16 de junio de 2024


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HUGO LAZZARINI. 8 years after an epic show.

It is not easy to refer to the work of Hugo Raúl Cayetano Lazzarini. First of all, it is difficult to talk about someone who has achieved, in the figurative sense, the total approximation to perfection found in “Caravaggism” in the 21st century.


– It is best to first grab the books and reread what you have read to be able to make an opinion judgment in this regard. I have been following Hugo since 2008 and his evolution in these eight years. USE OF THE HUMAN FIGURE Although he always distinguished himself by his use of the human figure, and was an accomplice of emotions in all his works, now the issue is different. Because at 68 years old, he is in a period of aesthetic refinement that responds to the same concept. That is, in these latest works we can see an issue that has to do with the climates and the “climaxes” that it can achieve, even reaching a hyperrealism that surpasses everything known in the region.


Hugo Lazzarini has discovered the vulnerability of the human being, without the sometimes dignified fictions of the apologists of the abstract, who through gimmicks forget the costumbrismo that weighs heavily precisely in painting. The importance of Lazzarini’s work in this exhibition held at the College of Architects is that it puts us in direct contact with what would be called “NeoCaravaggism.”


In other words, a return to those angelic entities in which Leonardo Da Vinci and his friends had a lot to see and explore. Passing clean; Lazzarini’s mysticism is framed within a) the Greco-Latin conception of art, and b) the conception of the Christian liturgy of the West without sometimes overlooking a Byzantine touch in the works. Do not forget that Christianity had its Coptic versions in Egypt and Orthodox versions in Russia.


Lazzarini explores the face and explores the body, as deep entities that require his attention, but – by following his own sayings – he worries about the “esfumato” (which worried DA Vinci so much). As well as the subtle climates and the perfect combination of light and dark that take the viewer to irreplaceable limits. This happened in the College of Architects, San Martì in 1700. Year 2016



Hugo Lazzarini. The environment of a creator.

Hugo Lazzarini.
Juanita, la gata de Hugo

They say the creator is alone. Or that loneliness is the sign of the creator. Hemingway alone in his cabin, Herman Hesse transfigured in his work «Steppenwolf.» It is a half-truth. There can be a spiritual solitude, in which the creator rejoices and then, with joy and within a framework of agency, makes the work transcend


The objects surrounding the creator are elements of the interior composition. As a fundamental quintessence of the creation process. These objects can be: animate and inanimate. «Juanita» is the name of Hugo Lazzarini’s kitten. She lives walking and sleeping while he develops his works. She is an expert in solvents, thinners, temperas, and oils. «Juanita,» doesn’t know about contests or resumes. Neither passports nor airplanes. Nothing alters her. Observe life with the tranquility of someone who knows that he has no obligations.


«Laurels are for the stew,» Julio Migno Parera blurted out, when they gave him recognition. And Julio Migno knew something about life. The multiple recognitions garnered by Hugo Lazzarini in his career are a mark that distinguishes him. Being distinguished and having awards does not mean «being superior.» It means that others have seen or recognized things that deserve to be highlighted. And therefore, they deserve to be perpetuated. The room in which their diplomas, certificates, etc. are placed, confers historical weight on the visitor but also enormous respect for their career.

casa hugo lazzarini
Patio de la casa de Hugo Lazzarini


Therefore, in the infinite solitude of the creator, the things that coexist at the same time are functional to creation itself. Because they generate sensations, pulsations, a whole arc of action on the author of the work. One thing feeds into the other. That’s the truth. No other.

Hugo Lazzarini. That European summer.

European Summer

Restlessness is one of the characteristics of Hugo Lazzarini’s work. It is permanently latent in his works, audible in each stroke, each brushstroke. The Santa Fe author executes in each work the everlasting perpetuation of the great masters of the Middle Ages and Renaissance, creating surprising visual structures that dazzle the viewer. Exhibition in Barcelona, ​​Sitges And what is surprising about his most recent exhibition are the increasingly profound achievements in the trinomial of tones, light and shadow. The human figures thus acquire a deep perspective that impacts not only visually, but also creating a strong emotional connection with the soul and spirit. Something that would surely keep the Greek masters awake. A Parthenon of colossal works is its presentation, which in turn functions as a megalithic exhibition environment that investigates beyond the figure, into a cosmogony that exceeds the aesthetic to incorporate sensory and perceptive devices that tremble alongside emotions. Silent and committed work Thus, while Argentina faces an economic debate with sharp social edges, Hugo faces another phenomenal task in 2023: he has twenty new paintings which will be exhibited in various locations in Spain. All this, when the crops mature from the beginning months of the European summer. The man from Santa Fe, working silently in his workshop, carries out social work impregnated with ideals in his free time. Noble causes linked to public hospitals have been favored by their actions. We can say that his work is humanism carried out through fabric and preaching. If the craftsmanship that emerges from his hands can be considered Christ-centered, his mission from the earthly plane can compete with the work of the bearded Nazarene.



Braque Arte (Buenos Aires), continues in his laudable teaching task, always trying to find the sacred red thread that guides life, but also, signing his institutional commitment to all those who need support and affection. Lazzarini’s profile combines two issues. Opposed to contemporary nihilism and vagueness, it is an emergent in times of acute loneliness and pathetic management. As an author he is decidedly humanist. The analysis of the present works speaks of a commitment to human beings. The postural that emerges from the one-dimensional plane speaks to us of hominem in its strictest sense. This leads to a particular semiotics of the author, starring signs, meanings and signifiers that are not complacent. Each plane, each thing, the object environment that makes up a pagan ritual, refers to profound symbols related to Vitruvius himself, in a brilliant «render» that amalgamates perspectives, depth in a casuistry where logic succumbs to the avalanche of proposals. Contemporary humanism If the reader took a square and a compass, he could easily reach astonishing conclusions. The golden ratio, for example. More than one work by Hugo Raúl Cayetano Lazzarini would pass that test. We are not alone before a phenomenon of inspiration. We are facing secrets of the arcane revealed for the universe. There cannot be such a thematic vastness, without there being a sacred portal that communicates with other planes and entities. The painter knows more than he says. And it hides more than it expresses. Why this phenomenon? Because it is embedded in an existential-cosmogonic relationship, which has been agreed upon in who knows what space-time of the life of the cosmos, where centrifugal and centripetal forces have decided to take control of things.


Perhaps if Hugo had existed two or three centuries earlier, he would have gone unnoticed. Simply due to the fact that many painted like him. For example: Mozart without Salieri was not Mozart. Nor would Salieri have been able to make a statement without Mozart.

In short: Lazzarini is today, what would not exist yesterday and validates the present. At the time of the aforementioned teachers, there were no social networks or operating systems.

Hugo Lazzarini. The library where life flows.

It is one of Hugo’s favorite areas. He belongs to a generation that did not know the internet, Spofity, YouTube, Google.

Hugo Lazzarini_biblioteca
hugo lazzarini_biblioteca

Hugo Lazzarini was trained in the culture of books, and therefore reading. There are also books in his private home, Santa Fe -Buenos Aires- in his bedroom, desk and dining room. The lush greenery of the Córdoba mountains frames the full shelves of his house. That excessive passion accompanied him all his life, without knowing that so many words were going to be transformed into images. Wandering slowly On the shelves, classic and contemporary works coexist. Magazines, clippings, which are the historical framework of his formation.

Intellectuals are not formed overnight. And sometimes, a lifetime is not enough. Ideals and art usually go hand in hand. That is why in some work, freedom exudes in spurts. Because Hugo Lazzarini, despite the rigidity of Architecture, flirted with the freedom of art.


If one analyzes the pictorial work of Hugo Lazzarini, it can be seen that each figure responds to a narrative structure. And that narrative structure has a subject, a framework rooted in history. Without that leafy tree whose roots sink into knowledge, Hugo Lazzarini’s work would not exist. Would have?. A huge void. Nihilism (from the Latin nihil, ‘nothing’) is a philosophical doctrine that considers that in the end everything is reduced to nothing, and therefore nothing has meaning.


But Hugo stands like a Rodrigo de Triana in an opposite posture. With the divine essence of sacred inspiration, express with your palette what your mind and imagination say. But such a thing could not happen if that crazy mind had not leafed through thousands of pages of books and books. If his sonorous steps did not sound on the hidden walkways of European cathedrals, looking for a book, there would be no essence in its construction. The pictorial work exceeds all comments. It should be enjoyed. But the construction of the work deserves analysis. And behold, the value of your library.


Hugo Lazzarini. Illustrious Citizen.

At the initiative of Councilor Jorgelina Mudallel, the versatile Santa Fe plastic artist Hugo Raúl Cayetano Lazzarini received the distinction of Illustrious Santa Fe from the Santa Fe Municipal Council.


An architect by profession, many of the building works in our region bear the seal of Lazzarini. An entire life dedicated to both art and architecture makes his career both one of the most extensive and intense in the province.

This year, the renowned artist was exhibiting in Barcelona, ​​where he was recognized by the mayor of that city. Not only that: he did various jobs during the time he settled in that place.

Towards the end of last year, he held a gigantic exhibition at the Ex Mirage facilities, with a large audience during the two months that the work was there. His work has its own tints and colorations, without this exempting from due value judgment, in relation to the atmospheres that he knows how to create and re-create, from the 15th century onwards.

Not only that: in his work, characters and subjects from different periods alternate, taking the viewer on a permanent journey through history and social context, with contemporary imprints from time to time.

Stay on track Hugo Lazzarini is a man consistent with his mandate. Both in terms of his faith, as well as his vision and social position. Someone who did not resist changes in his work, always adding valuable content, but who was not intimidated by the «changes of times», which is not the same as «time of changes».

Subtleties that you have to know how to discern, in the Creole mambo of Santa Fe culture, seasoned by images of crowds like worshipers of the modern «Baal», like a photoshop of tasty indulgences on a campus where the powers in Watts, try to exercise supremacy over discernment and knowledge, which are truly scarce.

While the crowds kneel before the current golden calf, Lazzarini is the opposite mirror of the clouded dancing minds. The mirage of the «Resolume» constitutes the antithesis of our artist who stands like a Rodrigo de Triana on the imaginary bridge of a vernacular Titanic, in front of the «origami» of little boats in the lagoon.

His work stands as the static image of truth, past and present, in contrast to the colored mirrors, the dynamic jewelry of trinkets, which dwell in the bustling interstices of post-modernity, where pre-electoral masturbation warms its rhythms. dancing asynchronous engines, a space where combustion is obtained not by gasoline or by NordStream gas pipelines, but by porrón and faso in an imaginary mononeuronal printed circuit. Something that would catch the attention of Zygmunt Bauman and provide material for a book, surely.

But one cannot talk about Bauman, in a city where Zapata Gollán, Migno Parera, Babini, Pedroni, have been forgotten.

Family and friends, present Hugo Lazzarini’s large family was present. Friends. Collaborators. Fans. Valuable words issued by Hugo Marcucci, Leandro González, Chuchi Molinas. The entire political arc was unified in a monolithic discourse in gratitude and recognition towards our maker of the land we inhabit. (and that we were able to achieve). A friend of struggle and companion on the road – Oscar Martínez – resolved in five minutes with a few words, the meaning of the act. In the end, the selfies were endless. It was recorded on triple media: Retinas, memory, and Google Drive, in the automatic copy.


During the month of December, the Ex Mirage facilities were the setting for the exhibition of the painter from Santa Fe. In a crowded room full of portraits, paintings, and with a setup of several square meters, the Ex Mirage Room, was, during the month of December 2021, the exact and appropriate setting for one of the most interesting exhibitions of the year: “Anthological Exhibition”, by Hugo Lazzarini.

A complete brochure awaits the visitor, from its first part we extract: “Received as an architect in 1962, his life was dedicated to the design and construction of buildings, schools, housing plans, banks, clubs, libraries, housing plans, chapels, and family homes in the province of Santa Fe, Córdoba, Entre Ríos and Buenos Aires.

His intense social life and concern for humanitarian and spiritual issues enabled him to actively participate in countless public welfare institutions, holding relevant leadership and management positions.

Hugo Lazzarini_mirage_
Hugo Lazzarini_mirage_


His oil, acrylic and watercolor paintings, with which he has won more than twenty awards, were exhibited in more than a hundred personal and group exhibitions. His artistic manifestations are spread in galleries and museums in Argentina and abroad. I participate as a jury member in numerous art salons. Annually he holds exhibitions and painting workshops in various locations in Spain. To date he has more than 450 works and works in the cities of Santa Fe, Buenos Aires, Castillo (Uruguay) and Barcelona.

The exhibited works: an approximation The works in the “Anthological Exhibition” combine different exhibition formats, as well as different techniques, which combine with each other, or form a bridge, between the different centuries that separate them from their respective scenes. Thus, in the work that shows a Saint Martin on the image of a hundred dollar bill, Hugo Lazzarini uses a pixelation with which he invokes or suggests the dematerialization of money in pixel format, which curiously by analogy refers us to banking systems digital, such as the Metamask wallet or the Polygon network, to cite an example. The numbers chosen suggest the binary code with which everything moves today: from the PC to banking and satellite systems.


In other works, Hugo Lazzarini returns to his peculiar style from five centuries ago, with the air and atmospheres suggested by the Renaissance, among others. His work is a journey to the beyond, where the bodies carved and chiseled with singular mastery are covered by the exact lacquer and paint provided by the author, with the nuances that the image demands and the temperature and climate that the treatment requires. it requires. There is no lack of an approach to ideologies in the work of Hugo Lazzarini: A Che Guevara pixelated in a range of browns, behind or under moistened and twisted 100 U$ S bills, as if wanting to signify (perhaps) the 6.2% devaluation that they had the US on a year-on-year basis.

The Mirage and its history The brochure says that, a few years ago, this professional was summoned to carry out building renovation and enhancement work on an old property located on the corner of Primera Junta and 25 de Mayo streets, belonging to the city’s historical heritage, exalting the notable decorative details of the upper floors, and the main hall, once a warehouse, customs, offices and confectionery, facing the old grain port and which belonged to notable Santa Fe families from past centuries.


With exceptional building features, stained glass windows, marble floors, wood, columns, ornamentation, bars, openings, taps, moldings, original lighting fixtures, they were rescued from deterioration and today shine on their 910 square meters of surface. For more than a decade, it was the headquarters of the Provincial Ministry of Culture, evoking its old name in its cultural room, although currently, the property is awaiting a new destination.


The considerable generosity of its owner allowed us to once again admire its beautiful architecture, and transformed it into a brand new art gallery (only for a short period) and through removable conditioning, with display panels and adequate lighting, it is the ideal setting for this pictorial sample. In gratitude to the Santa Fe society, the author will donate 3 of the 92 works on display to the Cullen Hospital Charity Society of the city of Santa Fe, for a subsequent auction and/or prize for any event to be determined.



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