An article by Hanniya Abid, after a conversation with Mariano Akerman. Published as "Art: A Passion for Hope through Imagination," Blue Chip Magazine, ed. Mashaal Gauhar, Vol. 8, Issue 89, Pakistan, March-April 2012, pp. 18-22. Ref. Mariano Akerman's art: origins, sources of inspiration, exhibitions, and critics' response.

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A passion for hope through imagination
by Hanniya Abid and Mariano Akerman
The painter with some of his small format collages, Islamabad, 2010
M
ariano Akerman was born in Buenos Aires in of ideas. A generous teacher, Moroca used to share her
1963. Architect and historian, he is also a multi- gouaches and brushes with her nephew. She had a good art
disciplinary artist. In an exclusive interview, he library and usually lent him art manuals and other books
shared some of his thoughts on art and life. According to among which were a biography of Michelangelo, Julio
Mariano, a painter should no longer be a slave of reality. Payró’s Modern Painting, and Scott’s volume Design
“Today we need to create a better reality, not just imitate Fundamentals. Above all, Moroca encouraged the spirit of
the existing one.” Mariano reminds us of the words of exploration. At Mariano’s behest, she taught the history of
Antoine de Saint-Exupéry, “it is only with the heart that art in her workshop. It is significant that it was Moroca
one can see rightly; what is essential is invisible.” Mariano who introduced Mariano’s early work to the Casa de la
Akerman is convinced that, “appearance is not essence, Pintura Argentina (1984) and paved the way for his first
but mere accessory.” Long ago he deliberately chose not to solo exhibition at RG Fine Art (Galería Rodríguez-Gervasi
be a painter of appearances. en Arte, 1986).
During the 1960s and 1970s, he received art lessons Mariano’s passion for books began in early childhood.
from his aunt Moroca at the Pirouettes Studio. As a painter, He was particularly fond of looking at the illustrations of
Moroca had a surrealist approach. She taught the art of the encyclopaedia called El tesoro de la juventud (The
automatism and stimulated her students’ free association Treasure of Youth, c.1947), which included, among other
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Mariano Akerman, Nothing of Kiss Me a Lot,
gouache, 1979
Mariano Akerman, The Way I Love You, pencil and
watercolour, 1989
ART
things, “some most unexpected characters” that could be ed in 1947, as “incomplete”, and thus added every-
traced back to Lewis Carroll’s Alice in Wonderland thing he supposed she was longing for — eyes, nose,
(1865). mouth and eyebrows.
Another important influence was Dictionary of As the eleven-year-old prize-winner of a Reader’s
Modern Art. One of the illustrations in that book was Digest art contest, Mariano received a book whose subject
James Ensor’s bizarre picture Intrigue (1890), whose matter delved into the strange, the astonishing and the truly
strange figures wore distorted masks hinting darkly at extraordinary. Immersion in this book had a profound
uncertain intentions. In 1967 Akerman doodled over effect on the young boy, carrying him in a sense from the
the illustration, which showed that the Belgian realm of reality into the realm of the imagination, where he
painter’s image was important to him but at the same would often feel most at home. Another powerful stimulus
time showed his desire to soften what he later under- to Mariano’s young creative sensibility was early
stood to be “a grotesque masquerade.” The sense of Netherlandish painting that included the amazing configu-
the grotesque can be expressed in terms of either over- rations of Hieronymus Bosch.
abundant or missing attributes. Still a child, Akerman As a teenager, Mariano had breakfast once a week with
thought of Henri Matisse’s Young English Girl, paint- his grandfather in a cafeteria not far from his home. Once
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Mariano Akerman, Three Figures by a Window, watercolour and mixed media, 1989
breakfast was over, Mariano’s grandfather would buy him ness.” He painted the mythological protagonists in sur-
the informative weekly issue of the Salvat Student’s real terms. Called Nada de Bésame Mucho (Nothing of
Encyclopedia (1981-82), which was particularly rich in Kiss Me a Lot), the resulting picture was exhibited at
illustrations. It was in this encyclopaedia that, at the age of the Ministry of Education and, contrary to all expecta-
fourteen, Mariano discovered Francis Bacon’s disfigured tions, was highly praised.
figures. Professor Iglesias’ exercise provided Mariano with an
During Argentina’s period of dictatorship and repres- excellent opportunity to exercise his imagination. Trying
sion, Mariano’s art teacher at D.F. Colegio Sarmiento to “find his way” to remake Gérard’s image, he had bought
was Professor Iglesias. Unusually for the time, she an extraordinary book written in English entitled
taught in an unconventional and stimulating fashion Surrealism. Struggling with his limited grasp of the lan-
that encouraged all her students to express themselves guage, the young student found himself attracted to the
freely. On one occasion, Prof. Iglesias brought to class work of Salvador Dalí, René Magritte, Joan Miró, Max
a number of art reproductions and asked each student to Ernst and Yves Tanguy.
pick out the one that interested him the most. The chal- In 1979, Mariano participated in a youth drawing
lenge was that each would remake the artwork he had competition in Punta del Este, Uruguay, and won a
chosen in his own way. To a teenager the expression “in prize. A Visit to the House of My Aunt Moroca was the
your own way” could have been a problem, but this was title of his surreal prize winning entry. His next painting
not the case in this instance. Mariano chose François was Rococo Soirée in the House of a Medieval Princess,
Gérard’s Psyche Receiving the First Kiss of Love a picture fusing abstraction and the imaginary. Around
(1798), for in that image he found “some sort of tender- that time, an art critic wrote that Mariano Akerman dis-
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Mariano Akerman, Microcosm, mixed media collage, 1991, 2005
tanced himself from banal preoccupations, suggesting of the human figure, which sometimes adopts the form
unexpected experiences: the ones belonging to the of other living beings,” all of them confirm this princi-
empiric-meditative creator. ple. “Akerman’s theoretical formation rests on his archi-
Mariano’s first solo show, “Fiber Transformations tectural career; the rest is lived experience which he
and Sweet Tales,” took place at RG Fine Art in May incorporates into his work. Technical requirements lead
1986. The show included a gouache entitled Crystalline him to an attitude at once refined and playful. Gouache,
and other imaginative works, many of which were con- markers, colour pencils, collage, ink, and all the archi-
ceived with mixed media. At that time Mariano was tectural tools create the desired effects. One of the aims
studying architecture at Universidad de Belgrano in is the active response of the spectator who can partici-
Buenos Aires. He completed his education with a gradu- pate in the artistic game only by adding a personal dose
ation project in 1987. Another art critic, Monique of imagination and fantasy. In this way, the picaresque
Sasegur, detected important elements in his work and in eyes of the personages meet those of the witness, who
an article of hers entitled A Vital Message she wrote, “A must differentiate figure from background. But, do they
first approach to the pictures reveals a draftsman who actually merge? Too oriental or too decorative? One
dominates line, colour and space, sure of what he wants. would say ornamental, expressive, and powerfully hope-
If we look for a formal structure, this is obvious. But, ful.”
there is also a strong thematic basis: the work of this A second solo show at Faculty of Graduate Studies of
artist has an interesting vital message. Here, the simple Universidad de Belgrano (1988) was known as “Of Shell
does not exclude the profound. The undulating forms of and Content,” an expression conveying the artistic notion
the natural, the vegetable, the animal, and the excellence of form and meaning as inextricable. Such an idea is
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entirely consistent with Oscar Wilde’s understanding of art himself through water-based techniques such as water-
as both surface and symbol. In the exhibition catalogue, colour and gouache. He likes to make collages and draw-
Akerman quoted the words of André Maurois, “Art gives ings as well as sketches and designs. Technically, Mariano
the spirit what the world denies it — the union of contem- uses brushes in his own way and style, at times conscious-
plation and peace.” In the exhibited drawings and water- ly leaving aside traditional or conventional approaches.
colours, one could find “unusual voluptuousness, dream- While prizing creativity and inventiveness, the painter also
like enigmas, and beauty, all of them unfolding exuberant- recognises that the past will always be present in his
ly” (René Olivieri). imagery. After all, he is an art historian as well as an sartist.
Mariano’s third solo exhibit, “Ten Paintbrushes through Mariano’s painting style is intricate, precise, richly
Deep Waters,” was inaugurated at the Bank of Boston symbolic and wholly personal. His strikingly coloured
Cultural Foundation in 1989. Three by the Window, one of and textured paintings suggest a world of fantasy; yet on
the pictures exhibited, was described by art critic Teresita closer inspection, the various shapes and colours hint at
Pociello as a work whose mobile structure evoked Miró. a vital concern with real-world events and experiences.
Yet, according to her, the impact of Mariano’s picture was Some critics consider Mariano’s development as a
“americanista,” as it epitomised the imaginative qualities painter has been a matter of refinement of technique
that are “typical of from the American continent.” rather than of dramatic stylistic change. Others are
While one may or may not agree with Pociello’s ideas, impressed with his sensitivity to all kinds of cultural
it is noteworthy that Three by the Window was inspired by material, which could be a reflection of his intellectual
transatlantic sources such as Carroll’s imaginary charac- training and life experience. Thus sensitivity is com-
ters and Bacon’s Three Studies for Figures at the Base of a bined with an ability to empathise with the most diverse
Crucifixion (1944), an image Mariano first knew through cultural traditions and societies.
a Tate Gallery catalogue from the early 1980s. Yet Bacon’s Resident over the last twenty years in Asia, Mariano
picture conveys despair, while Akerman’s speaks of hope. thinks of himself as a bridge between various cultures and
It is in this sense that Akerman’s message finds expression traditions. Now living in Pakistan, his current concerns are
in select images which provide the artwork with “the mys- art and education. Commenting with enthusiasm on the
terious charm of things seldom seen by the human eye” distinctive patterns in textile and truck decoration,
(Zulema Vaini). Mariano talks of Pakistani trucks as “mighty modern ele-
“Ten Paintbrushes through Deep Waters” was inaugurat- phants.” Speaking of his first visit to Lok Virsa, which was
ed with a series of telling remarks by poetess Bettina his introduction to Pakistani material culture, Mariano
Sandrini, “There is a precise and delicate line in Mariano’s observes, “It was a great experience and impressed me a
work. As he depicts forms and details, his inner richness is lot, due to its multi-traditional dimension.”
expressed in terms of joy. In this way, his characters dream Of his experience in Pakistan in general, Mariano
and grow up under skies, specially created by him in order says, “Not even for a second have I had the feeling of
to convey the better world he aspires to. Through a patient being an alien in this country.” Asked to comment on
distillation, Mariano brings innovation into the visual arts.” Pakistan’s attractions, Mariano prizes its natural beauty,
Such innovation relates to Mariano’s use of the imagi- which he says gives him peace of mind. He appreciates
nary. As Giordano Bruno once put it, “the fictitious image the variety of the seasons. Considering the political situ-
carries a truth of its own.” This is true in Mariano’s pic- ation in Pakistan, Mariano rejects its portrayal as a prob-
tures where a certain symbolism is undoubtedly present. lematic country, mostly because “good things and bad
Yet the artist is reluctant to discuss this aspect of his work. things happen everywhere these days.” Mariano values
“Sometimes,” he comments, “to talk about your own work life. He is convinced that a dialogue between tradition
is as necessary as dance is to architecture.” Even a tree in and modernisation is both possible and necessary. As an
bloom has some of its parts buried underneath. artist, he rejects the idea of a world without diversity.
Writing from the Museo Nacional de Bellas Artes “Imagine the world as completely uniform. Would you
(National Museum of Fine Arts), in Argentina, Jorgelina like to live in a place where everyone looks identical,
Orfila indicates that “with secure hand and controlled does exactly the same things, speaks only one language
drawing, a prolific imagination finds expression in and always thinks in the same way? Even the most
Mariano’s work. His technical knowledge intermingles ardent champions of technological development would
with a profound introspection, and an almost obsessive agree that such a world would be sad and boring. It
desire to transcend the formal, to convey deep meanings.” would be a catastrophe, the triumph of mediocrity. One
Mariano Akerman has exhibited in solo or group shows sees value in cultural diversity. God has created a world
in a range of countries, including Argentina, Spain, Japan, based on the principle of diversity, not uniformity. You
The Philippines, Sweden and Pakistan. He has been award- simply have to contemplate nature for a while. There is
ed twelve major international prizes. Today he expresses variety everywhere.” q
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