2017

2015

2014

2012

Bedel continues to develop his photography. In February he opens the one-man show In Praise of Shadows at the Galería del Paseo, in Manantiales, Uruguay, exhibiting a series of seas and cities. At the end of the same month he travels to Mexico with Florence for his daughter Domitila’s wedding in Tepoztlán.

The University of San Martín commissions him to produce a work that will form part of its sculpture park project. He submits Minotaur.

In March he travels to New York to exhibit for the second year running at the AIPAD photography show, with the Vasari Gallery. In May he takes part in ArteBA with the Sasha D Gallery.

In June the Rolfart Gallery an art producer specializing in photography and video art, incorporates him into its staff of artists, including Gabriel Valansi, Graciela Sacco, Nicola Costantino and Marcelo Brodsky.

In August the group kinetic art exhibition Real/Virtual opens at the National Museum of Fine Arts, and he takes part in Lima Photo with the gallery GV Consultaría en Arte.

On a trip to Sicily in June he photographs ruins in Selinunte. The resultant images give rise to the series of works that make up exhibition La ira de Dios (The Wrath of God) in Paris in October the same year.

He submits The Basilisk, Or the Unstable Romance between the Tetrahedron and the Sphere for the 3 de Febrero University’s outdoor sculpture prize.

He receives a special mention for his sculpture De rerum natura, submitted to the Arnet Open-Air Sculpture Prize in Rosario.

With the Rolfart Gallery he takes part for the first time at the ArteBO art fair in Bogotá, and later in Buenos Aires Photo, presenting the series Political Crimes. Unlike the London show in 2008, what is exhibited here are the original architectural engravings with photomontage. On this occasion the work is completed with the 1970s photographs of these originals printed on the plastic supports currently used by Bedel.

 

 

2011

He exhibits in New York with the Vasari Gallery at the photography show of The Association of International Photography Art Dealers (AIPAD) in the Park Avenue Armory. The photographs and their techniques arouse the interest of specialist viewers.

In April his great friend and work and travelling companion, a fellow member of the  CAyC Group, Luis Fernando Benedit dies in Buenos Aires.

In August he takes part in Lima Photo, with the gallery GV Consultoría en Arte and in September travels to Venice with his wife, Florence, for the Genome Contemporary exhibition, where he displays a work from the large-scale virus series in the context of the 54th Venice Biennale. The exhibition is held in the former Welsh Pavilion, once a brewery – a huge rectangle of bare cement.

On his return to Argentina, he takes part in the XIII Architecture Biennial in the joint work “Condominium”, with Clorindo Testa, Justo Solsona and others. Almost simultaneously Horizontes de Manantiales (Horizons of Manantiales) opens at the Galería del Paseo in Manantiales, Uruguay, and (Testigo silencioso The Silent Witness) at the Recoleta Cultural Centre, an exhibition featuring the Obelisk in Buenos Aires.

He again exhibits his photographs at Buenos Aires Photo, this time in the Teresa Anchorena Gallery. On this occasion the Buenos Aires Museum of Modern Art (MAMBA) acquires one of the exhibited works for its collection, later to form part of Provocación del blanco (The Provocation of White), a display curated by Laura Buccellato.

The group exhibition Infinito sobre infinito (Infinity on Infinity) opens at the Buenos Aires Stock Exchange.

Elogio de la sombra (In Praise of Shadows) is a one-man exhibition that opens in November at the Sasha Davila Art Space in Córdoba and remains open until February 2012.


 

2010

He takes part in the exhibition Discontinuos (Discontinued ) at the Recoleta Cultural Centre, in ArteBA with the Wussmann Gallery and later in BA Photo with Gonzalo Vidal’s GV Gallery.

At La Plata’s Museum of Contemporary Latin American Art (MACLA) he holds a one-man exhibition entitled Jacques Bedel, featuring works from Approaches and his latest photographs.

To celebrate the 30th anniversary of the Recoleta Cultural Centre the exhibition Testa+Bedel+Benedit is held in the Cronopios Room, curated by Renato Rita. The exhibition brings together works by the three architects commissioned three decades ago to renovate the Governor Viamonte Old People’s Home in the current museum. Bedel presents four editions of his work The Plain in Flames, a motif he repeats over the years, adapting it to different techniques at different times. The show is accompanied by a catalogue with a text by Raul Santana.


 [PT1]De traducción delicada sin el referente. Me vendrían bien algunas imágenes.

 [PT2]¿Acerté? Desconozco.

 

2009

The exhibition Aproximaciones (Approaches) at the National Museum of Fine Arts stays open until 2 February, and Más aproximaciones (Further Approaches) at the Wussmann Gallery, until March .

June sees the group exhibition Species at the La Plata Museum, together with Miguel Patricio Harte, Luis Fernando Benedit, Fermín Eguía and Luis Búlgaro Freisztav. The exhibition stays open until mid-August.

Throughout the year Bedel continues to explore photography and presents the results at Buenos Aires Photo.

Bedel also takes part in the competition for the Colón Theatre’s new curtain, in which he was one of the three finalists.


 

 

2008

Bedel is invited by the Argentine Embassy in London to present a one-man exhibition, Political Crimes, comprising a series of works made from photographs of photomontages on engravings with architectural theme made in 1972.

This year’s output centres on works in a variety of plastic materials. November sees the opening of Aproximaciones (Approximations), a one-man show of his recent work (2005-2008), jointly curated by the artist Maria José Herrera and Florence Baranger, at the Museo Nacional de Bellas Artes de Buenos Aires. At the same time he presents Más aproximaciones (Further Approximation)  with works from the same series at the Wussmann Gallery.

Antoine Raymond publishes Jacques Bedel, Aproximaciones, with essays by Ana Maria Battistozzi and Renato Rita, and documentation by Florence Baranger.

 

2007

He shows Aproximación al mal [Approximation to Evil], made with black rubbish bags, and the Book Radiografía de la Pampa [Radiography of the Pampa] at the exhibition "Pampa, ciudad y río", ("The Pampa, the city and the river") organized by the OSDE Foundation. He exhibits works at the Instituto Valenciano de Arte Moderno (Modern Art Institute of Valencia), Spain, at the exhibition entitled "Fervor de Buenos Aires: Dibujos de arquitectos argentinos" ("Buenos Aires Fever. Drawings by Argentine Architects"). Using the same technique employed for his Virus series, he creates a transparent portrait of Flo and a Selfportrait. He takes part jointly in the Agalma Gallery exhibition with fellow architects Clorindo Testa, Justo Solsona and Miguel Baudizzone during the Architecture Biennial organized by Jorge Glusberg. He also shows works with his son Julian in the exhibition "Paisajes imaginados" ("Imaginary landscapes"), at the Bolsa de Comercio de Buenos Aires (Buenos Aires Stock Exchange). The Banco Central de la República Argentina (Central Bank of the Argentine Republic) awards him Second Prize for his work "Aproximación al mal".

2006

He marries Florence Baranger.

He continues to work on his technique for works created on a plastic base and shows three works from the series Virus when invited to take part in the Trabucco Prize. Bedel traps different materials between two transparent sheets which can be either flexible or rigid. At times, as is the case with his new series Aproximaciones al Mal [Approximations to Evil], images of bacteria, viruses and different kinds of micro-organisms ‘hidden' in the plastic are revealed to the spectator as the very shadows they project onto the wall when illuminated.

2005

His work El árbol de la ciencia del Bien y del Mal [The Tree of the Science of Good and Evil], based on the boundless energy released by nuclear explosions, gives rise to the series Las Mil y Una Noches [The Thousand and One Nights]. These explosions in the desert, which evoke photo negatives three metres long, are shown at an individual exhibition entitled "Le mille e una notte" ("The Thousand and One Nights") at the Instituto Italo Latinoamericano (Italo-Latin American Institute) in Rome, Italy. A large-scale retrospective exhibition entitled "Ficciones" is held at the Cronopios hall at the Recoleta Cultural Centre, in recognition of forty years of output. The book Jacques Bedel edited by Antoine Raymond is presented.

2004

Using transparent pages that can be turned, inverted and exchanged, he makes his series of Books entitled Radiografía de la Pampa [Radiography of the Pampa]. He also adds other works to the series Aproximación a la maldad [Approximation to Evil], Las luces y las sombras [Lights and Shadows], La sombra de Dios [The Shadow of God] and Más allá de Dios [Beyond God]. He draws up plans for the design of a country club in La Pedrera, Uruguay. The El Libro Foundation distinguishes him with the Academic Vocation Prize, while the Aerolineas Argentinas Foundation awards him the First Prize for Painting at the III Certamen Iberoamericano de Pintura (Third Ibero-American Painting Competition) for his work Aproximación a la maldad [Approximation to Evil].

2003

In El llano en llamas [The Burning Plain], he uses this new procedure of applying the image onto high-impact plastics, allowing him to dilute what is represented in visual terms. For this work, he receives a Special Mention from the Jury at the Third Prize of the Banco Ciudad Foundation. Aproximación a la nada [Approximation to Nothingness] and Aproximación al infinito [Approximation to the Infinite] are also examples of this technique. He draws up plans for a number of houses in the environs of Buenos Aires, and in Uruguay. He takes part in an exhibition given by artist-architects at the Victor Najmias Gallery, together with Justo Solsona and Clorindo Testa, as well as others. He also takes part in an exhibition of musive art held at the Murvi installations, for which he designs Summa stellarum, a mosaic mural measuring two by four metres.

2002

He travels to Santiago de Chile to take part in the exhibition "Artistas Arquitectos" ("Artist Architects") together with Clorindo Testa, Luis Fernando Benedit and Juan Fontana held at the Gasco salon. He receives an Honorary Mention at the "Close-Up Prize" at the National Museum of Fine Arts for his work Summa stellarum. He participates in the Enersis Latin American Painting Competition held at the Museo de Artes Visuales (Museum of Visual Arts) in Santiago de Chile, in the company of other Argentine artists such as Pablo Siquier, Ana Eckell and Alfredo Prior. The concept of a latent threat underlying his work in the form of a mirror image that never finally becomes concrete is represented in El desierto de los Tártaros [The Tartar Steppes]. At the Grupo Nacional Gallery, he shows works from the series Historias del mar [Sea Stories] and La noche herida [Wounded Night]. At this time, he starts using new materials in his works.

He moves with Florence and her sons Manuel and Julia.

2001

The Fundación Proscenio (Proscenium Foundation) awards its Outstanding Contribution Award to Bedel and also Master Washington Castro and the Rector of the University of Buenos Aires, Guillermo Jaim Etcheverry. Bedel creates three new versions of La noche herida [Wounded Night] and three large-scale works in the Summa Stellarum series, depicting huge empty spaces where the stars seem to change places according to how the light shines on the work. He presents La noche herida at the Premios Fundación Banco Ciudad (Banco Ciudad Foundation Prizes) held at the Museum of Fine Arts in Buenos Aires. Bedel takes part in the Ninth Architecture Biennial of Buenos Aires, also held at the National Museum of Fine Arts.

2000

Bedel creates a further series of La ciudad invisible [The Invisible City] for a competition to create a mural for the Boston Bank. Using new reflective material normally employed in telescope mirrors, he is able to put into practice an idea from 1981 about the relativity of observation according to the position of the spectator. He begins work on the series Summa Stellarum, which he continues the following year. At the Third Constantini Prize held at the National Museum of Fine Arts, he exhibits Historias del mar [Sea Stories], subsequently shown at the First International Art Biennial of Buenos Aires, held at the same institution. He takes the idea of shadows even further in his works Hipótesis para la sombra de un agujero [Hypothesis for the shadow of a hole] and Hipótesis para la sombra de un tajo [Hypothesis for the shadow of a gash].  

1999

He holds an exhibition at the Natan Gallery in Buenos Aires, where he shows Los dueños del mundo and Res Vitae. He represents Argentina in the Venice Biennial 1999 together with Luis Fernando Benedit, Oscar Bony and Dino Bruzzone, and shows his series of Scrolls Apocalípsis [Apocalypse]. He creates his canvas El eterno retorno [The Eternal Return].  At the Fortabat Foundation Prize, he presents El Manantial [The Fountain], a hollow column in whose interior a text is inscribed which appears and disappears according to how the light falls upon it. Bedel shows works at the exhibition "Das vanguardias ao fim do milénio" ("From the vanguard to the end of the millennium") at the Culturgest in Lisbon, Portugal.

That year, he begins his relationship with Florence Baranger.

1998

Continuing with his research into the effects of light in his work, he creates pictures with images that appear or disappear according to where the observer is standing. The paradox lies in the fact that two people may be looking at the work simultaneously, but may or not perceive the image hidden in the picture. The series El eterno retorno [The Eternal Return] also belongs to this period, as do La ciudad invisible [The Invisible City] and La puerta del paraíso [The Door of Paradise], a work that is subsequently presented for the 1998 Constantini Prize. He takes part in the exhibition "Terra incognita" at the Centro Cultural Banco do Brazil, (Brazil Bank Cultural Centre) in Brazil, and in "Imágenes de Argentina. Analogías" ("Images of Argentina. Analogies") held at the Centro Cultural Santillana del Mar (Cultural Centre Santillana del Mar), Spain. He creates his first work in the series Aproximación a la nada, [Approximation to nothingness] in which he traces the path of sub-atomic particles and the microcosm in general. At the Seventh Architecture Biennial held in Buenos Aires, an international jury awards him the Grand Architecture Prize of Latin America.

1997

He researches minerals with reflective, light-absorbing or polarizing properties which generate completely different perceptions according to the angle of observation and created the series Singularitas. At the First Costantini Painting Prize, he receives a Mention of Honor for Aproximación al infinito [Approximation to the Infinite]. He is also awarded the following: the Leonardo Prize for the Artist of the Year 1996, a Special Mention of the Jury at the Novartis Painting Prize for his relief work Vórtex, and the Honorary Mention for the Sculpture Prize awarded by the Instituto Nacional de Educación Técnica (INET) (National Technical Education Institute). Bedel creates the work Tango for an exhibition of the same name at the Palais de Glace in Buenos Aires. He takes part in the First Visual Arts Biennial of the Mercosur at the Fundação Bienal de Artes Visuais do Mercosul (Mercosur Visual Arts Viennial Foundation) in Porto Alegre, Brazil, and subsequently in the Sixth Chandon Painting Biennial in Buenos Aires with Stella Neutroni. At the exhibition entitled "Panorama de la escultura contemporánea argentina" ("Panorama of contemporary Argentine sculpture") he presents Culebrón hembra [Big Female Snake] and Culebrón macho [Big Male Snake].

1996

He inaugurates Ignis, a new series of twelve Scrolls made from electrolytic iron on cloth, a record of the intense energy waves produced by the conflagration of the sun. La noche herida [Wounded Night] is shown at the National Museum of Fine Arts for the Third University of Palermo Art Prizes, subsequently receives an award and is purchased by the same institution. In his work El elogio de la sombra [In Praise of Shadow], he returns to the use of plastic as a support.

1995

Invited to take part in the First Kwangju International Art Biennial in South Korea, Bedel presents his series Res Vitae, his Book Zen and some Scrolls from the Verbum series.He inaugurates the exhibitions "Libro de artista" ("An Artist's Book") at the Institute for Ibero-American Cooperation and "1999. Fin de siglo" ("1999. End of a century") at the Patricios Bank Foundation.  He also shows his work at the Museo de Bellas Artes (Museum of Fine Arts) in Caracas, Venezuela, at an exhibition of Argentine art from Venezuelan collections. He takes part in the exhibition "Oro de Autor" ("The Author's Gold") at the National Museum of Fine Arts and his jewellery designs are subsequently rendered by gold and silversmiths in Arezzo, Italy. He is once again awarded a Gold Medal at the Prize of the National Museum of Fine Arts / Banco República. Los dueños del mundo and Aproximaciones al mal [Approximations to evil], the image of a virus projected onto different plastic materials are the start of a series of works about evil. The Velez Sarsfield Football Club acquires his sculpture Victoria [Victory].

1994

Bedel continues work on his series of Scrolls Verbum (R0545), as well as dedicating himself to a number of different architectural projects for residential dwellings. The CAYC Group is invited to show works at the Museum of Fine Arts in Santiago de Chile. The eleven Scrolls from the Verbum series are exhibited, evoking the dialogue between Man and the Absolute, as well as his Books Las ciudades de plata, Fulgur, Zen and Summa Geométrica. Bedel inaugurates the exhibition "La escena y la escritura" ("The scene and the writing") at the CAYC and is awarded the Special Prize of the Jury at the Galería del Este Prize. He makes a new version of his Relief series Las ciudades de plata. With the creation of his sculptures Los dueños del mundo [The Owners of the World] Bedel once again questions the notions of power and hierarchy.

1993

He is awarded the First Prize for the design of the Trophy for the National Arts Foundation in Buenos Aires.He takes part in the ARCO '93 Fair in Madrid, Spain, again with the Ruth Benzacar Gallery. His large-scale work Aproximación al infinito [Approximation to Infinity] is the start of his study of the fourth dimension. This is shown in a relief work with a slash crossing the canvas along the same line as the horizon. He takes part in the exhibition "Lateinamerikanische Kunst Im 20 Jahrhundert" ("Latin American Art in the 20th Century") at the Ludwig Museum in Cologne, Germany, which later travels to the Museum of Modern Art in New York City, USA. With the CAYC, he shows a selection of his Books at the Striped House Museum of Art in Tokyo, Japan. 

1992

He is awarded the Konex Prize for his contribution to the Visual Arts, as well as the Silver Medal awarded at the Siemens Prize for his Relief work El rayo que no cesa. Bedel presents Verbum at the Ruth Benzacar Gallery, a series of twelve lead Scrolls inscribed with sacred texts written in diverse tongues, transcriptions of the Divine Word, according to different religions (R0530). The CAYC Group inaugurates its exhibition "Bestiario Americano" ("American Bestiary") and Bedel presents Culebrón hembra [Big Female Snake] and Culebrón macho [Big Male Snake]. The collective travelling exhibition "Artistas Latinoamericanos del Siglo XX" ("Latin American Artists of the 20th Century") is put on at the Plaza de Armas in Seville, Spain, and at the "L'Univers de Borges" ("The Universe of Borges"), at the Georges Pompidou Centre in Paris, France.

1991

Bedel is awarded the Special Mention at the Hoechst Sculpture Prize (R0510). He shows his works at the ARCO '91 Fair in Madrid with the Ruth Benzacar Gallery. Within the framework of the "Art of the Americas: the Argentine Project", devised by Ruth Benzacar, Bedel holds his first show at the Simon Watson Gallery in New York City, where he exhibits a selection of Scrolls and Books from the Fulgur series (R0511). With the CAYC Group, he takes part in the Fourth Havana Biennial in Cuba. The Twenty-first Biennial of Sao Paulo coincides with the twentieth anniversary of the CAYC Group, which presents "Eldorado".

1990

He undertakes a few smaller-sized works in a series called El puño de plata [The Silver Fist], subsequently shown during the Eleventh Critics' Seminars, at the "Eldorado" exhibition at the Ruth Benzacar Gallery. He is awarded an Honorary Mention at the Alto Palermo Prize for a sculpture.

1989

Bedel buys a house in the Buenos Aires district of Monserrat. With Alfredo Prior, he exhibits under the shared name of "Lectura de Artista" (An Artist's Reading") at the Institute for Ibero-American Cooperation. Bedel shows an installation including his sculpture El rayo que no cesa [The Incessant Lightning] and two Books from the series El Poder y la Gloria [The Power and the Glory]. "Ideas and images from Argentina" is presented at the Bronx Museum of the Arts in New York City, USA.

1988

He receives the First Prize in the contest to design the trophy for the Architect of America Prize, awarded by the Panamerican Federation of Architects' Associations. At the "CAYC Patagonia" exhibition held at the Ruth Benzacar Gallery, he presents El gran límite [The Great Limit].

During this year, he divorces his wife.

1987

He finishes work on Malabrigo, his country house in Gualeguaychú, province of Entre Ríos. This, an emblematic work of architecture, proposes a new concept to update the old Argentine estancias, which he also develops at La Calderona and El Reposo. He is awarded the Gold Medal at the Second International Architecture Biennial of Buenos Aires. Bedel takes part in the exhibition "Ideas and images from Argentina" at the Aalto Alvar Museum in Jyväskylä, Finland. He also receives the Argencard-Mastercard Prize and the First Sculpture Prize at the Juri Awards. Bedel creates the sculpture El Dios desconocido [The Unknown God] and the Books El Poder y la Gloria [The Power and the Glory], the confrontation between a crucifix and a crudely-hewn machete. These are included in the exhibition "Missões 300 anos" ("Three hundred years of the Missions") which tours several cities in Brazil. 

1986

Invited to take part in the Venice Biennale, the CAYC Group shows Las ciudades de plata. Meanwhile, at the Ruth Benzacar Gallery, Bedel inaugurates his individual exhibition of sculptures, "El sexto sello" ["The Sixth Seal"]. He receives an Honorary Mention from the Fortabat Foundation for his work El Dios reencontrado [God Found Again], a huge spinning sphere resting on casters at its base.

1985

With the introduction of a mobile internal counterweight within his hollow spheres, he manages to place these in extreme situations defying gravity. Aproximación a la incertidumbre [Approximation to Uncertainty]. For Bedel, this is a seminal work as it condenses the ideas at its core and is also innately simple as an object. The sphere is harmony as long as it remains at the centre of the base which supports it. However, when it moves to the edge of the base, it creates unease and tension.Bedel presents his works at the Ruth Benzacar Gallery. He is once again awarded the First Prize by the Argentine Association of Art Critics for the first in a series of works about spheres, the synthesis of ‘Absolute Perfection'. Continuing with his hypotheses of destruction, he photographs the progressive collapse of the scale model of a building and begins work building La mano de Dios [The Hand of God], an assembly of five large-scale obelisks coated in electrolytic coal.

1984

Bedel holds an individual exhibition entitled La Mar Océana [The Oceana Sea] at the Museum of American Art in Maldonado, Uruguay, in which he shows works painted on sacking. In a new attempt to define the un-encompassable infinite, he builds the first Aleph. His Libro de Arena [The Book of Sand] represents another ‘inconceivable' object whose content is equally ‘infinite' --a text that can be written over and over again upon the sand contained in the book. The fragmented maps from the "Terra Incognita" [Unknown Land] series also belong to this phase, as they can be extended without limits. His works are inaugurated at three separate exhibitions: "Dos décadas de Arte Argentino" ("Two decades of Argentine Art"), at the Cultural Centre of the City of Buenos Aires; "Las Jornadas de la Crítica" ("The Critical Seminars") at the Ruth Benzacar Gallery, and the third with the CAYC Group in the Arte Nuevo Gallery. The CAYC Group presents its exhibition "Hacia el fin de una segunda Edad Media" ("Towards the end of a second Middle Ages") in The Frances Lehman Loeb Art Center, New York, USA.

1983

He designs a series of medals for a competition organized by Bodegas Trapiche and a Monument to the Constituents of Santa Fe. The CAYC Group receives the Prize for the Best Exhibition of the Year by the Argentine Association of Art Critics for its retrospective exhibition held at the Cultural Centre of the City of Buenos Aires. At the Union Carbide Gallery, Bedel holds an individual show of his series "Encuentros entre el artista y su memoria" [Encounters between the Artist and his Memory] and exhibits Los Príncipes Australes [The Southern Princes]. He completes a series of lead Scrolls about messages sent into outer space, including El mensaje de Arecibo [Arecibo's Message], and about the Divine Word, Yo soy el que soy [I am that I am].

1982

Bedel creates Obelisco Punta del Este [Obelisk Punta del Este] for the "I Encuentro Internacional de Escultura Moderna al Aire Libre" (First International Open Air Show of Modern Sculpture) held in Punta del Este, Uruguay. Its ruler-like lines may be seen as a pointer to the stars and constellations above. He is awarded a Fulbright grant to travel to the US for a research project on the use of mathematical language at the Department of Astronomy at Cornell University, where he is named Visiting Fellow. He develops a close relationship with Frank Drake, then Director of the National Astronomy and Ionosphere Center (NAIC). He subsequently takes his research to the NASA in Washington, where he specializes in investigating different types of light materials used in space studies, capable of resisting very high temperatures.

1981

Bedel presents his first lead Scroll Memoria de América [Memory of America] (R0409) at the I International Art Biennial of Montevideo, Uruguay, for which he is awarded the Grand Prize of Honour. He moves with his family to a house in Virrey Cevallos street, where he installs his workshops and architectural studio. The CAYC Group presents its exhibition "Hacia el fin de una segunda Edad Media" ("Towards the end of a second Middle Ages") at the Musée Cantonal des Beaux Arts de Lausanne (Cantonal Museum of Fine Arts in Lausanne), Switzerland, after a showing at Rosc '80 in Dublin, Ireland. He holds a show at the Museum of Art in Osaka, Japan, and travels to Chile to take part in the Fifth Art Biennial in Valparaiso. He illustrates the volume of poetry by Ramón de Oliveira Cézar (h), Adiós Completo [Utter Farewell]. His first works using points of light as stars date from this stage in his career. With Luis Fernando Benedit and Clorindo Testa, he receives the First Prize for Architecture, Urban Planning and Environmental Improvements from the Centre for Environmental Planning and Studies (CEPA) in recognition for the design of the Cultural Centre of the City of Buenos Aires.

His daughter Domitila is born.

1980

His father dies.

Bedel holds an individual exhibition at the García Bes Gallery in the city of Salta, Argentina. The Gillette Foundation awards him a Special Mention as part of its commemoration of the Monument to the Fourth Centenary of the Second Foundation of the City of Buenos Aires. He wins First Prize in the competition to design the General Enrique Mosconi Monument. The CAYC Group held an exhibition at the Ruth Benzacar Gallery. The Junior Chamber of Buenos Aires nominates him for the group of Ten Outstanding Young People in recognition of his career and achievements. The Centro Cultural de la Ciudad de Buenos Aires (Cultural Center of the City of Buenos Aires) is inaugurated, currently known as the Centro Cultural Recoleta (Recoleta Cultural Centre).

1979

He meets the gallery owner Ruth Benzacar, the start of a long relationship of collaboration and friendship. With the Group of Thirteen, he presents works at the Fifteenth International Art Biennial in Sao Paulo, Brazil, as well as at the Latin American Print Triennial and "El Dibujo en la Argentina" ("Drawing in Argentina") held at the Joan Miró Foundation in Barcelona, Spain. He holds an individual sculpture exhibition at the Ruth Benzacar Gallery. He receives the "Premio Perel de Esculturas en Acero" ("Perel Steel Sculpture Prize") at the Museo de Arte Moderno de Buenos Aires (Museum of Modern Art of, Buenos Aires), for a huge hollow book made of stainless steel, engraved with the faces of the Moon, entitled La memoria de la humanidad [Memory of Mankind]. The use of quasi-indestructible material, as well as the identifiable and accessible image of the hidden face of the Moon, transforms this work into a veritable transmitter of culture and point of reference for civilization far into the future.

1978

His son Julián is born.

Bedel creates Los horizontes de plata [The Silver Horizons], a series of large drawings on paper. He is commissioned to redecorate the former Governor Viamonte Old People's Home and turn it into a Centre for Culture. Bedel invites his fellow-architects Clorindo Testa and Luis Fernando Benedit to join the project. With the Group of Thirteen, he participates in the installation ‘Signs in Artificial Eco-systems', held at the Museu de Arte Moderna (Modern Art Museum) of Rio de Janeiro, Brazil. During the Latin American Art Biennial of Sao Paulo, the Group of Thirteen presents Los Mitos del Oro ("The Myths of Gold"). At "La Joven Generación" ("The Young Generation"), an exhibition organized during the International Critics' Seminar, Bedel presents Los fundamentos [The Foundations], vast books containing ever-more abstract content, for which he was awarded the First Prize of the Critics.

1977

The relief works in the series Las ciudades de plata refer to aerial views of cities in ruins, whose metallic splinters reflect light according to where the spectator is standing. At his individual show held at the CAYC, Bedel exhibits his Books, enclosing remnants of ruins and landscapes, as well as his other sculptures in the series El gran límite [The Great Limit]. With the CAYC Group, he shows works as part of "América Latina ‘76" ("Latin America '76") at the Joan Miró Foundation in Barcelona. The Group of Thirteen, made up of Jacques Bedel, Luis Benedit, Jorge Glusberg, Jorge González Mir, Víctor Grippo, Leopoldo Maler, Vicente Marotta, Luis Pazos, Alfredo Portillos and Clorindo Testa, presents works under the title ‘Signs in Artificial Eco-systems', at the XIV International Art Biennial in Sao Paulo, Brazil. They receive the Itamaraty Grand Prize. Bedel also presents works at the Krief-Raymond Gallery in Paris, France.

1976

"Art Systems in Latin America" is presented at the Louisiana Museum of Contemporary Art in Humlebaek, Denmark. He creates his first Books in the series Las ciudades de plata [The Silver Cities], a model that he has continued to develop in different series throughout his creative career. He also begins work on studying the tension between good and evil with Eros y Tánatos [Eros and Thanatos]. The French Government purchases his Book Hipótesis para la destrucción de una ciudad [Hypothesis for the Destruction of a City]. Back in Buenos Aires, he uses electrolysis with iron to create his first work in the series, El país de plata [The Country of Silver]. The theme of the horizon becomes his newest obsession.

1975

Bedel creates La Soledad [Loneliness] (R0212) and La Sabiduría [Wisdom] (R0213), sculptures made out of acrylic and mineralized material. The British Council awards him a grant to pursue research into new sculpture materials in London. With the CAYC group, he wins the Gold Medal at the International Exhibition of the United Nations "Peace 75" in Slovenj Gradec, Yugoslavia. Meanwhile, "Art de systèmes en Amérique Latine" ("Art Systems in Latin America") is showing at the Espace Cardin in Paris, France, and at the Galleria Cívica d'Arte Moderna (City Gallery of Modern Art) in the Palazzo dei Diamanti in Ferrara, Italy.

1974

Under the auspices of the CAYC, he takes part in "Latinoamérica ‘74" at the International Cultureel Centrum (International Cultural Center) in Antwerp, Belgium, and subsequently at the Paleis voor Schone Kunsten (Fine Arts Museum) in Brussels, Belgium. The exhibitions "Hacia un perfil del arte latinoamericano" ("Towards a profile of Latin American Art", "Fotografía tridimensional" ("Three-dimensional photography"), "Arte de sistemas" ("Art systems") also toured Europe, showing the cutting-edge of Latin American art with works such as Los desastres de la Guerra. He participates in the "9th International Biennial of Prints" at the National Museum of Modern Art in Tokyo, Japan. He produces the Auto da Fé series of drawings (R0196) and engravings (R0207).

His twin sons, Nicolás and Jerónimo are born.

1973

The escalating political and social tension of these years can be seen in his works, in particular, his series Los crímenes políticos [Political Crimes], with Monumento al prisionero político [Monument to a Political Prisoner] and Los desastres de la guerra [Disasters of War]. In La vuelta al hogar [Coming Home] and La sentencia [The Sentence], the human figure, motionless but nonetheless present in Crímenes..., disappears altogether to be represented by an empty suit of clothes. He presents La vuelta al hogar at the first I Premio De Ridder (First Marcelo De Ridder Prize), held at the Museo Nacional de Bellas Artes (National Museum of Fine Arts) in Buenos Aires. Hipótesis para el incendio de una iglesia [Hypothesis for the Burning of a Church], Bedel's first Book sculpture, is effectively the launch of one of the great paradigms of his artistic work. He presents Logos at the Meta Exhibition Language in Tokyo, Japan. At the Fourth Salon for Artists with Acrílicopaolini, he shows Antimateria [Antimatter], while "Jacques Bedel. Esculturas" is presented at the Martina Céspedes Gallery.

1972

Bedel is invited by Jorge Glusberg to become a member of the Group of Thirteen at the recently-created Centre for Art and Communication (CAYC). He takes part in several exhibitions: "Hacia un perfil del arte latinoamericano" ("Towards a profile of Latin American Art", "Fotografía tridimensional" ("Three-dimensional photography"), "Arte de sistemas" ("Art Systems") and "Arte e ideología: CAYC al aire libre" ("Art and Ideology: CAYC out in the open"). His works are shown at the "Encuentro Internacional de Arte de Pamplona" (Pamplona International Art Meet) in Spain. He presents his first series of Destructions and Catastrophes in heliographic copies. The difficult political climate permeating everyday life at the time is reflected in his works Las manifestaciones de agosto [August Demonstrations] and Las manifestaciones de septiembre [September Demonstrations]. He qualifies as an Architect and soon after designs his first project. Bedel is awarded First Prize at the Third Salon for Artists with Acrílicopaolini for Aequatio. The constant of this equation is centered on a stone cut in half, while the variable element is represented by pieces which repeat the cut stone in transparent acrylic.

He marries Cristina de Oliveira Cézar.

1971

He is awarded the third prize for sculpture in the II Salón Artistas con Acrílicopaolini (Second Salon for Artists with Acrílicopaolini) for Hipótesis para una prisión [Hypothesis for a Prison]. Another work, La gran muralla [The Great Wall] conceptually very similar, also incorporates the idea of the infinite. This concept is reinforced in Hipótesis para la desaparición de una piedra [Hypothesis for the Disappearance of a Stone]. Bedel wins the Silver Medal at the II Certamen Nacional de Investigaciones Visuales (Second National Competition for Visual Research) for his work Energeia (R0087). At the third Salón Italo, he wins the third prize for sculpture in "La Energía en las Artes Visuales" ("Energy in the Visual Arts") contest for his work Fuerza magnética referida a energía [Magnetic force referring to energy].

1970

Bedel begins working with dematerialization, using micro-perforated steel sheets. Depending on the angle of vision, the works created from this material can appear solid or transparent, as in the case of Objeto paradojal [Paradoxical object]. He shows his work at the Norglas-sponsored competition organized by the Centre for Art and Communication of Buenos Aires (CAYC), "Escultura, follaje y ruidos" ("Sculpture, leaves and sounds") at Plaza Rubén Dario.

1969

He illustrated the volume of poetry "El aire todo" [The air is all], written by his father, René Bedel. For the VI Paris Biennial, he presents Ciudad para armar [A city to be built] (R0034), exhibited at the Musée d'Art Moderne (Modern Art Museum) in Paris. He also shows works at the "Comparaisons" ("Comparisons") exhibition in the same institution as well as at the exhibition "Artistes Etrangers" ("Foreign Artists") at the Maison ORTF. Jorge Romero Brest, the Director of Visual Arts at the Di Tella Institute in Buenos Aires, invites him to participate in the exhibition "Luz, color, reflejos, sonido y movimiento" ("Light, colour, reflections, sound and movement"): Bedel presents 13 piezas en dos series reflejantes [13 pieces in two reflective series].

Bedel meets Cristina de Oliveira Cézar, his future wife and mother of his four children.

1968

 "Opformas", Bedel's first individual exhibition, is held at the Galatea Gallery in Buenos Aires. His research into reflected spaces leads to the creation of the series Alter ego [Alter ego] and El ojo de Dios [The eye of God]. He receives the Braque Prize Bronze Medal as well as a grant from the French Government, inviting him to further his studies in the area of Visual Research in France. During this time, he shows works at exhibitions both in Paris and other major cities. Later, he returns to Argentina to resume his university studies in Buenos Aires.

1967

"Cromosombras", Bedel's first exhibition, is held at the Pizarro Gallery in Buenos Aires jointly with Rómulo Macció and Alberto Greco, as well as other artists. Bedel's works include mobile sculptures lit up to project coloured shadows on screens of different shapes.

1965

He begins his university studies at the Facultad de Arquitectura y Urbanismo (School of Architecture and Urban Planning) of the University of Buenos Aires.

1953

1953-1966 He completes his primary and secondary school education at the Argentine Escuela Modelo in Buenos Aires.

1953

1953-1966 He completes his primary and secondary school education at the Argentine Escuela Modelo in Buenos Aires.