Eduardo Hoffaman

EDUARDO HOFFMAN (Mendoza, Argentina, 1957).
Untitled (nº-2230), 2001.
Mixed media on canvas.
Signed on the back, dated and titled on the back.
Measurements: 203 x 183 cm.
In this work the author uses an abstract, irregular language, of organic character both in its outline and in its textures and colors. Eduardo Hoffmann was trained at the Faculty of Art of the National University of Cuyo, where he studied painting under the guidance of the master Zdravko Ducmeli, a fundamental figure in his early aesthetic definition. That initial training, anchored in technical discipline and experimentation with color and matter, would become the foundation of a career that, since the late nineties, positioned him as a constant presence in the Argentine and international art scene.
From his first participations in the major global fairs - Miami, Chicago, New York, Madrid, Vienna, Basel - Hoffmann consolidated a body of work that crossed borders naturally. Since 1998 his presence in international circuits becomes sustained: he exhibits in ARCO Madrid, Art Chicago, Art Miami and in the emblematic Arte Argentino Contemporáneo at the Museo Nacional de Bellas Artes. This cycle continues strongly in the following years: Basel (Art/30/Basel and Art/31/Basel), Vienna (Galerie Ernst Hilger), Madrid (ARCO), New York (Art International and several editions of Sotheby's Latin American Painting), configuring an early projection that places him within the movement of internationalization of Argentine contemporary art.
In the 2000s, Hoffmann deepens his dialogue with reference galleries such as Diana Lowenstein Fine Arts (Miami, Basel, Chicago), Isabel Anchorena (Buenos Aires), Der Brucke (Madrid/New York) and Arthus Gallery (Brussels). He exhibited at ArtBasel (2002), returned repeatedly to ArteBA and participated in significant curatorial projects such as El mapa es el tesoro (Centro Cultural Borges). His recurring appearances at Sotheby's and Phillips de Pury & Company auctions also correspond to this stage, an indicator of the recognition achieved by his work within the international Latin American art market.
Between 2005 and 2015 his production acquires an expansive character, with a remarkable geographical deployment: Barcelona (Salon del Grabado), Paris (Galerie Martel Greiner and Carolina Nollet), Brussels (BRAFA Art Fair), Rio de Janeiro (Almacén Gallery), London (Pepper Gallery), Shanghai, Beirut, Malaysia and Morocco. In parallel, he maintains a sustained presence in Buenos Aires through ArteBA, solo exhibitions at Isabel Anchorena, Lordi Arte Contemporáneo and his constant participation in the Talleres Abiertos de Par en Park, one of the active poles of contemporary art in Buenos Aires. Likewise, his work reaches institutions such as the Killka Museum (Mendoza), the Emilio Caraffa Museum (Córdoba) and the Porsche Museum (Stuttgart), which evidences the growing institutional interest in his visual language.
In 2013 and 2014 he reaches two important milestones: his participation in Sotheby's Latin American Art in New York and the presentation of the Catalogue Raisonné 2005-2013, which consolidates a decade of production. That same year his work is presented in Central Park and he participates in fairs in Beirut and Madrid, further expanding his global insertion.
The period 2016-2019 reaffirms his international projection with shows in Paris, Brussels, Córdoba and Mendoza, as well as participation in Sydney Contemporary, San Francisco Art Market and LA Art Show in Los Angeles, again under the representation of Isabel Anchorena Gallery. Exhibitions such as El Color del Viento, presented both in Buenos Aires and New York, ratify the expressive power and aesthetic coherence that distinguishes his recent production.
Over more than four decades, Eduardo Hoffmann has built a solid and expansive body of work, characterized by a permanent research on visual wefts, chromatic expressiveness and the symbolic tensions of landscape and figure.