If you're an artist, what kind of art do you make?
Drawing, Installation, Painting, Photography, Sculpture, Video
1972 Begins to paint on sheets, being unable to afford canvas. He hangs what he calls “Floating Murals” in public gardens and streets so as to be seen by everybody
1973 8th Biennale de Paris. Musée d’Art Moderne de la Ville de Paris, showing his first political floating mural “Once de septiembre de 1973”
1974 F.I.AC. Paris
“Art for the people”-Congress House London
Royal College of Art – London
1975 White Chapel Art Gallery “Floating Murals” London
Floating Murals at Central Park -New York
Floating Murals, Washington square. New York. Cultural Affaires of New York
Lower Manhattan Cultural Council. Battery Park New York
1976 Keettle’sYard Gallery, Cambridge, G.B.
Begins research on colour photography. He tackles the Polaroid film with
versatility, sometimes scraping or painting on the surface, or putting it into an ice box. He record, images from T.V.; which he transforms
1977 Salon de Mai 1977, Paris
ART 8/77 Bale- Suisse- Galerie Lahumiere “Floating Murals”
1978 Creates a “floating door” for the children’s studio at the Georges Pompidou Center Paris
1979 Salon de Mai 1979. The first Paris “ Instalation” was censured publicly
1980 “Photographisme,” Polaroid Center-Paris
Floating Murals and the book Mascaras at Galerie Biren,Paris
1981 Galeria Encuentros. Barcelona
Bienal Latinoamericana de Puert Rico
1982 Galerie Biren-Paris
Librarie Galerie La Hune, Paris
L’amerique Latine à Paris - Gran Palais - Paris
1983 “Images perdues rêvées amuses.” Centre Georges Pompidou Paris
Polaroids at the Galerie Vivianne Esder- Tokio –Japan
1984 Floating Murals –Down Town Gallery, New York
Centre Culturel Limoges, France
Galerie Troi, Paris
1985 Galeria Tartessos-Barcelona
1987 Galeria Tartessos-Barcelona
1988 Polaroids-Comptoir de la Photographie-Paris
1991 “Tropicalismo”-Kellart Gallery-Paris
1995 Amazonas – Festival International de Biarritz
1997 Visions Japonaises” Galerie Mostini-Paris
1999 Opera Gallery Paris-Singapur-Miami-New York
As mural paintings have a privilege place in South American art, Uhart spontaneously chose this technique to express his vision. Since he could not accomplish any mural paintings in France, he created something he called « floating murals », using as medium huge sheets that he could hang anywhere so that anyone could look at them.
As early as 1976 he was also interested in photography, innovated in that field by using Polaroid pictures that he scratched or painted over.
His paintings are figurative and quite influenced by the folkloric traditions of his country.
He combines his poetic imagination which comes close to that of the primitives, with contemporary graphic design such as in is posters, popular cartoons, and children’s ilustrations. (Pedro Uhart created a floating door, for the children’s studio at the Georges Pompidou Center). But once discoveries have been made, artists are never content with them, and seek new fields to conquer in order to avoid mannerisms or some sterilile, stereotyped procedure.Pedro Uhart is not exception.
In the seventies, his paintings condemned the dictatorship in Chile and glorified the struggle for freedom.Pedro Uhart then developed various cycles of paintings: the Amazons, the Musicians, the Sofas, and the Japanese Visions after his stay in Japan in 1990 and 1991.
A tribute to Japanese life in the 18th and 19th centuries throughout erotic scenes taking place in sumptuous bedrooms opening into luxurious gardens.
During the years, Pedro Uhart has remained attracted to the purity of colours. His reds, purples, pinks and yellows defined by black lines are a vibrant hymn to life that seems to
be dancing on the canvas.
His other interests include photography (scratched or painted over Polaroid pictures), architecture and collecting furniture designed by Antonio Gaudi.
Opus #51 from June-July 1974, Jean Louis Pradel. FIAC in Paris.
Dictionnaire Universel de la Peinture, Le Robert, vol 6, page 332.
E. Benezit, Grund 1999, vol 13, page 885.
André Laude : Pedro Uhart, Artension, #25, Rouen, June 1995.
Catalogue of the exhibition : Pedro Uhart, Galerie Kellart et Artension, Rouen, 1991.
Catalogue of the exhibition : Visions Japonaises, Galerie Mostini, Paris, 1997.
Selected Public Collections :
Museum of Modern Art-New York City
Guggenheim Museum- New York City
Centre Georges Pompidou-Paris-France
Musée d’Art Moderne Ville de Paris-Paris-France
Bibliotèque Nationale, Paris-France
Centre National d’Art Contemporain-Paris-France
Museum Narodov. Varsovie-Poland
Museo Internacional Salvador Allende- Santiago de Chile
Withe Chapel Art Gallery-London-England
About my Polaroid-Art:
An imaginary museum of the immediate
The art of Polaroid—now, one can speak about a formalized art with its laws and its techniques, rules and transgressions—like photography not long ago, could only have arisen at first as mimicry, a kind of stand-in for what occurred before it.
The first photographs organized themselves, as did the genre paintings, distributing their forms and intensity of their lighting: rigid and prioritized family portraits, still life whose logic is played out in their symmetry.
They appear as an anticipated reflection in the pre-existing language of photography. It is as if the immediacy of development were just a technical addition, a conceit of mechanization, a convenience and not an essential difference end that it implies, the time it takes for an image to appear, transform the entire photograph as a perception of reality, seized in the instant, straddling the line between seeing and experience.
The “bombarded” images—as if by a solar wind—of Pedro Uhart do not limit themselves to declaring their own autonomy true characteristic of the Polaroid language. They go farther than that: they bring this art to its mannerism, by seeking out the static forms in the most mobile art of immobility.
More than an immediate capturing of reality, further than a record of the referent’s flight, the images are electric, white-hot, incandescent—but not just descriptions: shots—that send us back to an art of commentary, annotations, illustration: metaphors of other images—television, comic books, sport, paintings, and other photographs.
Reality is ousted, unattainable: the camera—the naturalized reliable eye—returns only straightforward imagery; as if to demonstrate that the real subject—beyond the intent and its manipulation, furthers the visible representation— recurrence that only the remodeled or rewritten icon is real.
Instead of a dark room in which the photograph would reveal itself in the simplicity of its re-enactment, in the literalness of its reproduction, Pedro Uhart works in a kind of “nictograph” in which negatives are cut into positives, perforated, pierced, and colored with the most “inadequate” and allogenic colors. Indeed, it is a kind of tattoo parlor in which the skin is celluloid upon motifs only speaks about an “accumulated ubiquity of the infinite reproduction of unlimited accumulations.”
The Polaroid’s of Pedro Uhart, draw lines between symbolism and images of representations, about recovering that which is contiguous; through the long digression of work and its load of memory, they will be the “evidence” in our library of images, an imaginary museum of the instantaneous.