artista
artista
Emergency Room.
A project of Thierry Geoffroy.
PS1 MoMA, Long Island, New York.
Salvador Díaz hanging his work
A short walk to the red carpet. oil on newspaper
Emergency Room
Thierry Geoffroy and Salvador Díaz
PS1MoMA view at Long Island
RECording
Soldiers at the airport
12:30 pm changes
Now on View
Artists Meeting
rec
NY
Magazine
Magazine
Delay
Emergency Room
PS1MoMA
“Press Art: The Collection Annette and Peter Nobel”
Kunstmuseum St. Gallen, Switzerland.
&
Museum der Moderne MdM Rupertinum Salzburg, Austria.
"La Consistencia del Souvenir"
Curator: Virginie Kastel
PINACOTECA DE NUEVO LEON
A selection of 45 artworks from 1997 to 2019
El Traje Nuevo del Emperador.
Solo exhibition 2008
Madrid, Spain.
El País. Suplemento Cultural por Carlos Jiménez
El Mundo
ABC Suplemento Cultural Javier Rubio Nomblot
El Pais. Sumplemento Cultural Babelia
Salvador Díaz "El Traje Nuevo del Emperador".
TV internacional NCI Noticias Culturales Iberoamericanas.
El Príncipe.
Solo exhibition
MAS Museo de Arte Contemporáneo de Santander y Cantabria, Spain
El Príncipe. Salvador at his exhibition
Reading the press release of the exhibition.
Cantabria
Exhibition montage
Hanging the artwork "Dante"
The Prince
Poco pan máximo circo
Kiosco
Museum Director Salvador Carretero
Camel Beach
Luis Alberto Salcines & Salvador Díaz
Opening ceremony
Press conference
Media
Museum Library
Baño de Olas festival
Santander view
Journalists
Press conference
Museum entrance
MAS Museum. Santander, Spain.
My artistic practice explores the intersections between time, memory, and image through painting. Across various bodies of work, I engage with visual archives—press materials, family photographs, classical artworks, and the surfaces of my own studio—as sources to be reinterpreted and recontextualized. Oil painting serves not only as a medium of representation but as a form of investigation, ethical positioning, and re-signification.
In the Newspapers series, I paint over press articles and headlines to create an aesthetic newspaper library, transforming ephemeral content into enduring visual narratives. Each piece reflects on the fleeting nature of human events, repositioning the news cycle within a slower, contemplative temporality. By intervening directly on newspapers, I give a new character to the event, questioning how information is constructed, perceived, and remembered.
Family Album began one year before in 1997 as a way to recover the disregarded past of my own middle-class family in Mexico City, disrupted by the 1985 earthquake. Working from Polaroid photographs, I translate images of everyday life—school, leisure, family gatherings—into large-scale expressionist paintings. The process becomes one of emotional reconstruction, expanding the truthfulness of photographic memory into a more visceral, painterly language.
In Displacements, I reflect on the role of the artist as observer and traveler. Through visual journals and appropriated fragments of Western art history, I re-situate classical images within my own geographic and cultural experience. These are not citations, but conceptual shifts—acts of empathy, admiration, and reinterpretation. Painting becomes a way to extend the temporality of those images and absorb their humanity into new contexts, and perhaps other kinds of connections to the origin and history of my family album about immigrants from UK and Spain to America.
With Panoramics, I bring the viewer inside the work itself. These large-scale immersive installations (13 meters long and 2.1 meters high) surround the spectator in a 360-degree visual environment, introducing theatricality and embodiment into the act of seeing. The viewer is no longer just a witness, but an active participant within the pictorial space.
Finally, in Work Tables / Coordinates, I turn inward toward the process of painting itself. These abstract works record the memory of creation—each color line box corresponds to press themes previously painted: security, politics, culture, sport. The table becomes an index of labor and time. Abstraction, in this sense, is not stylistic but archival—a mapping of artistic memory.
My work does not follow the immediacy of trends, but seeks to build a deep temporal architecture around the act of painting. I paint to understand displacement—of image, of memory, of history—and to create spaces where the viewer can contemplate the echoes between the personal and the collective, the visible and the remembered.
Avisos de ocasión / Ads by Occasion
Solo Exhibition
Vía 360 Centro Cultural. Vía Cordillera
Phillips de Pury Auction
Latin American Art
New York
San Pedro Garza Garcia, MEXICO
Salvador Díaz
David Garza, Curator.
Agradecimientos a la Galería Arte Actual
por el apoyo logístico
San Pedro Garza Garcia, MEXICO
San Pedro Garza Garcia, MEXICO
Salvador Díaz
Perla Jeanett
Yolanda Leal
+
San Pedro Garza Garcia, MEXICO
Monterrey, MEXICO
Salvador Díaz
Julio Galan
Arturo Marty
+
Monterrey, MEXICO
Monterrey, MEXICO
Virginie Kastel, Curator
Elvira Lozano de Todd. Director
Salvador Díaz
Monterrey, MEXICO
CDMX, MEXICO
Virginie Kastel, Curator
Salvador Díaz presents his individual exhibition The consistency of the souvenir at the Pinacoteca de Nuevo León.
...
CDMX, MEXICO
SALVADOR DÍAZ
MONTERREY, MÉXICO
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