Arminda García : Es egresada de la Escuela de Comunicación Social de LUZ  y docente de la misma con amplia experiencia profesional en relaciones públicas y en agencias publicitarias.  En sus inicios, cursó estudios libres en la Escuela Julio Árraga, así como en la Nepatalí Rincón. Sus estudios más recientes son Dibujo y Pintura en la Escuela Bellas Artes. Realizó su primera exposición individual en el Colegio Nacional de Periodistas en 1985.

Su obra, refleja su admiración por los maestros de la plástica contemporánea como Chagall, Picasso, Dalí y Kahlo, planteando temas de toque expresionista que van más allá de la representación de la realidad. Permite a los colores, ocupar sitios que no le corresponden y explorar el contraste de  colores fuertes y puros. Por otra parte, la composición no guarda las reglas tradicionales y las formas se presentan alteradas, sin  perspectiva ni manejo real de la luz. Sus personajes, en estado de ensoñación le han permitido desarrollar series, donde manifiesta su interpretación femenina y particular de diversos temas, como la relación ideal de la pareja, el instinto maternal, la música, la madre naturaleza, entre otros.

Arminda García, es fundadora y directora de Galería Artenos, que fue creada a finales de 2008, donde representa un importante grupo de artistas plásticos, algunos  en ascenso y otros de larga trayectoria.

Exposiciones Realizadas

·         1985 Exposición indvidual. Arminda García. CNP Seccional Zulia. Maracaibo-Venezuela.

·         Septiembre 2008: Exposición Colectiva Espacios de Arte. Mall Delicias Plaza. Maracaibo-Venezuela.

·         Diciembre 2008:  Exposición Colectiva Colores en el Mall. Aniversario Mall Delicias Plaza. Maracibo-Venezuela.

·         Abril 2009: Exposición Colectiva Estilo habitarte. Casa En Boga. CC Sambil Maracaibo – Venezuela.

·         Mayo 2009: Exposición Colectiva, Mes del Artista Plàstico. Mall Delicias Plaza. Maracaibo-Venezuela.

·         Diciembre 2009 Exposición Colectiva 1er Aniversario Galerìa Artenos. Mall Delicas Plaza. Maracaibo - Venezuela.

·         Diciembre 2009 Exposición Colectiva Para Ti a beneficio del artista plástico José Gotopo. La Churuata. Maracaibo -Venezuela.

·         Febrero 2010  7a. Muestra Rescate del Dibujo "Carlos Serfaty" Ateneo de Guacara Estado Carabobo,Venezuela.

·         Marzo 2010. Exposición Women in the Arts. Museum of the Americas. Miami Florida.

Participación Cultural

·         Coordinadora del Comité Estudiantil de apoyo a la recuperación del Mural del Artista Plástico Luis Cuevas. Patrimonio de LUZ. Facultad de Humanidades y Educación. Cátedra Rel. Pub. Comerciales. Universidad del Zulia. Mayo 2009

·         Jurado del Salón Infantil de Pintura “Armando Reverón Niño” de la Escuela de Artes Plásticas Neptalí Rincón. Sec. Cultura del Estado Zulia. Mayo 2009. Maracaibo, Venezuela.

·         Coordinadora del Comité Estudiantil de apoyo a la recuperación la Escultura de la Artista Lía Bermúdez. Patrimonio de LUZ. Facultad de Humanidades y Educación. Cátedra Rel. Pub. Comerciales. Universidad del Zulia. Octubre 2009. Maracaibo, Venezuela.

·         Autora de la Columna Creadores de la Revista Entresocios. Maracaibo, Venezuela. Fecha Actual.

Anyone knows anything about Lithuanian artweek? 

" Through the galleries

THE SUMMIT OF THE ANGELS …

Ovidiu Kloska, a technician, does not allow his profession to come out to light. His presence is perfectly shaped and he is open to substantial and unconventional dialogue. He is a painter and a poet in the same time. From another point of view, the rationalism implied by engineering can be found only when navigating the internet and signing his e mails with the exciting formula I AM KLOSKA.

On the rest, we are dealing with a free spirit, open towards the sky of fantasy, where the presence of gladiator angels reign over lucid insomnia and the turn into unusual paintings. The exercise and the performance in modern techniques of advertising design brought him reputation and all this turned into the promoter of painting. Actually, a poet disguised as a painter, Ovidiu KLOSKA wants to propose to modern man another way of imaging, in a way that common elements of traditional painting cannot find their place anymore.

He does not reject the classics, but he does not worship them with endless devotion either. He feels, in everything, just like a free man. His personal touch on every image comes from all this and it focuses almost entirely only on a specific abstract concept. His show in Focsani looked like the perfection of initiation in angiology, the presence of the angels and their lives aiming to ineffable, to mentally estranging from gravity. This is where the idea of the angel comes from, from a theological and artistic point of view. He is not interested in pointless endless discussions about the genre of angels, just like the previous ones, but only in the population of angels that live in the interval.

The interval is actually the space between God inside us and God outside us. Our guardian angel turns into the dominant element of the painting, in different situations. Kloska’s gloses on the subject are original and they lead to insomnia. Mostly that of the spirit called out from agreed upon conventions to propose another manner of negotiation with the sacred and the eternal. Animated spirit by insoluble questions, he goes deep with every piece on the lands of illusions. He does not give any sentences, he just invite us for journeys into the volatile zones of fiction and mister. Kloska never starts to forget from where he start and he doesn't brake himself to affirm that he's sometimes cross by the seductions of the delirium. He is speaking with angels. In a composition with an aspect of baroque unplaite of very well articulated luxuriant lines, he is calling the memory to imagine a possible dialog with the Guardian Angel. The questions sounds real, the answers are equivocal. The tension of the image associates vulnerable armour and cherub diaphans in a spectacle where the trumpets are sound spelling a possible apocalypse. The chromatics is forcing itself with precious Rembrandtian associations but also with loudly grays metallic articulated. In "the first photo session of a guardian angel" the heavy armors are becoming possible burden, fragile carcases where , in fact, the faith is living . Other times, the spectrum of impenetrable nights presumes grave coloring association. even funeral in bacovian key while the orgiastic feast of joining is having the devataiting air of heresy. The proportion between the dark colors and the cluster of gold yellow glitters that is inundating the sky of compositions is bringing to attention the cosmic couple of light and dark. The gushing fantasy, the nocturnal reverberations of the poetry, as the painter said, amplifies the sonority of chromatics and multiplies the dramatic development

of the forms in the graphic space. Not by fortuitous chance, Ovidiu Kloska is hearing the music of spheres and is seeing angels.

The translation between real and imaginary, between the form and the gesture desinhibated from the compulsion of the authority of tradition, is making the painter to reinvent the space from the perspective of a time animated only by the wing flapping of angel fall into sin.

Substantial plastic comments on such a theme proves the configuration of a vision, a implementation of a stylistic. So, adding ourselves to his tireless introspective

thought, but also to his poetic visionary utterance, I think we are really dealing with a real true creator. There, we can say, is a spirit witch is watching over our bourgeois reconciliation with ourselves ... " / Valentin Ciuca, Art Critic

Existe un suceso mitológico en particular, que ha cautivado mi interés para la primera serie de pinturas que he desarrollado. En este mito un dios se metamorfosea en cisne y ultraja a una mujer, dando origen a dos huevos en uno de los cuales se gesta Helena… Solo un gran culo es capaz de transfigurar un dios para engendrar la belleza…; la dicotomía entre lo divino y lo mundano, la belleza y lo irrelevante, el peso o la levedad…. Son cuestiones que vienen desde Parménides, pero que en ocasiones se pierde la noción de en qué momento uno y otro poseen el carácter de positivo y negativo.