The country has seen flourish, for example, the groups: El Puño, Proyecta I, Proyecta II, the Friordano Group, the Reflection Group, etc. Quintapata, created in 2008 and integrated by Tony Capellán, Pascal Meccariello, Raquel Paiewonsky and Belkis Ramírez, is oriented towards installation and performance. This need to group together is reminiscent of Volume I and Los Carpinteros in Havana, the La Torona Group in Guatemala, the Costa Rican Artists Collective, the Matis Group in El Salvador, and Bi Infrared, a female collective of Colombia.
In another order of ideas, the Drawing Room, from 1989, and the creation of the Contemporary Drawing Museum (1995), were an opening for young people. The First Drawing Biennial of Santo Domingo took place at 2013, long after the exhibition on paper Entre líneas.
The difficulties of communication were established by the metropolis, whose power and interests privileged the European-American sense above the American continent, or contact between islands. This has generated disastrous aspects, such as the isolation felt by intellectuals on both sides, although on the other hand it has had more positive repercussions. In order to achieve exogenous exposures, plastics with arrangements for drawing and engraving have chosen to privilege these modes of expression, which are cheaper to transport. It is difficult for us to choose and we will not be exhaustive, so we will mention Jorge Pineda and Inés Tolentino for the first category, and we will have a special thought for Vicente Pimentel, whose Drawing I (1980), exhibited at the XV Biennial (1980) ), showed a high sensitivity and virtuosity. For the second category, we will address the cases of Belkis Ramírez and Radhamés Mejía.
The architectural training of Jorge Pineda has enhanced his early taste for drawing and has directed him towards rigor. This practice has evolved considerably since the Renaissance-when drawing was considered a preparatory study-until it became a noble activity in the seventeenth century and its beautiful side gave way to engraving in the eighteenth and nineteenth centuries, before disappearing from the great exhibitions in the twentieth century. Subject of graphic subversion, but not appreciated by the drawing, his Bic pen, popular, opens Pineda a large field of plastic and conceptual solutions. Their red girls and crazy girls, excellent in refinement, translate irony. If Pineda shares this passion with Roberto Fabelo and José Bedia -first biennials-, his walk, which links drawing and installation, presents some kinship with other Cubans, such as Kcho.
Taken from the Book Braiding a History in Progress, Contemporary Dominican Art in the Context of the Caribbean
Michele Dalmace, Critic and art researcher.
Professor at the Michel de Montaigne University, Bordeaux