Bartus Bartolomes

Bartolomé Sanchez (born 1950), better known as Bartus Bartolomes, is an artist born in the andean town of Pregonero, the state of Táchira in Venezuela. He is currently based in Italy and France. Bartus creates using a wide range of mediums, including painting, drawing, caricature, photography, design and even poetry. In 1969 he wrote "Kitsch Art", a manifesto promoting street artistic experimentalism.[1]

Bartus Bartolomes
Photo portrait of Bartus Bartolomes
Born
Bartolomé Sanchez

1950 (1950)
Pregonero, Táchira
NationalityVenezuelan
EducationUniversity of Vincennes, Paris VIII, L'École Normale Superieur, Central University of Venezuela.

Life and education

Upon completing his secondary education at Colegio de la Salle in the city of San Cristóbal in Venezuela, where he held his first exhibition of paintings when he was 17 years old, Bartus traveled to Europe and lived in Paris from 1968 until 1974, participating in the student movement that generated the famous Mai 68, and attended some of the most advanced institutes of the time, including the École Normale Supérieure, the École des Beaux Arts and the University of Vincennes, Paris VIII.

His family owned the Sanchez Pernia Estate, one of the largest coffee plantations in the country covering more than 90,000 hectares from 1898 up to the 1960s. However, the newly emerging governments from the 1960s, riding the wave of a new oil boom, began to expropriate the land and reduced the agricultural production of coffee and other crops to a minimum.

In the expropriated lands, the government promoted and built the Uribante Caparo Hydroelectric Dam, a project that became detrimental to the eco-systems of three Venezuelan states: Táchira, Mérida and Barinas, decreasing the productivity of the traditionally cultivated areas, affecting the rivers, local plants and bird migrations because among other things, this area was a pathway or transit corridor used by birds who migrated from Canada to Argentina and vice verse.

These expropriations and the negative effect they had on the environment he grew up in, affected the sensitivity of Bartus. He increasingly devoted his creativity to establishing links between art and water, and he promoted some cultural events that highlight the consequences of human intervention on the environment such as environmental pollution and global warming. Bartus considers the natural environment a legacy that must be protected, and water is the link that keeps all natural environments healthy one way or another.

In the early 1970s, away from these trends, he published a new manifesto in San Francisco proclaiming a Transpositionism; a search on new proposals as symbolic calligraphy, haiku and visual art from which he proposed the new denomination Graphi-kú a combination between Haiku and Graphic.

In the mid-'70s he returned home and obtained a degree in International Studies (Diplomacy) from the Central University in Caracas.

In the late '70s and early '80s he was involved in various activities carried out in Italy and Europe with the group Zeta International promoters of the New Visuality or Poesia Visiva with Carlo Marcello Conti, Lamberto Pignotti, Adriano Spatola, Gerard Jaschke, Eugenio Miccini, Luciana Arbizzani, T. Blittersdorf, Graziella Borghesi, Erio sughi among many others.

In the mid-'80s, linked to a diplomatic post, he lived in India and China, where he participated in various cultural events. In New Delhi, the best gallery for artists of his time, Dhoomi Mal Gallery offered the opportunity to exhibit his works and shared art experiences with the exponents of the fine art new symbolism, and neo-tantric in the context of that country, including names that are now referred mandatory in contemporary art from India, such as Swaminathan, Gujurat Satish, Santosh, Francis Souza, and others. In this period he had a great reception by the critics and the international press in India and started his experiments in the painting-object by doubling sequined and including textiles to his art research.

Later he studied calligraphy in Beijing, China, and art Bantu, in Libreville, Gabon, Central Africa.

At the beginning of the 1990s he returned to Caracas and tried to develop some graphics proposals subscribing to the project to edit Nadja, a magazine with writers JJ Villa Pelayo, Gustavo Ávila, Milagros Bello, A. Barrios and G. Perez Rescaniere. The group disbanded prematurely due to divergent political conceptions.

Bartus returned to Europe in the mid-1990s and began his project on Global Rights of drinkable water, looking to motivate the international community in the creation of large water caves to fill in periods of drought at 65 countries experiencing shortages of fresh water seasonally and with more intensity in recent years by the failure of most governments International Agreements both in the area of Sustainable Development as the environment from Kyoto Treaty.

He currently lives between Italy, France, USA and Venezuela as an advisor to institutions in reference to development projects in Alternative Energy and equally devoted to compiling his books, promoting his artworks, installations, visual poetry and videos; resuming his various events as Khromatone and B2art in New York; Nest Gent Eco-Art Project in association with the Florida International University; Artic Landscapes in Beijing, China, Latinamente in Italy; Art for Water in Panama, among others.

Work
Mix Media, Ink & Acrilic. Dimension: 1 m x 1.40 m.

As told by French writer Gérard-Georges Lemaire:[2]

The artwork of Bartus Bartolomes transpires in an association of heart and mind that fuels his passion for art in all of its expressions. His creative endeavors are not static as though they might appear, rather they suggest a movement suspended between reality and representation of our contemporary society as it relates to social and geographical diversities, ethnical conflicts, political and cultural ambiguities, that includes a metaphysical research of humane solutions which dislocate or denounce the aesthetical camouflage of contemporary art.

The originality of his approach resides in the interior logics, which animate Bartus the artist. These interior reflections of the artist generate a dynamic that leads him to expand his energetic connections with a geographical territory combining the joyful freedom of his feelings with the ample variety of intellectual motivations that when joined in his process, never jeopardize the wholeness of his approach."

One of the main motivational targets implicit in his graphic creations has been to show, project, or portray his own reflections of what it means to survive as an artist who creates and produces in a cultural environment where civilization, the destruction of natural resources and contamination go hand in hand on a day by day basis, unstoppable, everyday.

— Gérard-George Lemaire, "Les masques et la plume de Bartus Bartolomes", visuelimage.com (12/07/2012)

Carlo Marcello Conti, art critic, writes:[3]

The artist juxtaposes exotic influences from as far as Africa, Asia, Europe, South and North America to articulate his discovery of asymmetrically iconography art contrasts between East and West, expanding metaphoric visions, transcending barriers of time in the plastics imagery and converging into a new archaeology of meta-signs and poetry.

— Carlo Marcello Conti, "Bartus Bartolomes", https://www.miaminewmediafestival.com/bartus-bartolomes-2017/ (2017)

Exhibitions[4]

Bartus Bartolomes has participated in numerous exhibitions:

Air Sculpture. Dimension 8 m x 4 m. Installation. Bay Front Park, Miami, Florida. USA.

2011
  • Giants in the City, Monumental Sculpture Project, Bayfront Park, Miami, United States.
  • Arte Padova 22ª Edizione. Padua, Italy.
  • World Monuments Fund Gallery, New York City, United States.
  • Latinamente Primo Piano LivinGallery.[5] Lecce, Italy.
  • Art Verona Art Fair. Verona, Italy.
  • Art Platform Art Fair. Los Angeles, United States.

2012
  • The Office Contemporary Art Gallery, Rome, Italy.
  • 13th Annual day of the Dead Exhibition at SomArts Cultural Center. San Francisco, United States
  • Graffito International Art Exhibition. Miami, United States
  • One Hundred Twenty Eight Gallery. Lower East Village, New York City, United States
  • YAA Museum Broward County Library. Miami, United States
  • Kavachnina Contemporary Art Gallery, Wynwood, Florida, United States
  • Area 24 Art Gallery. Naples, Italy
  • BluorG Gallery, Bari, Italy
  • Anonymous Gallery/Casa de Empeño Gallery. Mexico City, Mexico
  • The Art Link Gallery, Wynwood, Miami, United States.
  • Zona Maco. Mexico Arte Contemporaneo. Anonymous Gallery. Mexico
  • Arte America. Irreversible Art Projects. Miami Beach Convention Center. Miami, United States
  • Museo di Matino. Magliano, Italy
  • Burning Man Passport Proposal with Domingo de Lucia. Black Rock City & Desert. Nevada, United States

2013

2014
  • Nest Gen Eco Art Project. Florida International University & Frost Museum Gardens.[7] Miami, United States.
  • Art Basel Week, Miami, United States
  • PARImageS, Galerie Etienne des Causans & Monteolivetto Gallery.[6] Photography, December. Paris, France
  • ART3F MULHOUSE, November 28 – November 30. France
  • Premio Napoli per L’Arte Contemporaneo.
  • Base Navale Molosiglio. Naples, Italy. & Galleria Monteolivetto;[6]
  • Florida International University. Honors College, Hall. Miami, United States
  • Galleria Car

2015
  • Kontempo Art. January. Coral Gables, Miami, United States.[8]
  • Fiera di Bologna. Campanotto Art Books. January 28 – February 1. Bologna, Italy
  • The Arquitecture of Love Brooklyn Bridge Light Art Project
  • Gender Equality Proposal. New Delhi, India
  • Art for Water. Itinerary Public Project
  • Biennial of Exile and Refugees Art
  • DWN TWN Art Days. 4th Annual Celebration. September 11 – September 13. Bayfront Park, Miami, United States.
  • Bergamo Arte. November. Bergamo. Italy
  • Miami Book Fair. Plunging Ourselves. Indiana, United States
  • ICL Studio. December 4 – December 7. Art Week Basel. Wynwood, Miami, United States

Publications[9]
  • Sushi Poems, 2008.[10]
  • La Saliva del Gorilla, 2010.[11]
  • The horns of the rhinoceros, 2011.[12]
  • Birds Birdy Birding, 2012.[13]
  • Il diluvio è una cicala con le labbra azzurre, 2012.[14]
  • Nightmare in New York, 2014.[15]
  • Plunging Ourselves, 2015.[16]

References
  1. "BARTUS BARTOLOMES". Saatchi Art.
  2. "Les artistes et les expos : Les masques et la plume de Bartus Bartolomes par Gérard-Georges Lemaire". www.visuelimage.com.
  3. "Bartus Bartolomes 2017 – miami new media festival". www.miaminewmediafestival.com.
  4. http://bartusbartolomes.net/exhibitions/
  5. "Latinamente-Lecce". 8 October 2011.
  6. "Monteoliveto Gallery". www.espacemonteoliveto11.com.
  7. "Nestgen and FIU, A Synergistic Meld by Irene Sperber - Bartus Bartolomes". bartusbartolomes.net.
  8. "Just Site Maps 2019 - Kontempoart.Com".
  9. "Libri Bartolomes Bartus: catalogo Libri di Bartus Bartolomes - Bibliografia Bartus Bartolomes - Unilibro". www.unilibro.it.
  10. "Campanotto Editore - Visualizza Dettagli Libro". www.campanottoeditore.com.
  11. "Campanotto Editore - Visualizza Dettagli Libro". www.campanottoeditore.com.
  12. "Campanotto Editore - Visualizza Dettagli Libro". www.campanottoeditore.com.
  13. "Campanotto Editore - Visualizza Dettagli Libro". www.campanottoeditore.com.
  14. "Campanotto Editore - Visualizza Dettagli Libro". www.campanottoeditore.com.
  15. "Palibrio". www.palibrio.com.
  16. Noble, Barnes &. "Zambull?ndonos: Variaciones alrededor de la rana de Bashoo". Barnes & Noble.
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