REALITY AND MEMORY

We can affirm that the artistic career of Julio Pacheco Rivas, which is marked by a strong work ethic, positions him as the owner of a language.  a personal style, that characterizes him emerges and enables us to identify his work as it unravels. 

 Since the 1980s, when i first came into contact with his work, until the initial years of this millennium, Pacheco Rivas discussed modernity through the representation of cities, monuments and landscapes that, in their irony, expressed an apparent lack of symbols.  Deserted cities of rigorous designs, monuments in fragile equilibrium, urban landscapes that invaded the horizon; everything executed without textures or chromatic dissonances, only to emphasize the voluminosity with a faint contrast of colors.

  Like all representation that refers to content, Pacheco Rivas responds to the crisis of the historic vanguard movements, especially in the context of Venezuela, by questioning the trend of geometrism in light of the economic, petroleum boom.  as an artist that has always capitalized on pictoric expression, he began from analogous semantics; that is to say, his paintings showed edifications of aseptic geometries that could mirror the proposals of constructive art in the middle of the twentieth century, but whose fictional irreality was planted as a counterpoint to the moral, modernist orthodoxy that dually avoided the demands of art in that moment, as well as the demands of the country.

 The dizzying social and cultural changes that subsequently occurred, without a doubt, generated shifts in Julio Pacheco’s subjectivity.  but in this change, there is no perceivable demarcation, but rather it is appreciated as a continuum in the expressive modes and in the plastic syntaxes from which it has been valued.  The drastic raid of the representational world, of illusions and of fantasies seems to have displaced his investigation toward an immanent reality that did not appear in his work;

 In his recent work, Pacheco Rivas has allowed himself to struggle with historical disillusion as a consequence of the instability of reality.  This fact would seem to have been converted into knowledge, into memory, just as it normally occurs for other artists of his stature.    Tahía Rivero

 Julio Pacheco Rivas

Born in Caracas in 1953

Painter and sculptor

Self-taught artist 

Individual Shows

2009  Beijing , Summer Olympics.

2007 Black and White, Gallery Museum

1999 Escape: Provincial Foundation

1996 Art Center Group, LI, Caracas

1990 Venice Biennal,

1989 Fine Arts Museum, Caracas

1985 Renoir Gallery, Latin Space, Paris

1983 Municipal Gallery, Vitry sur Seirve, France

1980 Actual Estudio, Caracas

1979 Editions Gallery “le Musee de Poch",  Paris.

1976 ActualStudio, Caracas

1974 BANAP Gallery, Caracas

1968 Andes University,  Merida, Venezuela

 Biennials

 2005 International Beijing Art II

1997 MERCOSUR, Brazil

1985 La Habana

1982 Cagnes Sur Mer

1980 Sao Paulo

1977 Paris