Joshua Liner Gallery New York, USA
Joshua Liner Gallery is pleased to announce Felipe Pantone’s inaugural solo exhibition with the gallery, Transformable Systems. Presenting work from both new and ongoing series, this exhibition showcases Pantone’s futuristic style characterized by bright gradients of color and optical patterns. Transformable Systems opens on September 6 and will run through to October 13, 2018.
Felipe Pantone, an Argentina-born artist, exploits an ultra-modern aesthetic as a way to “evoke a digital experience through inanimate objects” and integrates technology into the realm of fine art. As a “child of the internet era,” Pantone’s work revolves around transformation, dynamism, and impermanence. Each of the works in Transformable Systems partially employs mechanical-based processes as a means to investigate digital culture’s transient and pervasive nature, while also rendering it accessible and engaging.
Pantone’s abstract compositions often feature enlarged pixels, QR codes, and grids, exposing the digital mechanisms of production. His work re-examines our digital age and the ways we understand visual information. Reducing his subject to the basic building blocks of image creation allows the artist to call attention to the structure of digital imagery, while finding ways to stand out in our over-digitized world. The artist creates dynamic movement by manipulating color across the x-y plane in the Chromadynamica series. A temporary layer of acrylic installed in front of the painting blurs the bright and colorful pixels, transforming the original work into something new. Works in the Subtractive Variability series have similar registers of color, however, this group is produced with mechanical intervention. Pantone applies cyan, magenta, and yellow UV inks directly onto an aluminum panel using an industrial printer. By moving the panel during the printing process, the artist gains some control over the random interaction between colors. The Optichromie series combines both mechanical and non-mechanical modes of production to explore the visual mechanics of televisions, smartphones, and computers. The gradients and psychedelic accents that characterize these three separate but related bodies of work attempt to capture the dynamism and speed distinctive of 21st Century digital media.
In his practice, Pantone aims to create art that reflects the way we consume information. Traditionally, visual technologies operate as closed systems, transmitting one-way visual and auditory signals, whereas, Pantone encourages open systems for viewer interactions. Viewers can physically engage with Subtractive Variability Manipulable and Subtractive Variability Circular 2, changing their infinite color dynamics. In this sense, Pantone adds a personable side to technology, a place often described as alienating and cold.
Pantone’s electric style fuses Kinetic Art’s real and/or apparent motion with Op Art’s jarring optical illusions. Some of Pantone’s inspirations include artists Jesús Rafael Soto and Victor Vasarely. He is especially influenced by Venezuelan artist, Carlos Cruz-Diez, whose color and line investigates a participatory visual experience. Planned Iridescence CNFG applies Cruz-Diez’s innovations to produce the sensation of vibration as the viewer’s position changes in relation to the painting. Pantone compares this effect to digital experience, stating, “Movement is activated by the viewer’s position in front of the work creating an individual experience that I perceive as cyber encounters.”
Technology plays a vital role in Pantone’s process. It is a tool analogous to a paintbrush or a pencil. Pantone asserts, “There’s always a bit of hand manipulation involved in every technology: to paint with a pencil, or ultimately to press the button of a UV printer, for instance.” Technology is not devoid of human interaction. Until systems are fully automated, the human hand will be required to code, program, build, and operate the technologies that impact our daily lives. Pantone’s work urges us to consider the relationship between artistic production and technology, drawing on our concerns of the digital age and the speed at which technology is developing.
Felipe Pantone was born in Argentina. He studied fine art in Valencia, Spain and gained an international reputation under the name of Pantone. His vibrant work is visible around the world in Mexico City, Osaka, Lisbon, Moscow, Palestine, Italy, Australia, and the United States. His murals have been commissioned by: Facebook HQ, Menlo Park, CA; Citadium, Paris, France; Skullerud Train Station, Oslo, Norway; Palibex HQ, Madrid, Spain; Hard Rock Stadium, Miami, FL; and Palms Casino Resort, Las Vegas, NV. Pantone’s work has been included in exhibitions at such institutions as Mesa Contemporary
Sept 6th - Oct 13th 2018
Alice Gallery Brussels, Belgium
How do you choose an artist?
The first time we met Felipe Pantone was in July 2015. While visiting Brussels, he painted a wall with his friend Sozyone Gonzalez. My first impression was very clear. The guy was smiling, confident, curious and I was clearly impressed by his skills. The encounter was brief, but I wanted to know more about this young Argentinian who already enjoyed a solid reputation in the graffiti world on an international scale.
Strongly solicited to paint monumental frescoes and participate in exhibitions around the world, the Pantone tsunami is on the horizon.
Maybe you've discovered the work of Felipe Pantone on Instagram? Because the Internet lights up with each of his interventions. He synthesizes, with coherence and originality, the aesthetics of Graffiti and Geek on all types of mediums (painting, video, sculpture, installation, mural, etc.). This hybridization of genres reaches a broad audience, both cosmopolitan and keen in its references.
On one side, there's the exhilarating experience of graffiti, its physical emotion. On the other, there is the infinite universe of the digital age. Smack in the middle, there's Pantone.
Like all artists of his generation (1986), he likes to reinterpret both classical and contemporary codes of aesthetic. In front of his work, you'll find a mixture of glitch art (digital bug aesthetics), kinetic art (Vasarely, Julio Le Parc), graffiti, 3D modeling ... but also the spirit of the De Stijl movement or of the Memphis Design. No need to look further, the references he uses extend as far as your culture. Felipe Pantone is a iconoclastic artist at the forefront of technology.
Your brain cells light up in front of his work? Too late, you've caught the Pantone virus.
Alice van den Abeele
May 25th - June 30th 2018
Beyond The Streets Los Angeles, USA
Inanimate objects communicate with each other. Five paintings and one car debate about dynamism, transformation and impermanence.
Animations by Rosendo Merel.
May 6th - Aug 26th 2018
Magda Danysz Gallery Paris, France
"Graffiti as the ultimate ism, consistent with the Liquid Modernity theory, with its transitory relations and its disposable and ephemeral condition." One of the bullets in Felipe Pantone's 2013 Ultradynamic Manifesto, in which he emphasizes Zygmunt Bauman's idea that change is the only permanence and uncertainty the only certainty. It is likely that graffiti was not born only as a natural response to the rhythm and velocity of modern times, but it is undeniable that these elements are part of its DNA, which has made graffiti one of the most long-living modern movements.
The intrinsic speed of graffiti and the present times have shaped Pantone's personality, the way in which he experiences life, constantly shifting through airports and time zones, and has ultimately influenced his practice. As an unstoppable domino effect, this has led him to discover his artistic discourse; a dynamic path around the world that he wanders naturally and uses as a field for reflection.
Dynamism and transformation are the vehicles that Felipe Pantone utilizes to describe the strong sense of self-awareness and his connection with our time, something that we all experience to some degree. The stronger the viewer is linked to the present, the more familiar they are with his elements, his compositions, information flow, and the phenomena of change."
March 24th - May 12th 2018
Installation at Scope Art fair.
Miami, FL - Dec 2017
Kolly Gallery Zurich, Switzerland
For this year’s fulminant finale Kolly Gallery is proud to present Felipe Pantone’s solo exhibition Afterimage from November 30, 2017 to January 6, 2018.
The title of the exhibition is a metaphor referring to the optical illusion of the afterimage. It describes an image that continues to appear in one's vision after the exposure to the original image has ceased. Felipe Pantone collaborated with Rosendo Merel to exhibit several works in the augmented reality space, located as an afterimage at the gallery. After the physical works come the virtual ones.
November 30th 2017 - January 6th 2018
GR Gallery New York
In Felipe Pantone's words:
"This iridescent material allows me to regulate light spectrum gradients, in every aspect of color, repetition, directional displacement and rotation.
Movement is activated by the viewer's position in front of the work, creating an individual interactive experience that I perceive as cyber encounters.
The product of years of research in my quest to evoke digital experience through inanimate objects."
October 19th - November 27th 2017
Station 16 Montreal, Canada
Station 16 Gallery is honored to present PLANAR DIRECTION, a solo exhibition by Argentinian-Spanish artist Felipe Pantone as a part of this year’s edition of the Montreal MURAL Festival. Pantone has been a practicing graffiti artist since the age of twelve and has truly mastered the art of spray painting. His unique work is at the forefront of street art and ranges from graffiti to kinetic art. Using a variety of mediums with a blend of bold graphic design, geometric shapes, and vivid colors, Pantone has managed to create striking work with an ultra-modern aesthetic.
June 7th - June 24th 2017
Mesa Contemporary Arts Center Mesa, AZ.
Chromadynamica Dimensional is made of 289 hand painted conduits to create a suspended three-dimensional gradient computer glitch. As a humble attempt to combine imagery from the 21st century with the structural innovations established by the Venezuelan master Soto in the 60's.
Curated by Thinkspace Art
May 1st - August 12th, 2017
Underdogs Gallery Lisbon, Portugal
In his debut at Underdogs Gallery, Felipe Pantone will be presenting a reflection on the nature of the work of art and communication in this age of excessive information.
According to the artist:
“The difference between a work of art and a utilitarian object is that artworks speak, they have a voice. A shoe remains a good shoe, so long as it fulfils its intended functionality, but it does not speak to us. When the shoe begins to hurt, it begins to speak, but its utilitarian qualities will come to an end. Elena Oliveras points out that the expression «This work does not speak to me» may seem trivial to the naked eye, but it's actually full of meaning. Good works of art have a voice, although it requires a prepared spectator willing to seek, order and assimilate the information they’re given; it is precisely at this moment when artistic enjoyment happens. The work of art should not become a mere object of observation but one of interaction.
The emergence of the internet has completely altered the way we educate ourselves. In today's society, we do not need a leader who inserts knowledge through a probe, but educators who teach us how to seek out information and stimulate our creative thinking.
Siri speaks to us. So do trivial publications on Facebook, television, and advertising campaigns. Excessive information is only harmful when the subject operates exclusively as a receiver. It requires the observer to be active, to question things around them and to be able to discern what is valuable from what is inconsequential in an overloaded sea of information.”
March 10th - April 22nd 2017
Motion graphics in collaboration with Rosendo Merel.
Celaya Brothers Gallery Mexico City
There came a time when cities ran out of space and skyscrapers were built.
Traditionally, the horizontal format has been considered as narrative and the vertical as descriptive. The video has been presented so far in landscape format but the role that mobile phones are having on the way we consume information is changing this tradition. Apps like Snapchat or WhatsApp make this change in format more and more present. In a time when information and connections between people are expanding, we see the whole world all at once, from top to bottom, in a vertical perspective, and less in the horizontal format of newspapers. We have, before our very eyes, the largest panorama in history but, paradoxically, it is offered to us vertically.
Felipe Pantone ponders these questions through the pieces made in Mexico in the last month, that he will present in his latest exhibition at Celaya Brothers Gallery. The artworks present a radical break with the square format as an approach to the panorama and the vertical perspective, to the displacement and the scroll, to the speed and the consumption of information.
Text by Omar Quiñones
November 3rd - December 10th 2016
Outdoor Festival Rome, Italy
1st October - 31st October 2016
Part of "Welcome Back" show at Colab Gallery.
Weil am Rhein, Germany
June 11th - October 11th 2016
StolenSpace Gallery London, UK
Felipe Pantone’s bright graphic style is at the forefront of street and urban contemporary art. Using strong colours, sharp edges and bold shapes, his work draws you in to his own dynamic aesthetic.
“I keep on with my quest for immediacy, connection, quick transition, travel and technological advancement. We live in exciting times where everything passes in front of our eyes at the speed of a glance, and much becomes data that relentlessly fills the cyberspace. This series of works challenges me to find solutions, put ideas in order, and solve graphic mysteries, all of which takes me closer to belonging to the times that we live in.”
Pantone has developed his own personal avant-garde artistic style. His use of shape and colour draws the viewer into his hypnotic and vibrant world, reminding us of a garish 80s atmosphere; synth pop and SMPTE colour bars on the TV.
Pantone draws his influences on modern-day concerns of the digital age and fast and never-ending development of technology, in which way he is discovering a new visual language in which to communicate.
Felipe has exhibited all over the world and has featured in several of our group shows (LAX/LHR, Reasons for the Seasons) but this will be his first solo show at StolenSpace.
3rd June - 3rd July 2016
Long Beach Museum of Arts Long Beach, California
The installation 'Virtual reconciliation between two perspectives' proposes the viewer the possibility to change the position of the panels in order to match the virtual perspective (painted on the wall) and the physical one.
Part of 'Vitality and Verve' group show curated by Thinkspace Art.
July 16th - October 16th 2016
LASCO PROJECT #5
An exhibition of PALAIS DE TOKYO (Paris)
Creation of a monumental extramural work in the tunnel of the Duplex A86
For the first time, LASCO PROJECT, route of urban arts nested in the Palais de Tokyo’s underground passages, goes out of its walls to spread in the tunnel of the Duplex A86, connecting Rueil-Malmaison with Vélizy, on the West from Paris.
The Argentine artist Felipe Pantone - born in 1986 in Buenos Aires (Argentina) and living in Valencia (Spain) -, was invited by Palais de Tokyo, in partnership with VINCI highways, to realize a hypnotic work inside this tunnel, in a zone of 4000 m2 usually inaccessible to the public, and nicknamed «Concrete cathedral » because of its monumental dimensions. Sunday May 22, 2016, on the occasion of the first «Party of the highway», the public was able to reach the zone, between 9 am and noon, to discover this work.
Curator: Hugo Vitrani
May 22nd 2016
Lebenson Gallery Paris, France
According to Data Smog, with the advance of technology, we have been able to progress in terms of society and economy. Communication is instantaneous, knowledge is abundant, and as humans we try to keep up with this expansion of data that continues to accumulate from around the world.
However, it is the overwhelming amount of information that is de ned as data smog; “this unexpected, unwelcome part of our atmosphere, an expression for the noxious muck and druck of the Information age.”
Felipe Pantone communicates this expression in a new series, featuring his signature vivid spectrums, highly evolved geometric shapes and rendered dimensional solids to create an ultra-modern aesthetic.
March 26th - May 9th 2016
Mirus Gallery San Francisco, California
After establishing himself as an innovator within the graffiti world, with a career spanning the past decade, Felipe Pantone has abandoned letterforms, embracing abstraction, and drawing influence from various disciplines such as kinetic and op art. Felipe Pantone has anchored himself as one to watch within the contemporary field.
“W3-Dimensional” takes inspiration from Teilhard de Chardin's 1950's theories, which postulated the existence of "an enveloping sphere of thought, a living tissue of consciousness, enclosing the earth and growing ever more dense." this controversial idea, known as the "noosphere," was largely forgotten until the advent of cyberspace. the internet, in its ever-growing exponential race of speed, pervasiveness, capacity, intelligence and durability, may well become the mechanical framework for the noosphere, this sphere of thought, that may bring about the evolution of human consciousness.
Pantone's quest to explore and compound all aspects of dynamism continues with “W3-Dimensional.” 3-Dimensional works on wood feature his signature ultra vibrant colors and high contrast motifs, stretching boldly beyond the boundaries of the canvas.
These will be his most refined works to date, and his mastery of his unique painting process is evident. He continues to explore new mediums and forms, with a large format installation, and sculpture pieces on display as seen at Scope Miami Beach and Delimbo, Seville.
January 30th - February 20th 2016
Mirus Gallery at Scope Miami, Florida
December 1st - December 5th 2015
Delimbo Sevilla, Spain
Felipe Pantone’s body of work spans from graffiti to kinetic art. Strong contrasts, vivid colors, effects, and the use of mixed medium and varied technique combine to impact strongly on the viewer.
What really intrigues is not the striking nature of his work, but the artist’s journey to discover this aesthetic. We live in a time where more images are produced than can possibly be seen, and the impetus for an artist to stand out from the others is stronger than ever. Information flows at an exponentially increasing rate, a leitmotif recurrent in Felipe Pantone’s compositions, his hyperactivity, working methods and his constant traveling around the world.
Someone who aspires to do something important in art must understand the world and time they inhabit. Felipe Pantone understands perfectly.
Opticromías represents Felipe Pantone’s most ambitious exhibition to date. Using the space offered by the Delimbo Gallery, inhabiting and transforming pieces, installations and paintings; creating a shocking and immersive viewing experience encapsulating his unique view of the world today.
Felipe Pantone desarrolla un trabajo que va desde el graffiti hasta el arte cinético. Fuertes contrastes, colores intensos, efectos y una buena cantidad de recursos de los que se sirve para que sus piezas generen un fuerte impacto en el espectador.
Lo realmente interesante no reside en la espectacularidad de su obra, sino en los motivos que le han llevado a ello. Vivimos en un momento en el que se generan más imágenes de las que se pueden consumir por lo que un artista plástico, condenado a generar nuevas imágenes, debe encontrar fórmulas para que las suyas destaquen por encima de las demás y prevalezcan. La velocidad con la que corre la información sufre un constante incremento exponencial, concepto que Felipe Pantone plasma en sus composiciones y que le sirve de leitmotiv, con su hiperactividad, sus métodos de trabajo y su constante viaje por todo el mundo.
Alguien que aspire a hacer algo importante en el arte tiene que entender el mundo y el momento que habita, Felipe Pantone lo entiende a la perfección.
“Opticromías” supone la exposición más ambiciosa a la que Felipe Pantone se ha enfrentado hasta la fecha. Aprovecha el espacio que le ofrece la Galería Delimbo, habitándolo y transformándolo con piezas, instalaciones y pinturas que ofrecen una experiencia impactante al espectador, sumergiéndolo en su singular visión del mundo actual.
Text: Omar Quiñones
May 14th - August 30th 2015
Bundeskunsthalle Museum Bonn, Germany
Backwoods Gallery Melbourne, Australia
On his ongoing journey to explore the notions of
a never-ending development of technology at a stunning speed, Felipe Pantone brings us yet another experiment in multistable perception. For his latest show called Stereodynamica, coming to Backwoods Gallery, this talented artist from Valencia will, for the rst time in Australia, exhibit a series of stereoscopic works on canvas and paper. In order to add yet another dimension to his vibrant, kinetic, almost three-dimensional works, Felipe Pantone worked with stereograms, a particular kind of imagery which hides a picture within a picture.
The Stereodynamica exhibition will reveal the third dimension cunningly hidden in Felipe Pantone’s stereograms. Usually used for the means of science, mathematics and space explorations, these at, yet seemingly three-dimensional surfaces offer a trick, for which the viewers simply need to stare at the picture until the image starts to take shape. The show is thus inviting you to put your perception
to the test and have a one-of-a-kind relational experience with these otherworldly artworks.
Text: Selina Miles
October 10th - October 25th 2015
Studio55 Tokyo, Japan
The idea of creating a machine that continues indefinitely without any external source of energy after an initial impulse obsesses scientists since Leonardo da Vinci. To defeat dynamics and every branch of mechanics, in an effort to force Nature to violate its own laws. The truth is that precisely Nature’s destiny is to preserve its perpetual motion, being these ultra-dynamic times an unequivocal sign.
Motion and transformation, leitmotiv of this exhibition, intend to be a reflection of the perpetual motion of Felipe Pantone’s universe of which graffiti is the initial impulse.
March 8th - June 8th, 2014
Mister Pink Gallery Valencia, Spain
ULTRADYNAMIC MANIFESTO. Ultradynamism is:
- The aggressive change, the somersault and the spacial jump, the dissolve of the tradition, admitting the interested appropriation.
-The seek of accuracy through estimation.
- The use of computers as an efficient element of the arts in order to introduce complex and accurate dimensions.
- The will of bringing spaces closer: Internet’s fractal aspects with its infinite relations and developments. The use of it as a space for exhibition, divulgation, and creation.
- The contribution of new systems in the knowledge of perceptual phenomena.
- The stimulus of interpretations, creating in the spectator a state of active participation.
- The production of improbable shapes, avoiding any predictable order.
-The incorporation in the pictorial space of uncertainty and surprise, instability and displacement. Improvisation, immediate solution, and wrongful appropriation in the public space.
- The inducement of the sensorial capacity through the projection of states, at times precise, ordered, and geometrical, other times chaotic, unstable, and liquid. To impress in art a rationalist and ordered vision that incorporates chance and the motion of the madding ultradynamic chaos.
- Sharp shapes, structures that offer an aggressive-active expression. Leaning directions that give figures a dynamic stability.
- The creation of rational work, bridge between art and science, in which the non-rational self is less interesting than the intention to arrange the impetus of the world through geometry, utilizing the creative exercise as a source of knowledge.
- Graffiti as the ultimate ism, consistent with the liquid modernity, with its transitory relations and its disposable and ephemeral condition.
- The intention to capture the velocity and the enormous ultradynamic information.
- The constant allusion to future and cosmos, through shape and concept, as an element of thrust towards the aforesaid. The reference to omnipresence and the aspiration to it through graffiti.
- The exaltation of the eternal omnipresent velocity, driving force of the absolute.
Jan 17th - Feb 7th 2014
Installation at Colab Gallery.
Weil am Rhein, Germany. Dec 2012