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   art exhibit at Altamira Village Hotel & Suites  

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Rivero captures thoughts and not emotions. His works reflect the intricacy and complexity of mathematical thinking. A mixture of colors captures those thoughts impossible to understand by some. Under the pseudonym Tupamaro Maracucho he participated in a series of drawing exhibits, reflecting an unique style with his political thoughts. Rubén Rivero Capriles has an extensive collection of works in pastel and acrylic, which invites viewers to find ways, ideas and reasons for the diversity of colors and interwoven strokes of his work. His style is a symbiosis of neopontillism and neofauvism, full of bright colors. That is his way of expressing what he feels and thinks, as he often prefers not to communicate with simple words. His style trends toward abstract pastel and charcoal drawing where displays thoughts rather than emotions. Since 2012 he began to experiment with acrylic painting. 

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Rivero was born in Caracas in 1972. As a child he had a high sensitivity for the arts and socio-economic issues of the day, with an irreverent personality. He specialized in Humanities in San Ignacio de Loyola High School in 1989. He earned a scholarship to study at The Armand Hammer United World College of the American West and obtained an International Baccalaureate degree in 1991, which helped him earn a scholarship at the prestigious Hamilton College in Clinton, NY. There he decided to concentrate in Mathematics, earning a Bachelor of Arts in 1995. Alongside he enrolled in painting and sculpture courses. Rubén Rivero Capriles has exhibited at the Museo Caracas, Casa José Martí, the Latin American Parliament, National Art Gallery, Chamber of Commerce of La Guaira, Ateneo de Guacara, Maturín City Hall, La Flor de Venezuela at Barquisimeto and other locations within Venezuela. 

Harold M. Cooper. Caracas, May 26, 2014 

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You are invited from November 8th thru December 22nd at Altamira Village Hotel & Suites, Av. Luis Roche & 5th Transversal. Altamira, Chacao municipality, Miranda state, for the exhibit organized by Ventana del Arte,  where Rubén Rivero participates with his pastel drawings "Fertility", "Self Portrait" and "Eros Naturae". You may contact the artist at

Rubén Rivero Capriles conveys vital profusion. In his works over recent years, he does not formally investigate possible visual effects arising in his color combinations. There is rational, no methodological problematization of experiences with long or short patches of color or with the signs of his drawings and graphics. All these knowledge and techniques were necessarily acquired over a few years of restless, sometimes frantic practice, in the craft of painting. It is not that that has already mastered the never ending secrets of the art. He just lets the work take its momentum and raise the flight. Although sometimes it does not come without some struggle. 

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A few years ago, during convulsive times for the country, Rubén Rivero’s work broke violently against everything established (in art, and perhaps also in life). His painting was crisp, pamphlet, tense, loud. It was not limited to criticize the language of art, as usual for artists. Instead he criticized reality, the battered Little reality we have left. Rivero was not inspired by Basquiat's work, as do all the subversive, street or not, artists of the last thirty or forty years. Nor was he patterned after the American abstract expressionism of the sixties (or late fifties), with their tremendous, libertarian burden of transgression and change. He preferred to paint "as he pleases," as it always has. He knew, then, the failure of art as a means of salvation. But still, like any true artist, he determined to do the impossible. His inner fury overlooks the "black humor," to use the desperation and anger as playing elements in the game of art. In those years of fierce fighting inside and outside, his paintings came due. They missed the arbitrariness and inconsistency imposed by her perpetrator. It ceased to be submissive to the excesses and abuses of the artist, and finally assert their own rights and autonomy of artistic functions. What is not lost in Rivero is the desire to get rid of what Weber called "the disenchantment of modern culture" (or the modern world). The "re-enchantment" sounds corny, but it is not so. It is manifested in his mighty strokes, in their sudden, impulsive brink of improvised, denied disaster spots on the artwork, quite suddenly, as required by a state of anxiety, judging by the unnecessary haste of running, always tense, nervous, spontaneous. 

To the extent that the work of painting advances, it imperceptibly feels as a hunch, a distressing vacuum. It's the old "horror vacui" terror vacuum, which does not refer to the unfinished parts of the work, but to the symbolic approach of death, the sensitive imminence of death, emptiness, nothingness. That anxiety is the typical modern emotional experience. It expresses the sense of isolation, loneliness, emptiness, abandonment and helplessness, which is inseparable from modern anonymity, as Donald Kuspit argues in his essay on the death instinct in painting. A possible presence of hidden and imperceptible ontological anxiety, which artists rarely realize, generates the emergence of creative energy that animates the work of Rubén Rivero and instills a powerful sense of vitality that expresses profusion.

Perán Erminy. Caracas, May 26, 2014

Te esperamos el sábado 8 de noviembre 2014, a las 11 am en Altamira Village Hotel & Suites, Av. Luis Roche con 5ta transversal. Altamira, municipio Chacao, estado Miranda, para la inauguración de la exposición organizada por Ventana del Arte donde Rubén Rivero participa con sus dibujos en pastel "Fertilidad", "Autorretrato" y "Eros Naturae”.