About Luis Díaz
Until 1967, Luis Díaz was an unknown painter from Central America, emerging in a country where the first art gallery had just opened in 1964, and four years later, the controversial group "Vértebra" formed to preserve a national and Latin American art against the work of young experimental artists like Margot Fanjul and Luis Díaz himself.
He was surrounded by premature fame—hailed as Guatemala’s "plastic promise" in 1963, sponsored by Schaffer and Recinos—and also faced an early battle when the gallery was already managing a group of names that constituted the strongest Central American artistic bloc: Cabrera, Recinos, Quiroa, Rojas, Fanjul, Abularach, Mishaan.
Back and forth, attack and counterattack, fighting on home and foreign grounds, demolishing and defending, became the ongoing dialectic of Luis Díaz. This gives his entire body of work, in addition to high intensity, a battle-worn, fragmented, contradictory, and overly vehement air, which at first glance hides the continuity of his work. However, by 1967, in the gray canvases—beautiful assemblages of abstract forms—he established a continuum that, like the line of his Gucumatz, half-joking, half-serious, persists and leaves a mark, rises in crests or functions at ground level, appearing and disappearing suddenly, in a game-war where the artist has staked his fortune and destiny.
In 1967, he painted with harmony and mid-tone capacity, aiming for agreement. In contrast, the banners presented in 1968 emerged from stridency; the chromatic adjustments were like violations, the color cut sharply, and a robust conception prevailed. Both series, interestingly, maintained the heraldic purpose that would surround his work and the will to present the shield as a sign-symbol.
The shield-sign could well be the key to the semiological system Luis Díaz developed during this period. The shield, the base of the language, sustains an idea, always through a mediation like heraldic writing. The synthesis of an idea, expressed through energetic symbolism, would never leave his work, even when in later pieces it appeared camouflaged under conceptual intentions. The standards of 1968 also define an aesthetic behavior characteristic of Luis Díaz: the cutting of forms, the young, striking vision, the definition of clear visual fields, the design intent, and also the architectural elaboration of design.
But this way of seeing constantly suffered the interference of Guatemala. Luis Díaz clearly saw his country: "people completely asleep, stagnant, with pseudo-military bosses ordering small cannons, pedestals, and small masts with the corresponding Guatemalan flag in bronze or brass, turned and polished... degrading symbols of subculture and pseudo-civism." Yet, he defended it fiercely in Sao Paulo at the 1971 Biennial: "We had to be in Sao Paulo to rescue Guatemala from the insignificant role that Central American countries had played for many years... and this was achieved. Mission accomplished. Great Matarazzo Sobrinho Foundation Prize for the most outstanding Latin American artist. The rage inside me, caused by previous representations, was finally appeased."
This emotional and passionate aspect is what those who think Díaz's work can be programmed by phone fail to see, as if it belonged to the vast repertoire of innocuous scams that the so-called 'system art' displays. They do not see that explosive mix that distinguishes Luis Díaz from the crowd of neutral experimenters. But his emotional charge is truly his strength, and that strength is what prevents the collision of his Gucumatz with the Volkswagen on the street of Sao Paulo from being just a comic episode, turning it into a deadly clash, just as it prevents the tire impressions on the grates of Guatemala City from being just the tedious outburst of a young man who doesn't know what else to invent.
CURRICULUM VITAE
1939 Luis Humberto Díaz Aldana, Guatemalan
1958 Primary Education Teacher / INAFH
1959 Enrolled in the Faculty of Architecture / USAC
1961 Withdrew from the Faculty of Architecture / USAC
1962 to 1976 Artistic Consultant / Holzheu + Holzheu Architects
1963 to 1989 Art History Professor / Private School
1964 Painting and Mosaics / 1st Exhibition / Sala Acuña ENAP
First Art Gallery DS / Díaz – Schafer / Guatemala
Furniture Design / Chair LD 63 / Sofa LD 64 / DS Gallery
Mural / Genesis / Clay Brick / Holzheu House
Painting / Central American Pavilion / New York World's Fair
1965 Serial Painting / The Walls / Mixed Media / DS Gallery
Furniture Design / Bench, Cross, Fountain, LD 65 / Lutheran Church
Drawing and Engraving / Works on Paper / DS Gallery
Painting / Paris Biennale / Collective / Paris, France
Engraving / II American Biennale / Santiago de Chile, Chile
1966 Furniture Design / Chair LD 66 / Mahogany and Leather / Agrupo
Collage, Painting, and Sculpture / Mixed Media / DS Gallery
1967 Drawing, Engraving, and Painting / Mixed Media / DS Gallery
Collective Painting / Museum of Modern Art / Miami, USA
Collective Painting / IX São Paulo Biennale / Brazil
Painting / Central American Contest / Honduras
1968 Serial Painting / The Red Desert / Mixed Media / DS Gallery
Architecture and Landscape / Country House / Palín, Escuintla
Serial Painting / Banners / Mixed Media / Sala Acuña ENAP
Environmental Installation / Earth Inhabitants / Sala Acuña ENAP
Concrete Mural / Acropolis / 45 m² / Upjohn Plant
Concrete Mural / Gukumatz / 45 m² / Abbott Plant
Intaglio Engraving / III American Biennale / Santiago de Chile
1969 Environmental M. / E. for 10 Abstract Variations / ENAP
Sculpture / Carterita / Aluminum Sheet / Juannio 69
Architecture / Central Library / Co-author / USAC
Intaglio Engraving / Tzolkin / Portfolio 18 / G. Vittorio
Collective Painting / X São Paulo Biennale / Brazil
Artistic Consultant / Master Plan / USAC Campus
Artistic Consultant / Master Plan / URL Campus
1970 Environmental Installation / Supermarket / G. Vittorio
Conceptual Art / Coltejer Biennale / Medellín, Colombia
Furniture Design / Dining Table 8 LD 70 / Agrupo
Sculpture / Central American Contest September 15 / Sala Acuña
1971 Sculpture / The Gukumatz in Person / XI São Paulo Biennale
Architecture and Work / Pinal House / San José Pinula
Metal Altarpiece / Guatebalas / I CSUCA Biennale, C.R.
Metal Altarpiece / Rhombuses / Multinversiones Collection
Architecture / Co-author / Clean Brick / Jensen House
1972 Architecture / Artist's House / El Manzanillo, Mixco
Work on Paper / Simultaneous Sequences / G. IGA
Environmental M. / Simultaneous Sequences / DS Gallery
Serial Painting / Simultaneous Sequences / G. Vittorio
Painting / White Mobile / Central American Contest September 15
Transit Engraving / Document / Venice Biennale
Conceptual Art / Radiograms / Coltejer Biennale, Colombia
Environmental Installation / Macondo / Macondo Gallery
1973 Environmental Installation / Afueradentro / Sala Acuña ENAP
Architecture and Work / INFOM / Parque de la Industria
To 1990 Mural / Bird of Paradise / The Triangle / Disappeared
Engraving / World Graphic Salon / California, USA
Drawing and Engraving / III Graphic Biennale / Cali, Colombia
Architecture / Ossaye House / Co-author / Zone 10, Guatemala City
1974 Architecture / Bougainvillea Condominium / Co-author / Zone 10
Engraving / III Graphic Biennale / La Tertulia / Cali, Colombia
Drawing and Painting / El Túnel Gallery I
Architecture and Work / Stahl House / El Sompopero
1975 to 2006 Architecture / Colom Herrarte House / Panajachel, Atitlán
Mural / Crack / Concrete and Mirror / Disappeared
Artistic Consultant / Muralism / Plaza del Sol
Drawings / Copán Series / Black and White / El Túnel Gallery I
1976 Environmental Installation / The Last Supper / El Túnel Gallery IEnvironmental M. / The Eternal Holy Burial / El Túnel Gallery IMonotypes / International Graphic Salon / Cali, ColombiaCollective Painting / Metropolitan Museum / Miami, USAFormica and Mirror Mural / Güipil, Plaza del Sol
1977 Metal Altarpiece / The Table / II Xerox Salon / Nicaragua
Artistic Consultant / Integration / La Torre Building
Concrete Mural / The Elements / Coy Plant
Concrete Project / The Sixties / CYAC, Argentina
Architecture / Abularach House / San José Pinula
1978 Artistic Consultant / Facades / Banco Industrial
Architecture and Construction / Artist's Studio / Mixco
Engraving / AGPA 78 / BID Gallery / Washington, USA
Architecture / García Granados House / San José Pinula
Artistic Consultant / Obelisk Medical Building
Artistic Consultant / Interior Plaza / La Torre Building
1979 Environmental Installation / Atitlán Guatemala / El Túnel Gallery I
Environmental M. / Atitlán Guatemala / XV São Paulo Biennale
Engraving / Atitlán / Portfolio 8 / El Túnel Gallery I
Artistic Consultant / Campestre Club / La Montaña
1980 Mural / Guatemala / Acrylic and Mirror / CGC Building
Two Sculptures / Painted Steel / Esso Contest
1981 Urban Sculpture / Gemini / 8000 Lbs. / Gemini Building
José León Sculpture / Miguel Ángel / Painted Steel
Environmental M. / 100 Years of Amnesia / El Túnel Gallery I
Metal Altarpiece / Still Life / Cronos Gallery
Engraving / Atitlán / X American Biennale / Cali, Colombia
1982 Observation Scholarship / Paris / First Time / E. France
Retrospective / 105 Pieces / Library, URL Gallery
Metal Altarpiece / Copán / III Paiz Art Biennale
Engraving Retrospective / 40 Pieces / Cronos Gallery
Engraving / Atitlán / VII International Biennale Bradford, England
1983 Environmental Installation / Parisian Fauna / Ixchel Museum
International Engraving / Roc 83 / Sidereal Series / Taipei
Metal Altarpiece / Simón Bolívar Bicentennial / Venezuela
1984 Environmental M. / Altarpiece of Altarpieces / El Túnel Gallery
Mural / The Quetzal in Person / Banco del Quetzal
Metal Altarpiece / Fence / 5 Pieces / Private Collection
Furniture Design / Remodeling / IGA Library
Engraving Portfolio / Parisian Fauna 10 / Forum Gallery
1985 Environmental M. / Guatemalan Fauna / El Túnel / IGA
Engraving / I Ibero-American Biennale / Seville, Spain
1986 Furniture Design / Guku Armchair / Progressive Architecture, USA
Altarpiece of Altarpieces / Costa Rican National Museum
Artifacts / Cardboard / V American Biennale / Cali, Colombia
Engraving / VII International Graphic Triennale / Frechen, Germany
Engraving / II Latin American Graphic Biennale / Mocha, NY
1987 Environmental M. / Work on Paper / Rayo Museum / Roldanillo, Col.
Architecture and Work / Gutiérrez House / Las Margaritas
Concrete Mural / The Family / Gutiérrez House
1988 Illustrated Lecture / School of Art / San Juan P.R.
Illustrated Lecture / Altos de Chavón School / Dominican Republic
Painting / III Central American Congress of Architecture / USAC
1989 Environmental Installation / The Conquest / Oil / El Túnel Gallery I
Intaglio Portfolio / The Conquest 13 / El Túnel Gallery I
1990 Engraving / 2 Intaglios / IX Ibero-American Biennale / P.R.
Furniture Design / Guku Playa Chair LD 90 / Agrupo
Collective Painting / Abstract Pioneers / PC Gallery
Painting / IHA Contest / Tegucigalpa, Honduras
Painting / VII Ibero-American Domecq Biennale / Mexico
1991 Furniture Design / Rocking Chair LD DL 91 / Agrupo
Collage / The Gangs / Patronato Bellas Artes de Guatemala
Painting / The Ten Greats / El Túnel Gallery I
1992 Installation / Flamigeras / Oils – canvas / PC Gallery
Architecture and Work / Carol House / 3 levels / Mixco
Collective Painting / Hildesheim Museum / Germany
1994 Conceptual Collective / Inquiries / Sol del Río Gallery
Retroinstallation / 30 Years Later / El Túnel Gallery I
Art of Resistance / Sala Marchena / Costa Rican Museum
1995 Lecture / Latin Art / UCLA / San Diego, Cal.
AWARDS AND HONORS
1961 First Prize / Painting and Sculpture / AEU-USAC
1966 First Prize / Painting / Juannio 66
1967 First Prize / Painting / Juannio 67
Third Prize / Painting / Central American Contest Tegucigalpa / Hon.
1969 Honorable Mention / Painting / Central American Contest
1970 Second Prize / Painting / Juannio 70
1971 Grand Latin American Prize / Francisco Matarazzo
The Gukumatz in Person / XI São Paulo Biennale, Brazil
First Prize / Guatebalas / I CSUCA Biennale / C.R.
Second Prize / Painting / Central American Contest
1972 Rejection / First Prize / Painting / Juannio 72
First Prize / Sculpture Central American Contest
García Granados Order / Fine Arts of Guatemala
1973 First Prize / Painting / Central American Contest
1977 First Prize / Painting / XEROX Contest / Nicaragua
1982 Second Prize / III Paiz Art Biennale
1984 Emeretisimum Diploma / Faculty of Humanities / USAC
1985 Selected / Guku Armchair / Progressive Architecture / USA
1990 Selected / Ibero-American Biennale / Domecq / Mexico
2006 Architect Honoris Causa / Faculty of Architecture / USAC
2007 Sculptor / I International Festival Guatemala Inmortal, MUNAM
PUBLICATIONS
1967 Painters of Guatemala / Fine Arts
1969 Contemporary Art / BID / Méndez Dávila
Contemporary Art / Fine Arts of Guatemala
1974 Two Vulnerable Decades / Marta Traba / Mexico
Alero Magazine No. 6 / USAC
1975 Confessions of Cuevas / Alaíde Foppa / Mexico
Alero Magazine No. 10 / USAC
1981 Fibrocement Magazine / House of an Architect / Germany
Contemporary Painting of Nicaragua / M. Traba / Mexico
1983 FLUE Magazine / Franklin Furnace / Regina Vater / NY
1986 Contemporary Catalog 56-86 / La Tertulia / Cali, Colombia
1987 High Performance Magazine No. 40 / Regina Vater / NY
1990 20 Years of Costa Rican Painting / Roberto Cabrera / C.R.
1991 Painters / Editorial Gallery / F. G&T Continental
Art in Colombia No. 46 / Belgica Rodríguez / Colombia
1992 Magic and Realism in Central America / F. Zúñiga / Hon.
1994 Central American Art / Credomatic / B. Rodríguez / Ven.
1995 Elenicas / Poem Collection / Luz Méndez de la Vega
American Man in Full Color / Marta Traba / Colombia
1997 Spaces and Volumes / G&T Gallery / Arch. Aguirre C.
Guatemala Contemporary Art / Museum of America / Spain
2008 Heirs of the Spirit of Kukulkán / Barrios Peña / Sweden