los
prototípicos trazos, manchas, pinceladas salvajes y derrames de la action painting – y que también se
nutren de términos que suelen concebirse como contrapuestos, en una polaridad donde el dilema, o la
dialéctica, entre la acción y la reflexión vuelve a ser protagonista. Las texturas y los pigmentos, lo fluído
y lo denso, lo corpóreo y lo atmosférico, el contraste y la mezcla, lo visible y lo ocluído, se unen y se
separan, se coagulan y se diluyen, como los humores y las sustancias de una alquimia secular que se
disputa la fisonomía temática y semántica de cada pieza, haciendo que sea ocioso, o imposible, detectar
cual es la filiación última de ellas, como no sea la del choque de modalidades y estímulos si no
opuestos, al menos dispares.
Cuando aborda el collage de y sobre papel, y a pesar de seguir captado por esta distópica sintonía,
Stein encuentra en ese medio una variante más moderada, como si el temperamento que exhibe en sus
pinturas le impusiera ahora una pausa, un respiro, entre papeles de color cubiertos de purpurinas, hojas
de calco empleadas como veladuras - equivalentes a las vaporosas nubes de acrílico que nublan los
planos -, y fotografías disueltas en recortes mutilados sobre las que irrumpen de repente disparos de
aerosol. Aquí se abre paso una zona de engañoso formalismo, donde los fervores paroxísticos dejan
paso a una sensibilidad más elegante, menos desbordada. Y a la vez, en este terreno deliberadamente
restringido, oculto tras una discreta decoratividad, y en los residuos de imágenes alteradas en sonoros
efectos de superficie, acecha el rostro más puro, filoso y palpitante de un pintor pulsional y turbulento
que, circunstancialmente recluído, prepara el momento de volver a la carga.


Pabli Stein: Elegía de la transformación
Por Patricia Rizzo

"it's just a couple of cuts what keeps a silent piece away from being a stunning picture. This simple
yet elaborated and complex choice and selection is closely linked to the concept in which Pabli Stein
understands his job."

As it is known, the collage is an artistic technique which consists in assembling diverse elements
into a unified whole. In French, coller means "to stick". The term applies particularly to painting, but
by extension, it can refer to any other artistic expression such as music, film or literature. Pabli
seems to choose more of a demonstration. Of course his production is mainly related to painting,
but the aesthetics of the video clip is also very akin to his compositions, as film and advertising
photography are clear references too, and musicality is always present, giving as a result of these
visual narratives, a complex mix of contemporary structure.
His photographs, or fragments of them, reconstruct images that become iconic in its cryptic entirety.
Sometimes, his choice is focused on a texture, a material, a halo of brightness, some discordant
aspects; a perfect femme's beautiful chest ... the excess of light in a beach scene, the depth of color.
Among the elements and in an Intricately stripped way, beauty presents itself as compelling. Its gaze
peeps out and becomes amazed by the symmetry between dissonant elements, the brightness of a
lip gloss or the excessive presence of a gem. It's an inquiry fed by many sources, but always
keeping an eye on the aesthetics, usually related to fashion and advertising industry.
Stein has achieved something important with his production, and has done it very early in the evolution
of his work; his collages are easily recognizable, inspiring a sense of identity of its own. Ideas of visual
grammar come about to demonstrate a proper understanding of the voyeur who never gets tired, and
moreover, that gloats on pursuing the charm of the minimum. As Henry Thoreau said, my greatest skill
has been needing little.
His compositions do not necessary depend on the exaggeration, or the shocking images; opulence
should always be, but dissembled. If something becomes a little obvious, he discards it, he likes to
detect. A fine pointing, more discovered than manipulated. His goal has often been focused on double
meanings, but it could also be said that meanings, for him, are just a complement, while his interest
resides on the resulting images and what they receive and emanate. Therefore, he considers the
preexisting illustrations and sources from which they proceed, to give them another direction,
sometimes poetic, but mostly aesthetic.


Pabli Stein: Color Oculto
Por M.S. Dansey

Fascinated with the images on the fashion editorials, Pabli Stein takes them by assault; he becomes
its owner, undoubtedly as an excuse to give free rein to his own passion: painting. The figurative
reconstruction of that image that obsesses him is a task that he undertakes with the same religious
dedication of the Argentinean traditional painters. But the image is never totally configured; it’s not
a copy of its model because in that process, as it happens during the practice of pleasures, one never
knows where or how it ends.

Even though part of the figure, along a continuous process, reaches the deep and the space that
confines it, I don’t understand this as the continent but as the aura. It’s the human presence that gets
dissolved in an atmosphere, sometimes evanescent, others tempestuous, always imprecise, liquid,
and fluid. It’s a space conjured by the spectrum, by the ghost, by the golem… by the model of an
idealized world that in fact, it doesn’t exist.

Stein undertakes this task as a corporeal act. He confronts the initial image over the canvas, which
at the beginning plays the role of a love bed and finally delimits the crime scene, a crime of passion
where neither reason or intellect get involved. At that point, it is worth to open a parenthesis and
say that when the system of art is governed by a conceptualism that verges the impersonal, this
gesture is read as a statement of principles. Nevertheless, it’s not about an automatic and
purely emotive act as well. It’s true, he dedicates himself to his instincts, he gets carried away,
he abstains himself, he gets lost. But his dedication is conscious, rather thoughtful, in which the artist
reviews his own practice. It’s the one that, as any good lover, enables the time to pass softly, intense.
He doesn’t follow the binary logic that only recognizes the active and passive ways, but it reaches a
third state. Stein is available without deny, on the contrary, he’s the catalyst that shoots tensions, strips
and corrupts his objects of desire, reveals his conflicts, frees his anguishes, his fears.

His painting responds to a primitive impulse that only occurs in his studio. A kind of inception between
the artist and his model from which the fresh, powerful and uninhibited image surges.


Pabli Stein: Cada vez mas cerca
Lic. Mariana Rodríguez Iglesias.

"It is possible, then, to speak of paints, disarmed, exposed, deconstructed and noisy - the torned parts,
jagged, denied - of a remain below, as a memory in a present time."

His compositions make a pendulum path between collage and decollage, between the juxtaposition
of appropriate images and overlaid displays, between the restoration of a different logic and
archeology in the present time. All in all, he proposes alternative directions for the signs of
advertising and fashion.
Those are shown with the arrogance of a closed meaning, while Stein's conglomerates are open
and unfinished signs. Every figure is cut off, at some point covered, partially denied. We can see
that from this overlapped signs, a new, unfinished and different one emerges and with its own
rules and codes, giving away the advertising logic to fraternize with one pictorial one.


A seducing contrast of images and color
Loreto Estevez, historiadora (Chile) for Arte Al Límite, 2013.

The young artist breaks into the artistic scene with magazine cutouts and fragments, transforming
different parts of a whole into something completely dissimilar. They compose the visual and
beauty corpus in which we are immersed. That superficial, naughty, frivolous and banal corpus
of images outstands the breeding of exteriority in such a persuasive and categorical way, that it
almost seems as if it was imposed with authority.


Pabli Stein
Arte al Límite (Chile), 2014

Behind the bright flash of modernity and its stereotypes is the female figure that Pabli Stein
portrays. There, just behind a colorful first layer of vain prints. The hidden face of the female
looks on in silence.
A personal, reflective and introspective work portrays the image of the collective ideology that
finds beauty behind commercial and industrialized norms and standards. The thick and
vehement blots and legacy of a pronounced brush hide a deep value for that which is fragile
and feminine, whipping on the canvas a battle of envelopments, appearances and egos.


Two times in painting
Nelson Di Maggio para Diario La Republica, Uruguay.

Pabli Stein, an argentine artist on his twenties, is in his antipodes. It is difficult to find a
Uruguayan painter able to drive such corporeal energy in the extension of matter throughout
broad multidirectional and overlapping color layers, covering and discovering almost unseen
figures, confused with the same act of painting. The explosive colors and the sincerity respond
to an affirmative, vital, luminous and optimistic conception of the existence.


The other light: paintings
E.C.

Few painters achieve a balance between both hemispheres, a strong symbiosis between
abstraction and figurativeness. Pabli Stein is able to make a synthesis between what generally
is defined as irreconcilable opposite entities. The sanguineous gestures of the artist create
new communicating vessels between his emotional and his intellectual side, showing his fullfillness.


“It is true that personal experience, when it comes to a young man able to waste and destroy
without any sense, opposes, in any case, to this miserable conception. But even the most lucid
man ignores the reason or believes himself sick when extending and destroying himself without
any consideration. It is incapable to defend its conduct by utility and does not fall into account
that a human society can be interested, like himself, in considerable losses... in catastrophes
that provoke, a certain orgiastic state.”

G. Bataille, “La noción de gasto”, 1987.