Pablo Temes and the Master
Leopoldo Presas
- 2001

Pablo Temes
Painter, illustrator, graphic designer

Born in Buenos Aires on August 30th, 1955, city in which he currently lives.

Studied Architecture at Universidad de Buenos Aires between 1973 and 1976, and then dedicated exclusively to the arts.

In 1981 he graduated from the Escuela Nacional de Bellas Artes "P. Pueyrredón" as Professor of Drawing, Painting and Visual Fundamentals on a national level.

He begins a feverish plastic activity in contests and galleries, which is crowned with several distinctions (see Exhibitions and Prizes).

In 1981 he traveled with his current wife –the artist Marta Toledo– to Peru, influenced by the whole Meso-American culture.

Between 1993 and 1997 he traveled in Europe where he nurtured himself with the works of the great teachers of western painting.

He traveled to New York where he documented and studied the new tendencies of American art, which will serve as stimulus of his most recent works.

His works are shown in private collections in Argentina as well as abroad.

Parallel to the arts, he developed an intense activity in the field of graphic design.

His beginnings in this activity go back to 1977 in the Art Department of Argencard-Mastercard of Argentina, where he designed and supervised countless quantities of graphic materials for 5 years.

Between 1981 and 1983 he held different positions in advertising agencies.

In 1983 and up to 1984 he started as a designer in Editorial Abril, in the mythical magazine Siete Días.

At the end of 1984 he moved to Editorial Perfil, the biggest magazine publisher in Argentina.

Since then and until the present time he works there as Art Director.

He designed and developed the following magazines: Mía, Playboy, Noticias, Luna, Espectador and the newspaper Perfil.

He attended training seminars of international design: Montreal (Le Devoir), New York (New York Times), San Pablo (Editora Abril), Barcelona (SND-La Vanguardia), Madrid (El País-El Mundo) and University of Navarra (SPD)

He was candidate to the Pléyade Award in Journalism, for best cover in the years 1999, 2000, and 2001.

He was appointed to the selection jury for competitions of the Facultad de Bellas Artes de La Plata.

He illustrated the most important newspapers of the country such us Clarín, La Nación, La Prensa, Perfil and magazines like La Semana, Siete Días, Humor, El Ciudadano, Veo Veo, Expreso, Noticias, Vivir, Somos, Editorial Norma, etc.

Pablo Temes with the painter Rómulo Maccio - 2001


A persistent lyrical allegation

Pablo Temes belongs to the type of artists that, without detours, goes down deeper the origins of his art, those first intuitions that continue obsessing his work.

Nothing more distant that the production of this artist of avant-garde spirit that does and undoes continuously his proposals in search of invention and new images. Temes has constituted the most paradigmatic of modernity.

That said doesn't mean that Temes doesn't belong to modernity; we should keep in mind that the rearguard also forms, in an unavoidable way, the other face of the same currency and we could risk that many times, with the possibility of a critical perspective, artists that belonged to the rearguard in different periods, are those that have lasted with unmatched solidity.

Temes’s painting, that cautious progression that began to maniphest few years before the decade of the ´80s and that remained deliberately to the margin of the ups and downs that were lived in the plastic scene of our means, watered in that long tradition of modernity which we could summarize like the particular appropriation and development that had in Argentina the "fauvism" and other so many isms that acquired an own character. Artists such as Raul Russo and Leopoldo Presas have been obviously dear for the development of Temes’s work.

Although in its beginnings we can observe the magnificent tribute that the young artist pays to Braque, where green as the dominant tone is pronounced in the most delicate shades, we can also observe the self-portrait made in 1980, where an impromptu away of the pitch bursts in with its powerful contrasts.

From that moment, the predominant thing in its painting will be a constant irruption of contrasts where the subjects seem pretexts for the glorification of the color.

And I say that they "seem" because if each work of Temes glorifies the painting, it also constitutes a moment where the sign of the world appears like a story chosen by imponderable characteristics.

In the later self-portraits, the last one of 1997, he continues proposing the accentuated contrast even more: the inks appear total without any shadiness of color.

Besides, in the last works, he accentuates the search of the daily thing, those scenes of subway and urban landscapes take us back to the magnificent landscape of 1982 "Dock Sud", one that then removes us from the "natures" and the "models" to propose another vision.

In this sense, we left the slow pass of the "interiors" (those important subjects in painting history) to look for that trembling life that continuously surrounds us and that the artist shows with unusual points of view as in the case of the beautiful architecture of "Florence", 2000, which Temes registers with lights and shades like a magical appearance.

But Pablo Temes’s painting is never a mere establishment of scenes, landscapes, natures, bodies and models, the artist always makes of those a departure point to show that subjectivity that overlaps to the spectator in the powerful enjoyment that experiences with the substance and the color to make a persistent lyrical plea out of each work.

Raúl Santana
(Poet, Art critic and ex-director of the Museum of Modern Art and present Director of the Palais de Glace)
Prologue of the exhibition made in Arcimboldo Gallery in September, 2001.

The Celebration of the World

Pablo Temes work belongs in one long tradition of the Argentine art: that by which processing different moments of modernity comes and forms a recognizable image immediately.

His urban landscapes, his interiors, his natures and the sensible registry of views of his trips, have given space to those images from the last years where with particular transfigurative power the artist shows us the song of the village, that routine character that in its paintings is not only a pretext for the color contrasts, but also an effective pick up of psychological latencies that reveal the figures that populate their scenes.

Always going and coming by the visions and procedures that as true obsessions pronounce from his older works, Temes moves between powerful subjectiveness – where a compositive sense organizes the reasons in a new synthesis in the space of the picture – and between the search – occasionally – of an objectiveness that gives to some of his pictures a chronicle character for the representation of that contingency of the daily life.

But in anyone of his moments we always attend the kind of scenes where the whites and the blacks are permanently interrupted by the net presence of that color that shows a festive feeling, of celebration of the world.

Palais de Glace Director
Critic published on Revista XXIII (August, 2002)

Telas de viajero
Pablo Temes, 20 pinturas.

In Piola, Libertad 1078. Through August 16th.

In the way of the old travelers, Pablo Temes slides his glance by the world and is the brush the one that registers it in painting. Thus, a medieval portal of the cathedral of Seville and a London subway station resemble corners from Buenos Aires and other landscapes. They are almost photographic cuts, fast visions of a world given back in color. Sometimes an urban image like Naranjas, is rhythmed by the color of the fruits that repeats in fabrics and walls.

In other works, the interest by the color competes with a well-taken care composition. For example in the still life – unfolded on the white circle of a table – in which the artist pays homage to the German painter Beckman and in Guitarras, where the female nude accompanies the horizontality of a guitar, the cold contemporaneousness that is strained by the glance of the human figures is let go by the color.

Exhibitions / By María TEresa Constantini (revista 3 PUNTOS)

Magazine Publishers Association of Argentina granted the PLEYADE awards

Title: "Best Cover of the Year"
Jury: Alicia Sanguinetti, Carlos Guyot and Nestor Ferrero

The Jury has decided to granted :
"Herr Ruckauf", de Pablo Temes. Revista Noticias. Editorial Perfil

En la trastienda
News of the week

The success that the exhibition of Pablo Temes has by these days has forced the artist to extend its duration. Originally anticipated until last Friday, the 20 Paintings of Temes will be shown until this month’s ends at Piola (Libertad 1078).
Diario La Nación | October 6th, 2002