RUBEN MOLINA

RUBEN MOLINA

Obras / Artworks Venezuela , 2020

INDICE

Portada …………………………………………………………………………………………………..….02

Indice…………………………………………………………………………………………………..……..03

Dedicatoria………………………………………………………………………………….…………..…04

Agradecimientos………………………………………………………………………………….…….05

Abstract……………………………………………………………………………………………….….…06

Foto ……………………………………………………………………………………………….………….09

Entrevista ……………………………………………………………………………………….…………10

Obra ………………………………………………………………………………………………….………28

Obra experimental………………………………………………………………………….………..131

Curriculum Vitae…………………………………………………………………….………………..147

Hemerografia , enlaces , otros………………………………………………………….………153

Anexos ……………………………………………………………………………………………..….…..155

Dubai…………………………………………………………………………………………………………156

Egipto………………………………………………………………………………………………….…….164
INDEX

Cover page …………………………………………………………………..……………………………02

Index..…….………………………………………………………………………..……………………….03

Dedication……..…..……………………………………………………………………..………………04

acknowledgement……….…………………………………………………………..……………….05

Abstract……………………………………………………………………………………………………06

Artist`s photo…………………………………………………………………………………………….09

Interview ……………….…………………………………………………………………………………10

Work ………………..………………………………………………………………………………………28

Experimental work ………………..……………………………..……………………………… ..131

Curriculum vitae…………………………………..…………………………………………………..147

Hemerography, links, others ……………………..……………………………………………153

Annexes ………………………………………………………………………………………………… .155

Dubai …………………………………………………………………………………………….…………156

Egypt…………………………….…………………………………………………………..………………164
 04

DEDICATORIA

Dios

Mi padre Hermenegildo Molina

Mi madre Carmen Perez

Mis hermanos Julio Cesar y Rafael

Mis hijos Manuel Antonio y Katherine Andrea

DEDICATION
God

My father Hermenegildo Molina

My mother Carmen Perez

My brothers Julio Cesar and Rafael

My children Manuel Antonio and Katherine Andrea

AGRADECIMIENTOS /acknowledgement 05

Dios / God

Mr. Bayo Hassan Bello Principal of The Ajala Project Dubai UAE

World Youth Forum / Government of Egypt

Ms. Shosa Aboulkheir Principal of Shosha kamal Design House Egypt

Khalifa Algama from Dubai UAE

Sultana Kazim from Dubai UAE

Ms Alicia Ramirez Principal of Artworkpedia Mexico

Mr Gerardo Henriquez Principal Opeslatino Miami FL

Mr Ivan Guerrero Principal Numismatica Andina organization

Mr Alvaro Beltrame Principal Prooart Argentina

Mr Julian Florez Principal of EL CLUB DEL ARTISTA app Chile

Dr Luis Guerrero Principal DOSIS DE CULTURA Venezuela

Ms Camila Gutierrez

Arquitecto Wilver Contreras Miranda

Revista 5SENTIDOS Merida Venezuela.

Mr Hernan Nelo sponsor

Mr Jacobo Luciano Perez sponsor

Mrs Rafael , Humberto, Hernan Marquez Molina

Mr Jose Mora Perez & Ms . Leire de Mora Perez

RUBEN MOLINA 06

la obra de ruben molina es el resultado de un extenso estudio e investigacion

de los grandes maestros de la pintura como : Rembrandt, Goya y Rubens.

En un primer momento explora todas las formas , luz, trazos , lo sensual del
dibujo y la fuerza del drama en la pintura de cada uno de ellos.

Queda manifiesto en muchas de sus primeras obras con un estilo clasico,

academico para posteriormente interesarse por maestros como : Claude
Monet y Joaquin Sorolla ; resultado una pintura más despreocupada, más
libre , con más color y luz , manifiesta incluso en temas como paisajes y
marinas con niños.

Finalmente los maestros del arte contemporaneo como Jackson pollock

llaman su atención por la libertad y el gestualismo y el dibujo de manera
intuitiva sin ninguna herrmienta de pinceles o espatulas para pintar.

El dripping de Pollock deja que la pintura fluya por si misma y hable ella sin
necesidad de más herrmaientas o instrumentos que la caida libre del
pigmento pictorico sobre la tela .

En los trabajos recientes de ruben molina convergen dos grandes tradiciones

pictoricas: la sensualidad del dibujo de la escuela holandesa, el
impresionismo de monet y la libertad radical de la pintura del dripping de
Jackson Pollock.

Se vale de temas sencillos como : caballos, flores, rostros, entre otros para
plasmarlos sobre la tela a la manera del maestro Jackson Pollock ; sin
pinceles, sin espatulas sólo aferrandose a la caida libre de la pintura y dejar
que ella misma hable .

Ruben Molina / 2018

Ruben Molina

The work of Ruben Molina is the result of an extensive study and research of
the great masters of painting such as: Rembrandt, Goya and Rubens.

At first he explores all forms, light, strokes, the sensual of the drawing and
the strength of the drama in the painting of each of them.

It is evident in many of his early works with a classic, academic style to later
be interested in teachers such as: Claude Monet and Joaquin Sorolla;
resulting in a more carefree, freer painting, with more color and light, even
manifested in themes such as landscapes and seascapes with children.

Finally the masters of contemporary art like Jackson Pollock draw their
attention for freedom and gesturalism and drawing intuitively without any
brush or spatula tool to paint.

Pollock's dripping allows the paint to flow on its own and speak it without the
need for more tools or instruments than the free fall of the pictorial pigment
on the canvas.

In the recent works of ruben molina, two great pictorial traditions converge:
the sensuality of the drawing of the Dutch school, the impressionism of
monet and the radical freedom of Jackson Pollock's dripping painting.

It uses simple subjects such as: horses, flowers, faces, among others to
capture them on the canvas in the manner of the teacher Jackson Pollock;
without brushes, without spatulas only clinging to the free fall of the painting
and letting it speak itself.

Ruben Molina /2018

 09

Ruben Molina Contact : Rubenmolina7@gmail.com

Instagram rubenmolinaart

Twiter rubenmolinaart

Youtube Ruben Molina pintor

ENTREVISTA 11

Entrevista Ruben Molina por el Arquitecto Wilver Contreras Miranda para

la revista 5SENTIDOS de Merida Venezuela mes de Junio 2020

La plaza Bolívar de La Parroquia, en las primeras horas de la mañana de un

día fresco del mes de junio, aconteció el encuentro entre 5 Sentidos y el
artista plástico Rubén Molina, emergiendo con imponente figura en medio
de la plaza, tras el pedestal del grande héroe Simón Bolívar, teniendo como
fondo la iglesia que resaltaba con mayor fuerza su color amarillo al estar
bañada de luz, resaltando con mayor nitidez, el perfil de las esbeltas
palmeras que sirven de guardianes al Cristo que en cada Semana Santa se
rememora la ¨pasión viviente” de su tragedia al final de vida.

Es un día donde resalta la triada de un espíritu idealizado transformado en

busto de bronce que mira al Norte de esperanza y cambio; del espíritu que
no está encerrado en un templo de cristiandad, sino que es luz, guía virtuosa
y amor del mundo en cada templo de millones de seres humanos que
habitamos este planeta desdibujado; y un ciudadano venezolano, cuya
sensibilidad de artista plástico se proyecta hacia la trascendencia de una obra
que espera ser tallada en el reconocimiento de la más alta montaña donde
los dioses saben disfrutar del arte que inspira y hace vibrar la fibra de sus
cimientos existenciales.

Inmediatamente, entre la dinámica que se suscita alrededor de la plaza, del

turista que va tras los solicitados pasteles de La Parroquia surge la
jovialidad, el buen café y el gentilicio de sus pobladores, Rubén Molina
conquista con su excelente verbo pleno de sapiencia, gestualizando con sus
brazos trazos de pinceles al cielo azulado y lluvia de pasos que van cayendo
como la pintura acrílica del lienzo de la acera de concreto que nos conduce a
su taller, no muy distante de la plaza. Al entrar a su casa taller, es entrar a un
sagrado espacio donde la intimidad y la creación fluyen con el pasar del río
Albarregas vestido de intenso follaje que lo inspira con gran intensidad y
dinamismo. Resalta el orden en la disposición de todo lo que le permite
realizar sus excelentes obras de pintura, dibujo y esculturas, siendo estas un
tributo a los volúmenes que se forman de objetos que su visión creadora, las
ha seleccionado para evitar ser basura en un vertedero, pasando a ser
objetos animados por la fuerza de la composición sensible al hecho
ambiental del reciclaje. En medio de ese escenario, donde el Maestro Rubén
Molina hace florecer sus cimientos originarios como venezolano nacido en
Barinitas un mes de octubre del año 1969, Cuna de Poetas del estado Barinas
y de Venezuela como los hermanos Alfredo y Enriqueta Arvelo Larriva o
Marisela Moreno, comunidad que es puerta del pie de monte andino
humedecido del río Santo Domingo al imponente escenario de los llanos
barineses, razón por la cual se logra entender el porqué de la sabiduría del
artista es acompañada de un tono de voz con musicalidad poética que
emerge de su voz que infunde carácter y misticidad; que de adolescente, la
familia asciende a la alta montaña merideña para compenetrarlo al paisaje
del bolsón árido de Lagunillas, territorio de la gran nación de los Jamuenes,
donde las aguas salobres de la Laguna de Urao supo refrescar sus sueños
inquietos de joven artista que ya da sus primeras trazas creativas que lo
llevan a la ciudad de Tovar, la Sultana del Mocoties, ese ámbito donde el arte
fluye libremente por sus amplias casonas, y en especial, en la sede de la
Escuela de Arte del CONAC donde egresa como artista plástico en el año
1983.

El artista Rubén Molina, siente que las montañas le limitan sus horizontes de
forja y emprende camino a la ciudad de Caracas, donde llega a ser parte del
famoso grupo de artistas que conformaron el “Círculo del Dibujo” fundado
por Sofía Imber y Ernesto León, quienes mantenían de manera
independiente, su articulación al otrora orgullo del reconocido
mundialmente Museo de Arte Contemporáneo de Caracas Sofía Imber
(MCCSI). Profesionalmente llega a ser profesor de la asignatura “sistemas de
impresión” del emblemático Instituto de Diseño Newman, eterna referencia
de la historia del diseño gráfico, industrial y arquitectónico de Venezuela.
 Con éste curriculum envidiable ya de Maestro, pleno de sabiduría, relaciones
con los grandes artistas nacionales que han sido y son referencia de la
historia del arte mundial como Jesús Soto, Carlos Cruz Diez o MateoManaure,
su pensamiento creador es llamado por los Andes, donde la altura es
sinónimo de su don sensible y creador.

Así, con este breve resumen de una prolífica carrera, 5 Sentidos se plena de
orgullo iniciar el concierto de preguntas al Maestro Rubén Molina, esperando
que los lectores sepan apreciar sus sabias respuestas:

5 Sentidos. Siendo Usted nacido en una pequeña ciudad de poetas barineses,

Barinitas, y posteriormente, formado en una ciudad sinónimo de arte, Tovar,
¿Cómo llegan estos ámbitos urbanos de sensibilidad a influiry encaminar su
traza como artista plástico?

Rubén Molina. Realmente es muy acertado y sabio un viejo decir: “somos

hijos del tiempo y d e l a s c i r c u n s t a n c i a s ” . N o podemos despreciar la
influencia y la importancia que siempre tiene en el ser humano; su entorno,
sea familiar, emocional, ambiental o cultural; cuando se trata de definir su
talante creativo. En una oportunidad, el Maestro Jesús Soto comentaba que
sus “penetrables” provenían de las vivencias de niño al jugar bajo las
copiosas lluvias en su natal Ciudad Bolívar. En mi caso, Barinitas y Tovar han
sido dos localidades y dos momentos en mi vida que han modelado de
manera significativa mi horizonte creador. Muy de niño, mi familia se marcha
hacia Lagunillas de Mérida y con esto quiero indicar que mi imaginario y
vivencias fueron determinados por la viveza de sus colores y el dibujo de sus
paisajes que posteriormente se evidencian en mi trabajo. Tovar fue mi primer
contacto con las artes plásticas. En taller de Arte del CONAC “Elbano Méndez
Osuna” me inicie en un proceso de aprendizaje por los talleres de dibujo,
pintura y gráfica; lo cual aun no ha culminado para mí. La quietud y la
tranquilidad de este simpático poblado andino, se alteraba continuamente
por la sorpresiva visita de maestros como Jesús Soto, Cruz Diez, Carlos
Contramaestre, Antonio Lauro, Fredy Reyna, Omar Granados, Manuel de la
Fuente, entre otros; de quienes aprendí mucho de sus aportes. Tal vez, esto
me enseño a estar siempre expectante ante el conocimiento que siempre te
asalta la mente cuando menos lo esperes. Podía apreciar en ellos tantos
aportes de sus disciplinas y tal vez el pendular e indagar en varios estilos en
mi obra obedece a esta vivencia. Hoy en día, mi talante de artista podría
concluir que esta cimentado en estos dos importantes momentos de mi vida:
Barinitas- Lagunillas y Tovar.

5 Sentidos. El rol histórico que ha tenido el Instituto Newman para el

desarrollo del diseño gráfico, industrial y arquitectónico nacional, entre
otros, del cual Usted fue profesor ¿Cómo valora esa experiencia y cómo
contribuye al proceso de madurez creativa de su arte?

Rubén Molina. El Instituto para el diseño Hans Newman ha sido pilar

fundamental en el d e s a r r o l l o d e l d i s e ñ o e n V e n e z u e l a .
Desgraciadamente, este instituto desaparece pero se diluye en otras
instituciones a las cuales abrió paso y logró de esta manera mantener su
legado de profesionalidad. Fue la primera escuela de diseño del país, y una
de las pioneras en América Latina. Trabajé en las postrimerías del instituto,
cuando funcionaba en los Cortijos de Caracas, bajo la dirección de la
licenciada Miriam Salas. Me contrataron por dos años, hasta su cierre
definitivo en el área de “sistemas de impresión”. El interés y/o objetivo de
esta materia, se trataba de inducir y de dar herramientas a los a l u m n o s e
n e l á r e a d e l a g r á f i c a , especialmente en la serigrafía. Se les instruyó
en el color grafico, técnicas de estarcido de papel cuatricomia, estampado
sobre tela principalmente. Todo la guía o conducción de la materia al igual
que la filosofía del Instituto Neuman , era la concepción del Diseño como
Arte, emulando así la escuela de la Bauhaus. No se trataba de enseñar
técnicas básicas o dar herramientas al alumno; se trataba de inducirlos al
bosque de la creación, la imaginación pero mediante el diseño; a r r o j a n d
o u n r e s u l t a d o : e s f u n c i o n a l , novedoso, ocurrente y, además, es
bello por lo cual, es diseño. Aunque es pertinente mencionar que
inicialmente esta Escuela nace para capacitar diseñadores industriales para
después incluir el diseño gráfico; por lo cual fue muy decisivo en el diseño
venezolano, posteriormente. Trabajar en este Instituto fue un reto porque
tenía el peso del legado de sus fundadores y maestros como lo fue Ged
Leufer, Humberto Jaimes Sánchez, Alirio Palacios, John Lange, Alejandro
Otero, Luis Chacón, Luisa Palacios, entre otros maestros. Me sentía como en
el Olimpo del arte venezolano; minimizado ante los gigantes del arte y del
diseño venezolano. Fue un reto porque siempre me esmeraba por dar lo
mejor y le hacía saber a mis alumnos en el templo donde estaban.

Fue una etapa de mi vida en la cual transité por el mundo de la impresión

serigráfica. Trabajaba en el taller de impresión del maestro impresor Jimy
Machado en la Galería Durban. Era su asistente inmediato y tuve allí la
oportunidad de trabajar en proyectos de serigrafías para los maestros Mateo
Manaure, Fernando de Szyszlo, Arcangelo Lanelli, Agustín Cárdenas, Cundo
Bermúdez, David Manzur, Jorge Tacla, Arnaldo Roche-Ravell, Miguel von
Dangel, Kenneth Kemble, Jorge Ramos, Beatriz Milhares, entre otros. El
Instituto Newman sabiade esta experiencia y quería que les apoyara en tal
sentido.

5 Sentidos. Al ser un artista plástico en continua búsqueda de un lenguaje

propio y trascendental, en la actualidad ¿Qué significa el arte como forma de
vida y cómo puedes contribuir a desarrollar una sociedad más sensible y
humanizada?

Rubén Molina. Realmente es complejo definir esta búsqueda pero la vida, la

experiencia en este transitar te da con el tiempo, ciertas pistas que te
ayudan a orientar de que se trata tal búsqueda. A estas alturas del camino
puedo concluir, aunque no de manera definitiva; que se trata, en primer
lugar y ante todo, de una profesión al igual que todas las demás. Fue una de
las primeras profesiones de la humanidad. Luego que el hombre aprendió a
satisfacer sus necesidades básicas mediante la pezca, la caza, la recolección,
el refugio, descubrió el fuego; entonces pinto sobre las paredes de la cueva.
Dicen que el teatro nació en la cacería, cuando remedaba a los animales para
atraerlos y cazarlos. Pero con la pintura expreso su testimonio de vida, su
vivencia. Desde entonces y muchos antes de construir la primera casa, el ser
primitivo era pintor y actor. Con la actuación podía cazar y con la pintura
podía tener “identidad” y dejaba “constancia” que había existido. El
quehacer artístico como profesión siempre se ha concebido de esa manera.
Debe haber un proceso de aprendizaje, de especialización, de maestría y de
propuesta. Un profesional es una persona cualificada y calificada en un oficio,
es decir es un perito, alguien que sabe lo que está haciendo pero con
conocimiento de causa, de efecto, de valor agregado. No olvidemos las
referencias en las guildas de la Edad Media; todo lo que implicaba el proceso
de formación de un artesano, un arquitecto, un escultor, un pintor, un
gobelino, un sastre, carpintero etcétera, había además una devoción y amor
por aquello que se aprendía y luego por aquello que se hacía.

De tal manera que el arte es una profesión y por consiguiente una forma de
vida; sin este aporte nuestras sociedades no tendrían registro histórico
aparte de la escritura. El arte tiene un aporte fundamental en las ciudades.
Antiguamente, los grandes proyectos urbanísticos no se podían concebir sin
la importancia de “lo bello” o “estético”. Ejemplos tangibles lo
encontraremos en el Paláis de Versailles, en Parc Guell, el complejo
urbanístico de los Aztecas y Mayas. Lo “bello” estaba siempre relacionado
con lo funcional, con la urbe. En el momento que dicho elemento se divorcia
de la Arquitectura; la humanidad está demostrando una concepción fría de la
naturaleza; se impone la soberbia y aquello que es “bello” es asociado con
Dios, con la divinidad.

El mensaje de encontrar a Dios, al trascedente o al menos los valores más

altruistas en el paisaje cultural, desaparece.

Creo que uno de los retos de la humanidad del siglo XXI sería revisar las
antiguas culturas y retomar nuevamente sus criterios de creación.

5 Sentidos. ¿Qué ha significado para Usted la experiencia de participar en el I

Simposio de Escultura «ForumYouthWorld» en Egipto, celebrado en el año
2018?

Rubén Molina. Fui postulado por la fundación The Ajala Project de Dubai
(EAU) para representar a Venezuela en el proyecto Reviving Humanity
Memorial en Egipto, y que incluía la participación de 190 países, durante los
meses de octubre y noviembre en el marco del Foro Mundial de la Juventud.
Dicha fundación representa mi obra en los Emiratos Árabes Unidos desde el
2018.

Luego de un proceso de postulación y de selección de proyecto fui incluido

para elaborar un “corazón” en escultura, el cual se fijaba en un pedestal de
una plaza memorial en la ciudad de Sharm el Sheijk en la Península del Sinaí.
Para este caso, elaboré dicho motivo con materiales de desecho para indicar
que el drama ecológico de la basura y de los desechos en el mundo; lo cual
se ha convertido en nuestro nuevo mármol y bronce que debemos
aprovechar.

Todo este proyecto fue auspiciado y financiado por el gobierno egipcio.

Construyeron una plaza en la cual los 190 países convocados, debían colocar
una escultura de un corazón que los representara. Dicha plaza se le conoce
como Reviving Humanity Memorial, en honor a los caídos de la guerra y de
las luchas sociales y por la paz. Este proyecto se inauguraba en la apertura
del Foro Mundial de la Juventud que se celebró durante una semana y en el
cual concurrieron líderes, gobernantes, jóvenes de todas partes del mundo
para abordar diversos temas de interés mundial. Además de la elaboración
de la escultura, me correspondió participar en dicho Foro, representando
también mi país.

Para el proyecto de las esculturas, en esa oportunidad solo lograron

participar 75 países, para el 2019 participaron 50 países y, se esperaba para
este 2020, concluir el proyecto y reunirnos a todos nuevamente en Egipto.
Esta experiencia, ha sido la coronación de muchos esfuerzos, logros y
fracasos a lo largo de mi actividad artística. De gran aprendizaje, me encontré
con un nivel de exigencia en todos los sentidos, desconocido para mí; pero
logré al menos cumplir con las metas propuestas y requeridas .

En el compartir con mis colegas, fue unaexperiencia indescriptible. Cualquier

error, imprudencia que cometiera implicaba la imagen de mi país. Fue
significativo para muchos de nosotros poder contemplar como en una misma
mesa podían compartir con alegría países como Macedonia, Serbia, Bosnia,
Kosovo que acaban de salir de una guerra. O el caso de la presencia de Irán
con relaciones difíciles con el mundo árabe o países del África con conflictos
políticos y de guerra civil. Era admirable como entre ellos compartían de
manera amable y sin diferencias.

5 Sentidos. Como telón de cierre, consciente de las dificultades actuales

¿Cuál es su análisis respecto al estado actual del arte venezolano y sus
posibles derroteros?

Rubén Molina. La actual situación socialeconómica ha afectado a todos los

sectores y estamentos de nuestra sociedad. El gremio del arte no se escapa
de dicha afectación. Éramos un mercado importante de compra-venta en el
mundo. Nuestros museos venezolanos exponían maestros internacionales
como Henry Moore, Lynn Chadwick, Manolo Valdez, Botero además de
coleccionar Picasso, Dalí, Cezanne, entre otros, además era muy concurrida
y visitada por galerías de todas partes del mundo; la Feria Internacional de
Arte Caracas FIA-Caracas. Tuvimos la dicha de espectáculos del teatro Negro
de Praga, el Ballet Bolshoi, Placido Domingo, entre muchos más. Eran los
beneficios y bondades de una Venezuela rentista cuya economía siempre ha
sido signada por los va y vienes del precio del petróleo y la actividad cultural
se apoyaba en ese marco económico.

Ese Paraíso o jardín del Edén, un buen día fue visitado por la sequia, la plaga,
el descuido y ahora nos queda casi un desierto…muchos creadores han
tenido que partir del país para mejores derroteros y otros cambiaron de
ramo o de oficio.

A duras penas, las instituciones e iniciativas privadas han logrado subsistir;

una hazaña heroica de parte de muchos. Ha sido una dura prueba para todos,
especialmente para los que apostamos por seguir en Venezuela hemos
madurado, hemos aprendido a valorar lo que tenemos y ahora nos preocupa
no perder lo logrado. Nuestra creatividad se ha potenciado y la situación ha
servido para decantar el verdadero talento y solo el auténtico artista y
promotor cultural ha logrado ganar la batalla hasta ahora.
Experiencias como estas no son nuevas ni ajenas para el mundo del arte. En
guerras, crisis económicas, pandemias, la producción artística nunca ha se ha
detenido. Durante la guerra civil española aparecieron y deslumbraron
poetas como Federico García Lorca, maestros como Dalí o Picasso, incluso
Antoni Tapies, se inspiro en dicho episodio histórico al igual que cineastas
como Luis Buñuel.

Pienso que esta crisis, o este crisol; está arrojando una estela de creadores
de gran nivel y t a l e n t o c o n u n a g r a n s i n c e r i d a d y profesionalidad
en sus propuestas. Además, ha comenzado a brillar con luz propia sin
depender de las políticas culturales oficiales. El creador venezolano se ha
convertido en un estimulante y en un modelo de superación para muchos
venezolanos. Hago votos porque así sea.

Al finalizar la entrevista, el equipo de la Revista 5 Sentidos, como discípulos

que escuchan y noquieren despedidas del Maestro en el Templo de Zeus en
la Grecia clásica, sentimos la placidezdel encuentro con un ser humano que
sabe conquistar escenarios, su don de ciudadano sabio y sensible, que tras su
mirada esconde tiempos de experiencias que debe ser reconocida y
aprendida en esta Venezuela maltrecha, donde el Maestro Rubén Molina
inspira a no creer en la derrota de la desesperanza. La despedida dejó el
aroma del buen café que era envolvente de una grata conversación que
esperamos que los lectores, por igual, sepan disfrutar e imaginarse el
escenario que aún quedó grabado en el lienzo del recuerdo de cada una de
las obras de arte distribuidas en su taller y que han sido emanadas de la
creatividad y dinamismo de un hombre sensible que le espera la blancura de
las amplias paredes de los espacios del buen y trascendental arte, del cual la
humanidad tiene esperanza de la transformación y construcción de una
nueva sociedad venezolana y mundial.

Rubén Molina, Junio 2020

Entrevista publicada en la edición del mes de Junio 2020 de la revista

5SENTIDOS especializada en arte, moda, diseño, modas, gastronomía,
turismo , espectáculos , modelaje. Merida Venezuela.
INTERVIEW
Interview Ruben Molina by the Architect Wilver Contreras Miranda for the
magazine 5SENTIDOS of Merida Venezuela month of June 2020

In the Plaza Bolívar de La Parroquia, in the early hours of the morning of a

cool day in June, the encounter between 5 Sentidos and the plastic artist
Rubén Molina took place, emerging with an imposing figure in the middle of
the square, behind the pedestal of the great hero Simón Bolívar, having as a
background the church that stood out with greater strength its yellow color
when bathed in light, highlighting with greater clarity, the profile of the
slender palm trees that serve as guardians of the Christ who in every Holy
Week is commemorated the ¨ living passion ”of his tragedy at the end of life.

It is a day that highlights the triad of an idealized spirit transformed into a

bronze bust that looks to the North of hope and change; of the spirit that is
not enclosed in a temple of Christianity, but is light, a virtuous guide and love
of the world in each temple of millions of human beings who inhabit this
blurred planet; and a Venezuelan citizen, whose sensibility as a visual artist is
projected towards the transcendence of a work that awaits to be carved in
recognition of the highest mountain where the gods know how to enjoy the
art that inspires and vibrates the fiber of its existential foundations.

Immediately, among the dynamics that arises around the square, of the
tourist who goes after the requested cakes of La Parroquia, joviality, good
coffee and the gentilicio of its inhabitants emerge, Rubén Molina conquers
with his excellent verb full of wisdom, gesturing with his arms brush strokes
to the blue sky and a rain of footsteps that are falling like acrylic paint on the
canvas of the concrete sidewalk that leads us to his workshop, not too far
from the square. When entering his home workshop, it is to enter a sacred
space where intimacy and creation flow with the passing of the Albarregas
river dressed in intense foliage that inspires him with great intensity and
dynamism. It highlights the order in the arrangement of everything that
allows him to make his excellent works of painting, drawing and sculpture,
these being a tribute to the volumes that are formed from objects that his
creative vision has selected to avoid being garbage in a landfill , becoming
objects animated by the force of the composition sensitive to the
environmental fact of recycling. In the midst of this scenario, where Master
Rubén Molina makes his original foundations flourish as a Venezuelan born in
Barinitas in October 1969, Cradle of Poets of the state of Barinas and
Venezuela like the brothers Alfredo and Enriqueta Arvelo Larriva or Marisela
Moreno, community that is the gateway to the moistened Andean foot of the
Santo Domingo river to the imposing scenery of the Barinese plains, which is
why it is possible to understand why the artist's wisdom is accompanied by a
tone of voice with poetic musicality that emerges from his voice that infuses
character and mysticity; that as a teenager, the family ascended to the high
mountains of Merida to penetrate the landscape of the arid pocket of
Lagunillas, territory of the great nation of Jamuenes, where the brackish
waters of the Urao Lagoon knew how to refresh his restless dreams as a
young artist who already gives his first creative traces that take him to the
city of Tovar, the Sultana del Mocoties, that area where art flows freely
through its large houses, and especially, at the headquarters of the CONAC
School of Art where he graduated as a visual artist in 1983.

The artist Rubén Molina, feels that the mountains limit his forging horizons
and set out on his way to the city of Caracas, where he becomes part of the
famous group of artists that made up the "Circle of Drawing" founded by
Sofía Imber and Ernesto León. who independently maintained their
articulation to the once pride of the world-renowned Museum of
Contemporary Art of Caracas Sofía Imber (MCCSI). Professionally, he became
a professor of the subject “printing systems” at the emblematic Newman
Design Institute, an eternal reference in the history of graphic, industrial and
architectural design in Venezuela.
With this enviable curriculum already as a Teacher, full of wisdom,
relationships with the great national artists who have been and are a
reference in the history of world art such as Jesús Soto, Carlos Cruz Diez or
MateoManaure, his creative thought is called by the Andes, where height is
synonymous with his sensitive and creative gift.

Thus, with this brief summary of a prolific career, 5 Sentidos is proud to

begin the concert of questions to Maestro Rubén Molina, hoping that readers
will appreciate his wise answers:

5 SENTIDOS magazine . Being you born in a small city of Barinese poets,

Barinitas, and later, formed in a city synonymous with art, Tovar, how do
these urban areas of sensitivity come to influence and direct your trace as a
plastic artist?

Rubén Molina. An old saying is really very correct and wise: "we are children
of time and of l a s c i r c u n s t a n c i a s". We cannot disregard the influence
and importance it always has on the human being; their environment, be it
familiar, emotional, environmental or cultural; when it comes to defining
your creative flair. On one occasion, Master Jesús Soto commented that his
"penetrables" came from the experiences of a child playing under the heavy
rains in his native Ciudad Bolívar. In my case, Barinitas and Tovar have been
two locations and two moments in my life that have significantly shaped my
creative horizon. As a child, my family went to Lagunillas de Mérida and with
this I want to indicate that my imagination and experiences were determined
by the vividness of its colors and the drawing of its landscapes that are later
evidenced in my work. Tovar was my first contact with the plastic arts. In the
CONAC Art Workshop "Elbano Méndez Osuna" I started in a learning process
through the drawing, painting and graphic workshops; which is not over yet
for me. The stillness and tranquility of this nice Andean town was continually
altered by the surprise visit of teachers such as Jesús Soto, Cruz Diez, Carlos
Contramaestre, Antonio Lauro, Fredy Reyna, Omar Granados, Manuel de la
Fuente, among others; from whom I learned a lot from their contributions.
Maybe this
He taught me to always be expectant before the knowledge that always
assails your mind when you least expect it. I could appreciate in them so
many contributions from their disciplines and perhaps the pendulum and
investigate various styles in my work is due to this experience. Today, my
spirit as an artist could conclude that it is based on these two important
moments in my life: Barinitas-Lagunillas and Tovar.

5 SENTIDOS magazine The historical role that the Newman Institute has had
for the development of national graphic, industrial and architectural design,
among others, of which you were a professor. How do you value that
experience and how does it contribute to the process of creative maturity of
your art?

Rubén Molina. The Hans Newman Institute for Design has been a
fundamental pillar in the d e s a r r o l o o f d i s e year in V e n e z u e l a.
Unfortunately, this institute disappears but is diluted in other institutions to
which it made way and thus managed to maintain its legacy of
professionalism. It was the first design school in the country, and one of the
pioneers in Latin America. I worked at the end of the institute, when it
worked in the Cortijos de Caracas, under the direction of the lawyer Miriam
Salas. They hired me for two years, until its final closure in the area of
"printing systems". The interest and / or objective of this matter was to
induce and give tools to the al u m n o s in the l a r e a of l a g r a f i c a,
especially in screen printing. They were instructed in graphic color, four-color
paper stencil techniques, mainly printed on fabric. All the guide or
conduction of the matter as well as the philosophy of the Neuman Institute,
was the conception of Design as Art, thus emulating the Bauhaus school. It
was not about teaching basic techniques or giving tools to the student; It was
about inducing them into the forest of creation, imagination but through
design; a r r o j a n d o u n r e s u l t a d o: e s f u n c i o n a l, novel, witty and,
in addition, it is beautiful for which, it is design. Although it is pertinent to
mention that initially this School was born to train industrial designers to
later include graphic design; for which it was very decisive in the Venezuelan
design, later. Working in this Institute was a challenge because it had the
weight of the legacy of its founders and teachers such as Ged Leufer,
Humberto Jaimes Sánchez, Alirio Palacios, John Lange, Alejandro Otero, Luis
Chacón, Luisa Palacios, among other teachers. I felt like I was in the Olympus
of Venezuelan art; minimized before the giants of Venezuelan art and design.
It was a challenge because I always strived to do my best and let my students
know where they were in the temple. It was a stage in my life in which I went
through the world of screen printing. He was working in master printer Jimy
Machado's printing shop at the Durban Gallery. I was his immediate assistant
and there I had the opportunity to work on serigraph projects for the masters
Mateo Manaure, Fernando de Szyszlo, Arcangelo Lanelli, Agustín Cárdenas,
Cundo Bermúdez, David Manzur, Jorge Tacla, Arnaldo Roche-Ravell, Miguel
von Dangel, Kenneth Kemble, Jorge Ramos, Beatriz Milhares, among others.
The Newman Institute knew of this experience and wanted it to support
them in this regard.

5 SENTIDOS magazine . Being a visual artist in continuous search for his own
and transcendental language, what does art mean as a way of life today and
how can you contribute to developing a more sensitive and humanized
society?

Rubén Molina. It is really complex to define this search but life, the
experience in this journey gives you, over time, certain clues that help you
guide what such a search is about. At this point on the road I can conclude,
although not definitively; that it is, first and foremost, a profession like all
others. It was one of the first professions of humanity. After man learned to
satisfy his basic needs through fish, hunting, gathering, shelter, he discovered
fire; so I paint on the cave walls. They say that the theater was born in
hunting, when it imitated animals to attract and hunt them. But with the
painting I express his testimony of life, his experience. Since then and many
before building the first house, the primitive being was a painter and an
actor. With acting he could hunt and with painting

it could have an "identity" and left "evidence" that it had existed. Artistic
work as a profession has always been conceived in this way. There must be a
learning process, specialization, mastery and proposal. A professional is a
qualified and qualified person in a trade, that is to say, he is an expert,
someone who knows what he is doing but with knowledge of cause, of effect,
of added value. Let's not forget the references in the guilds of the Middle
Ages; Everything that involved the process of training a craftsman, an
architect, a sculptor, a painter, a gobelin, a tailor, a carpenter, etc., there was
also a devotion and love for what was learned and then for what was done.

In such a way that art is a profession and therefore a way of life; without this
contribution our societies would have no historical record apart from writing.
Art has a fundamental contribution to cities. Formerly, large urban projects
could not be conceived without the importance of "beauty" or "aesthetic".
Tangible examples can be found in the Paláis de Versailles, in Parc Guell, the
urban complex of the Aztecs and Mayas. The "beautiful" was always related
to the functional, to the city. At the moment that this element is divorced
from Architecture; humanity is showing a cold conception of nature; pride
prevails and that which is "beautiful" is associated with God, with divinity.

The message of finding God, the transcendent or at least the most altruistic
values in the cultural landscape, disappears.

I think that one of the challenges for humanity in the 21st century would be
to review ancient cultures and return to their criteria of creation.

5 SENTIDOS magazine What has the experience of participating in the First

Sculpture Symposium "Forum Youth World" in Egypt, held in 2018, meant for
you?

Rubén Molina. I was nominated by The Ajala Project foundation in Dubai

(UAE) to represent Venezuela in the Reviving Humanity project

Memorial in Egypt, which included the participation of 190 countries, during

the months of October and November in the framework of the World Youth
Forum. This foundation represents my work in the United Arab Emirates
since 2018.
After a process of application and selection of the project, I was included to
elaborate a sculpture “heart”, which was fixed on a pedestal of a memorial
square in the city of Sharm el Sheikh on the Sinai Peninsula. For this case, I
elaborated said motif with waste materials to indicate that the ecological
drama of garbage and waste in the world; which has become our new marble
and bronze that we must take advantage of.

This entire project was sponsored and funded by the Egyptian government.
They built a square in which the 190 countries summoned, had to place a
sculpture of a heart that represented them. This square is known as the
Reviving Humanity Memorial, in honor of the fallen from war and social
struggles and for peace. This project was inaugurated at the opening of the
World Youth Forum that was held for a week and in which leaders,
governors, young people from all over the world attended to address various
issues of global interest. In addition to the elaboration of the sculpture, it was
my responsibility to participate in said Forum, also representing my country.

For the project of the sculptures, on that occasion only 75 countries managed
to participate, by 2019 50 countries participated and, it was expected by
2020, to conclude the project and meet all of us again in Egypt. This
experience has been the crowning of many efforts, achievements and failures
throughout my artistic activity. Of great learning, I found a level of demand in
every way, unknown to me; but I managed at least to meet the proposed and
required goals.

In sharing with my colleagues, it was an indescribable experience. Any

mistake, recklessness that I made implied the image of my country. It was
significant for many of us to be able to contemplate how in ourselves

table could happily share countries like Macedonia, Serbia, Bosnia, Kosovo
that have just come out of a war. Or the case of the presence of Iran with
difficult relations with the Arab world or countries in Africa with political
conflicts and civil war. It was admirable how they shared in a friendly way
and without differences.
5 SENTIDOS magazine. As a closing curtain, aware of the current difficulties,
what is your analysis regarding the current state of Venezuelan art and its
possible directions?

Rubén Molina. The current socio-economic situation has affected all sectors
and strata of our society. The art guild does not escape this affectation. We
were an important buying and selling market in the world. Our Venezuelan
museums exhibited international masters such as Henry Moore, Lynn
Chadwick, Manolo Valdez, Botero, as well as collecting Picasso, Dalí, Cezanne,
among others, it was also very popular and visited by galleries from all over
the world; the Caracas FIA-Caracas International Art Fair. We had the bliss of
shows from the Black Theater in Prague, the Bolshoi Ballet, Placido Domingo,
among many more. They were the benefits and benefits of a rentier
Venezuela whose economy has always been marked by the ups and downs of
the price of oil and cultural activity was based on that economic framework.

That Paradise or Garden of Eden, one fine day was visited by the drought, the
plague, the neglect and now we have almost a desert ... many creators have
had to leave the country for better directions and others changed their field
or profession.

With great difficulty, private institutions and initiatives have managed to

survive; a heroic feat on the part of many. It has been a tough test for
everyone, especially for those of us who are committed to continuing in
Venezuela, we have matured, we have learned to value what we have and
now we are worried about not losing what we have achieved. Our creativity
has been enhanced and the situation has served to decant true talent and
only the authentic artist and cultural promoter has managed to win the
battle so far.

Experiences like these are neither new nor foreign to the art world. In wars,
economic crises, pandemics, artistic production has never stopped. During
the Spanish Civil War poets like Federico García Lorca appeared and dazzled,
teachers like Dalí or Picasso, even Antoni Tapies, was inspired by this
historical episode as well as filmmakers like Luis Buñuel.
I think this crisis, or this melting pot; is throwing a trail of high-level creators
and t a l e n t o c o n u n a g r a n s i n c e r i d a d and professionalism in their
proposals. In addition, it has begun to shine with its own light without
depending on official cultural policies. The Venezuelan creator has become a
stimulant and a model for self-improvement for many Venezuelans. I vow
that it be so.

At the end of the interview, the team of the 5 Sentidos Magazine, as disciples
who listen and do not want farewells from the Master in the Temple of Zeus
in classical Greece, we felt the placidity of the encounter with a human being
who knows how to conquer scenarios, his gift as a wise citizen and sensitive,
that behind his gaze hides times of experiences that must be recognized and
learned in this battered Venezuela, where Master Rubén Molina inspires not
to believe in the defeat of despair. The farewell left the aroma of good coffee
that surrounded a pleasant conversation that we hope readers, alike, will
know how to enjoy and imagine the scene that was still engraved on the
canvas of the memory of each of the works of art distributed in its workshop
and that have been emanated from the creativity and dynamism of a
sensitive man who awaits him the whiteness of the wide walls of the spaces
of good and transcendental art, of which humanity has hope of the
transformation and construction of a new Venezuelan society and world.

Rubén Molina, June 2020

Interview published in the June 2020 edition of the 5SENTIDOS magazine

specialized in art, fashion, design, fashions, gastronomy,
OBRAS / ARTWORKS 28
Title; Gaze technique oil/canvas measure 1m x 1m year 1997
Private collection Venezuela
Title : CHILDREN , Technique: oil/canvas , measure : 40 m x 60 cm , year: 2017
. Private Collection Miami FL US
Title : Old man, Technique: oil/canvas , measure : 1 m x 80 cm , year: 2008 .
Private Collection Venezuela
Title : Dali, Technique: oil/canvas , measure : 80 m x 60 cm , year: 2008 .
Private Collection Venezuela
Title : Horse , Technique: oil/canvas , measure : 1 m x 80 cm , year: 2007 .
Private Collection Venezuela
Title: Face technique: oil/canvas measure 1m x 80 cm year 2007

Private collection Venezuela

Title: Joker technique acrylic/canvas measure 1m x 80cm year 2019

Private collection Venezuela

Title : Bolivar , Technique: oil/canvas , measure : 1 m x 80 cm , year: 2017 .
Private Collection Colombia
Title : reading , Technique: oil/canvas , measure : 60 m x 40 cm , year: 2017 .
Private Collection Prague Czech Republic
Title : Manuel my son , Technique: oil/canvas , measure : 35c m x 30 cm ,
year: 2020 . Artist`s Collection Venezuela
Title : hand , Technique: pencil/paper , measure : 35c m x 50 cm , year: 2020
. Artist`s Collection Venezuela
Title : still life , Technique: pencil/paper , measure : 35c m x 50 cm , year:
2020 . artist`s collection Venezuela
Title : cloth , Technique: pencil/paper , measure : 35c m x 50 cm , year: 2020
. artist`s collection Venezuela
Title : hand , Technique: pencil/paper , measure : 50 c m x 35 cm , year: 2020
. artist`s collection Venezuela
Title : dog , Technique: pencil/paper , measure : 35c m x 50 cm , year: 2020 .
artist`s collection Venezuela
Title : Face , Technique: ink /paper , measure : 35c m x 25 cm , year: 2019 .
Private Collection Venezuela
Title : Horse , Technique: acrylic /canvas , measure : 80c m x 60 cm , year:
2019 . Private Collection Venezuela
Title : angel , Technique: ink /paper , measure : 45c m x 45 cm , year: 2018 .
artist`s collection Venezuela
Title : Offering , Technique: lithography /paper , measure : 70 c m x 50 cm ,
year: 2005 . P/A

Presidential collection of Venezuelan graphics

Title : Face , Technique: acrylic l/canvas , measure : 1 m x 80 cm , year: 2019 .
Artist`s Collection Venezuela
Title : Face , Technique: acrylic l/canvas , measure : 35 m x 30 cm , year: 2019
. Artist`s Collection Venezuela
Title : Face , Technique: acrylic l/canvas , measure : 70 m x 70 cm , year: 2019
. Private Collection Venezuela
Title : horse , Technique: ink/paper , measure : 45 m x 40 cm , year: 2018 .
Artist`s Collection Venezuela
Title : Driver , Technique: ink/paper , measure : 45 m x 40 cm , year: 2018 .
Artist`s Collection Venezuela
Title : Face , Technique: ink/paper , measure : 45 m x 40 cm , year: 2018 .
Artist`s Collection Venezuela
Title : Face , Technique: ink/paper , measure : 45 m x 40 cm , year: 2018 .
Artist`s Collection Venezuela
Title : horse , Technique: acrylic/canvas , measure : 35 m x 50 cm , year:
2017 . Private Collection Venezuela
Title : Eyes , Technique: acrylic/canvas , measure : 45 m x 40 cm , year: 2018
. Private Collection Venezuela
Title : Bull , Technique: acrylic/canvas , measure : 70 m x 50 cm , year: 2018 .
Private Collection Venezuela
Title : driver , Technique: acrylic/canvas , measure : 80 m x 100 cm , year:
2018 . Private Collection Venezuela
Title : Cat , Technique: acrylic/canvas , measure : 30 m x 35 cm , year: 2018 .
Artist`s Collection Venezuela

Title : Face , Technique: acrylic/canvas , measure : 30 m x 35 cm , year: 2018

. Artist`s Collection Venezuela
Title : Quijote , Technique: acrylic/canvas , measure : 35 m x 30 cm , year:
2018 . Private Collection Venezuela
Title : Horse , Technique: acrylic/canvas , measure : 35 m x 30 cm , year:
2018 . Private Collection Venezuela
Title : Driver , Technique: acrylic/canvas , measure : 1 m x 80 cm , year:
2018 Artist`s Collection Venezuela
Title : Driver , Technique: acrylic/canvas , measure : 80 m x 100 cm , year:
2018 . The Ajala Project Dubai UEA
Title : Horse , Technique: acrylic/canvas , measure : 1 m x 80 cm , year: 2018
. Private Collection London UK
Title : Miranda Hero , Technique: oil /canvas , measure : 60 m x 80 cm ,
year: 2008 . Private Collection Venezuela
Title : Horse , Technique: oil /canvas , measure : 120 m x 1300 cm , year:
2003 . Private Collection Venezuela
Title : Horse , Technique: acrylic /canvas , measure : 80 m x 40 cm , year:
2013 . The Ajala Project Dubai UAE
Title : Face , Technique: acrylic /canvas , measure : 1 m x 80 cm , year:
2018 . Private Collection Venezuela
Title : Face , Technique: acrylic /canvas , measure : 1 m x 80 cm , year:
2018 . Artist`s collection Venezuela
Title : Landscape , Technique: acrylic /canvas , measure : 80c m x 100 cm ,
year: 2018 Private Collection Venezuela
Title : Marylin , Technique: acrylic /canvas , measure : 80 c m x 60 cm ,
year: 2019 . Artist`s collection Venezuela
Title : Katy , my daughter , Technique: acrylic /canvas , measure : 35 c m x
30 cm , year: 2020. Artist`s collection Venezuela
Title : Face , Technique: acrylic /canvas , measure : 50c m x 40 cm , year:
2018 . Private Collection Venezuela
Title : Bob Marley , Technique: acrylic /canvas , measure : 100c m x 80 cm
, year: 2018 . Private Collection Venezuela
Title : Face , Technique: acrylic /canvas , measure : 100c m x 80 cm , year:
2018 . Artist`s collection Venezuela
Title : Veermer , Technique: acrylic /canvas , measure : 100c m x 80 cm ,
year: 2018 . Private Collection Venezuela
Title : Face , Technique: acrylic /canvas , measure : 100c m x 80 cm , year:
2018 Artist`s collection Venezuela
Title : Flowers , Technique: acrylic /canvas , measure : 100c m x 100 cm ,
year: 2019 . Private collection Venezuela
Title : Face , Technique: acrylic /canvas , measure : 100c m x 80 cm , year:
2018 . Private collection Venezuela
Title : Christ , Technique: oil /canvas , measure : 100c m x 80 cm , year:
2003 . Private collection Venezuela
Title : Flowers , Technique: acrylic /canvas , measure : 100c m x 80 cm ,
year: 2018 . Ms Shosha Aboulkheir collection Egypt
Title : Cantinflas , Technique: acrylic /canvas , measure : 100c m x 80 cm ,
year: 2019 . Private collection Venezuela
Title : Mercury , Technique: acrylic /canvas , measure : 100c m x 80 cm ,
year: 2019 . Artist`s collection Venezuela
Title : Men at the pub , Technique: oil /canvas , measure : 50c m x 70 cm ,
year: 2006. Private collection Netherlands
Title : Reveron maister. Technique : acrylic / canvas , measure: 1m x 1m ,
year: 2008 Museum of Modern Art . Tovar Venezuela
Title: Einstein technique acrylic/canvas measure 1m x 80cm year 2017

Private collection Venezuela

Title:Face technique acrylic/canvas measure 1m x 80cm year 2017

Private collection Venezuela

Title : Maternity . Technique : acrylic / canvas , measure: 1m x 1m , year:
2020

Luis Noboa Naranjo Museum of Art Guayaquil Ecuador

Title : Horse . Technique : acrylic / canvas , measure: 30 cm x 35 cm , year:
2019 Artist `s collection Venezuela
Title : Face . Technique : acrylic / canvas , measure: 35 cm x 3 0 cm , year:
2019 Private collection Venezuela
Title : Batman . Technique : acrylic / canvas , measure: 1m x 1m , year: 2020

Private collection Venezuela

Title : Horses run . Technique : acrylic / canvas , measure: 80 cm x 60 cm ,
year: 2018 The Ajala Project Dubai UAE
Title : driver . Technique : acrylic / canvas , measure: 120 m x 110 m , year:
2018 Private collection Venezuela
Title : Eagle . Technique : acrylic / canvas , measure: 100 cm x 100 cm , year:
2018 The Ajala Project Dubai UAE
Title : Horse. Technique : acrylic / canvas , measure: 80 cm x 60 cm , year:
2018 Private collection Spain
Title : old man Technique: oil/canvas , measure: 40cm x 30cm , year 2017

Private collection Sultanate of Oman.

Title; bull technique: oil/canvas , measure 60cm x 80cm ,year 2017 Private
collection Venezuela

Title; horses run technique: oil/canvas , measure 60cm x 120cm ,year 2017
Private collection Venezuela
Title;Child technique: acrylic /canvas , measure 50cm x 40cm ,year 2020

Artist`s collection Venezuela

Title;Child technique: acrylic /canvas , measure 35 cm x 30cm ,year 2020

Artist`s collection Venezuela

Title;Child technique: acrylic /canvas , measure 40 cm x 50cm ,year 2020

Private collection Miami FL US

Author : Ruben Molina / Title Woman / technique : acrylic/canvas /
measure 1, 20cm x 80cm /year 2018 / The Ajala Project Dubai UAE
Author : Ruben Molina / Title Beduin Woman / technique : acrylic/canvas /
measure 1 m x 80cm /year 2018 / Private collection Venezuela
Author : Ruben Molina / Title Beduin Woman / technique : oil/canvas / size
1 m x 80cm /year 2019 / Artist`s collection Venezuela
Title : Holy Mother Mary . Technique : acrylic / canvas , measure: 100 cm x
100 cm , year: 2019

Private collection Texas US

Tribute to Vincent Van Gogh acrylic/ canvas , 1m x 80 cm 2019 private
collection Venezuela
Old man, acrylic/canvas, 1m x 1m 2018 . private collection Venezuela
Driver on horse , acrylic on canvas, 80cm x 120cm , The Ajala Project
Foundation Dubai AEU
Gandhi , 80 cm x 65cm acrylic/canvas 2020 , artist`s collection Venezuela
Joker , measure 80cm x 65 cm year 2020, acrylic/canvas , Artist`s collection
Venezuela
Title : Flowers , acrylic/canvas, measure 80cm x 65 cm year 2018, artist`s
collection Venezuela
Title: Eart , mix media , 40cm x 20cm x 20cm , 2018

RHM square in Sharm el Sheikj Egypt

Title : Flowers, technique: acrylic/canvas , measure 1m x 80 cm 2018 ,

private collection Dubai AEU

Driver , acrylic/canvas 80cm x 1m 2018 , The Ajala Project Foundation Dubai
AEU
Man on chair , acrylic/canvas , measure 1m x 80 cm , year 2018 private
collection Venezuela
Title: Che technique: acrylic/canvas , measure 35cm x 30cm year: 2020

Artist`s collection Venezuela

Title: Flowers, technique: acrylic/canvas measure: 1m x 80cm year 2018

The Ajala Project Dubai UAE

Title: Picasso , technique: acrylic/canvas measure 80cm x 60cm year 2020

Artist`s collection Venezuela

Title Marylin, Technique acrylic/ canvas, measure 80m x 60 cm year 2020

Artist`s collection Venezuela

Title Horse , Technique acrylic/canvas, measure 80m x 60 cm year 2017

Private collection Miami FL US

Title: Woman technique: acrylic/canvas , measure 35cm x 30cm year: 2020

Artist`s collection Venezuela

Title: Flowers technique: acrylic/canvas , measure 100cm x 80cm year: 2020

Artist`s collection Venezuela

Title: Flowers technique: acrylic/canvas , measure 100cm x 80cm year: 2018

Private collection Venezuela

Title: Flowers technique: acrylic/canvas , measure 79 cm x 100cm year: 2020

Artist`s collection Venezuela

Title : Ship technique acrylic/canvas measure 1m x 1m year 2018

The Ajala project Dubai UAE

Title : Horse technique acrylic/canvas measure 80 cm x 1m year 2018

Private collection Miami FL US

Title: Holy Mother mary Technique acrylic/canvas measure 60cm x 60cm
year 2019 Private collection Texas US
Title: Face technique: acrylic/canvas measure 50cm x 40cm year 2018

Private collection Spain

Title: Portrait technique: acrylic/canvas measure 120cm x 110 cm year 2018

Private collection Venezuela

Title: Flowers technique: acrylic/canvas , measure 100cm x 80cm year: 2019

Artist`s collection Venezue

OBRA EXPERIMENTAL 131

ARTE Y RECICLAJE, LA OTRA CARA DE LA BELLEZA

ANTIGUAMENTE NUESTRAS CULTURAS RECURRIAN A LA PIEDRA Y AL

BRONCE PARA EDIFICAR O CREAR MONUMENTOS PORQUE DICHOS
MATERIALES GARANTIZABAN PERMANENCIA EN EL TIEMPO POR EJEMPLO
MACHU PICHU , LAS PIRAMIDES , EL PARTENON , EL DAVID DE MIGUEL
ANGEL, TORRE EIFFEL , ENTRE OTROS.

NUESTRA SOCIEDAD DE CONSUMO AHORA NOS OFRECE UNA NUEVA

MATERIA PRIMA , UN NUEVO BRONCE Y UN NUEVO MARMOL QUE
ENCONTRAMOS EN LA BASURA ,. SABEMOS QUE MUCHOS DE LOS DESECHOS
SOLIDOS NECESITAN CONDICIONES EXTREMAS Y DE MUCHO TIEMPO PARA
DEGRADARSE, TAL ES EL CASO DEL PLASTICO.

TODAS LAS DISCIPLINAS HAN SIDO RETADAS PARA EXPLORAR ALTERNATIVAS

, SOLUCIONES ANTE ESTE DRAMA ; EL RECICLAJE ES UNA VIA EXPEDITA DE
APROVECHAR.

PONTE A PRUEBA ; ERES CREADOR , SOLO INTENTALO , LA TIERRA LO

NECESITA .
EXPERIMENTAL WORK

ART AND RECYCLING, THE OTHER SIDE OF BEAUTY

FORMERLY OUR CULTURES RESOURCED TO STONE AND BRONZE TO BUILD

OR CREATE MONUMENTS BECAUSE SUCH MATERIALS GUARANTEED
PERMANENCE IN TIME FOR EXAMPLE MACHU PICHU, LAS PYRAMIDES, EL
PARTENON, EL DAVID DE MIGUELF ANGEL, EL DAVID DE MIGUELF ANGEL, OR
DAVID DE MIGUELF ANGEL.

OUR CONSUMER SOCIETY NOW OFFERS US A NEW RAW MATERIAL, A NEW

BRONZE AND A NEW MARBLE THAT WE FIND IN THE GARBAGE. WE KNOW
THAT MANY OF THE SOLID WASTE NEED EXTREME CONDITIONS AND A LONG
TIME TO DEGRADE, SUCH IS THE CASE OF PLASTIC.

ALL THE DISCIPLINES HAVE BEEN CHALLENGED TO EXPLORE ALTERNATIVES,

SOLUTIONS TO THIS DRAMA; RECYCLING IS AN EXPEDITED WAY TO TAKE
ADVANTAGE.

TEST YOURSELF ; YOU ARE A CREATOR, JUST TRY IT, THE EARTH NEEDS IT.
Ruben Molina World Youth Forum First Symposium of Sculture 2018 in
Egypt
Box, mix media ,( recycling material) 70 cm x 60 cm 2019 artist`s collection
Venezuela
Flower , mix media ,( recycling material) 50 cm x 30 cm 2019

artist`s collection Venezuela

Box, mix media ,( recycling material) 60 cm x 80 cm 2019 artist`s collection
Venezuela
Shoe , mix media ,( recycling material) 50 cm x 30 cm 2019 artist`s collection
Venezuela
Box, mix media ,( recycling material) 60 cm x 80 cm 2019 artist`s collection
Venezuela
coffe , mix media ,( recycling material) 50 cm x 30 cm 2019 artist`s collection
Venezuela
Box, mix media ,( recycling material) 70 cm x 60 cm 2019 artist`s collection
Venezuel
Eart , mix media , 40cm x 20cm x 20cm , 2018 RHM square in Sharm el
Sheikj Egypt
Title: Horse Techinque : mix media , measure : 50cm x 20cm x 10cm year:
2019 . Artist+s collection Venezuela
Title: Window Techinque : mix media , measure : 30cm x 50cm x 10cm
year: 2019 . Artist+s collection Venezuela
Title: drawing Techinque : mix media , measure : 40cm x 50cm x 10cm
year: 2019 .

Private collection Venezuela

Title: Ship technique mix media measure 50cm x 30cm x 20cm year 2018

Artist`s collection Venezuela

Title Heart technique mix media measure 40cm x 20cm x 10 cm year 2018

Model / First Symposium of Sculpture World youth Forum Egypt

CURRICULUM VITAE 147
RUBEN MOLINA

Ruben Antonio Molina Pèrez was Born in Barinitas Edo Barinas, on October
23, 1969, who studied at the Conac Merida Art School since 1980 to 1983.
Also , He belonged to the CIRCULO DEL DIBUJO of MACCSI. He taugh as
professor of Printing Systems at the former Neuman INCE Design Institute.
Currently he lives and works in Merida Venezuela.

Individual Exhibition

2011 PAINTING Ateneo Jesus Soto Tovar Venezuela

2016 ARTWORKS Benacar Gallery Merida Venezuela

2018 PAINTING Museum of Modern Art Juan Astorga Anta Mérida

Venezuela

VIVA VENEZUELA The Ajala Project, Dubai Design District; Dubai UAE

Group exhibitions

1993 I Ecological Painting Salon Grita Venezuela

1994 VII Bienal of Drawing Fundarte Caracas Venezuela

VIII Bienal of Graphic Miniatures TAGA Venezuela

III Salon de Arte de Catia , C aracas Venezuela

From west to east. Culture House of Baruta Venezuela

Tribute to Elbano Mendez Osuna Tovar Venezuela

1996 ANTECEDENTES Callao Peru

ANTECEDENTES Museum of the Nation Lima Peru

1998 I Fair of Drawings on paper “ Daniela Chappard Foundation “ Grupo

Li Caracas Venezuela
1999 I Meeting of Young and Masters Artists Li Gallery Caracas
Venezuela

Supereclectica Artifice Gallery Caracas Venezuela

2000 Reveron `s action Museum Cruz Diez Caracas Venezuela

I Auction for Vargas MACCSI Caracas Venezuela

Circle of Drawing Group at the Metro Caracas Venezuela

2002 AGPA Smurfit Cartoons of Venezuela

2003 VIII Salon Municipal Juan Lovera Caracas Venezuela

The Sea BIV Foundation Caracas Venezuela

2004 I Room of Art Armando Reveron Merida Venezuela

Craetive Fortress CONAC Tovar Venezuela

Chromaticism Ateneo of Tovar Venezuela

2005 Latin American Art Fair of Belgica

Biosalud Foundation in FIAC / Caracas Venezuela

2006 V festival of Arts Tovar Venezuela

the Art colletion of AIT / PDVSA Merida Venezuela

2009 40th anniversary of CONAC Art Center Tovar Venezuela

II Room of Art Armando Reveron Merida Venezuela

2011 Artist from Tovar / House of Culture RUTA DEL ARTE Tovar Venezuela

2012 New Time Museum of Modern Art Tovar Venezuela

2013 I Small Painting Room Mucuchies Venezuela

2014 Colletion Museum of Modern Art Tovar Venezuela

2016 New Skyline Latin Art Fine Gallery Praha Czech Republic

II Room of Art Gallery Arte Carelis Maracay Venezuela

Exhibition Posters about Bull / Museum of the Bull Merida

Venezuela

IV Room of Art Armando Reveron Merida Venezuela

2017 I Numismatic convention & Art Hotel -Gallery Belesante Merida

Venezuela

2018 ART WORLD DUBAI Fair . The Ajala Project World Trade Center
Dubai UAE

SIKKA ART FAIR Dubai UAE

AJALA NIGHTS Design District of Dubai EAU

I World Youth Forum sculpture symposium in Sharm El Sheikh Egypt

2019 DIFC ART NIGHTS Dubai International Financial Center The Ajala
Project. Dubai UAE

Awards

1994 Prize VII Biennial of Graphic miniatures TAGA Caracas Venezuela

1998 Prize Drawing Fair on paper Daniela Chappard Foundation Venezuela

2013 Prize of Ecology, Municipal Chamber of Tovar Venezuela .

Collections

Circle of Drawing collection in Embassy of Venezuela at OEA / US

Museum of Nation Lima Peru

TAGA Caracas Venezuela

AGPA Smurfit Cartoones Venezuela

BIV foundation-Bank Venezuela

Presidential Collection of Venezuelan Graphics Venezuela

AIT / PDVSA Venezuela

Ateneo Jesus Soto Tovar Venezuela

Museum of Modern Art of Tovar Merida

University of the AndesTachiraVenezuela

Symphony Orchestra of Zea, Mérida.

Mural in the Square of Ramón Buenahora in San Cristóbal Venezuela

Táchira.

The Ajala Project Foundation Dubai UAE

HUMANITY REVIVING MEMORIAL Square in Sharm el Sheikh Egypt

Museum of Art Luis Noboa Naranjo Guayaquil Ecuador

Private Collections:

US, Spain, United Kingdom, Holland, Oman, Prague, Peru, Ecuador, Colombia,

Dubai, Egypt, Venezuela

HEMEROGRAFIA, ENLACES DE RUBEN MOLINA 153

1_Diario Pico Bolivar www.picobolivar.com.ve / August 22, 2009 pag 12/

February 14, 2010 page 12/ January 14, 2013 pag 12 / March 22, 2011 page
12 /June 6, 2013 pag 24 / June 6, 2014 pag 16

2_ Diario Los Andes September 13, 2011 page 14 / June 30, 2010 page 10
Merida Venezuela

3_ EL UNIVERSAL www.eluniversal.com.ve / December 20, 1994 page 09

cultural section

4_timeoutdubai.com/ July 23, 2018 Dubai EAU

5_ THE KHALEEJ TIMES / Al-press.com/index.php/en/in…@thekhaleejtimes

Dubai EAU

6_ www.visitdubai.com 10 great things to do in Dubai this week / Short list

Dubai-Jul 21, 2018 Visitidubai.com July 15, 2018 / viva Venezuela: the art of
Molina. Dubai EAU

7_ timeoutdubai.com FreelatinAmericanart exhibition in

dubaidesigndistrict / timeoutdubai.com.
ww.numsatwork.ae/events/vivavenezuela: the art of Molina. Dubai EAU

8__ THE KHALEEJ TIMES pressreader-khaleej times 2018-07-10 / art

exhibition in Dubai

9_www.sis.gov.eg / reviving humanity memorial Egipttoday.com / reviving

humanity memorial .Egypt

Egyptindependent.com/reviving humanity memorial Ahram online / reviving

humanity memorial.Egypt

10 _aporrea.org/actualidad/n16490 html art room Armando Reveron.

Merida Venezuela

11_ enelvigia.com.ve news on vigia 21 / Oct / 2018, enelvigia.com.ve/p

Merida Venezuela
12_ OPESLATINO YOUTUBE interview on Opeslatino Youtube , January 2020
Miami EEUU

13 _EMISORA 107.9 FM interview on Excelente 107.9 FM /Café con Calma /

Upata Venezuela

14_ TAM canal 6 Merida Venezuela /Programa Expresion con Raquel Alarcon
, 2019 Venezuela

15_ REVISTA DIGITAL 5 SENTIDOS ,edición mes de Junio 2020 Merida

Venezuela./instagram @revista5sentidos. Merida Venezuela

16_Publicacion Revista de arte ART HOLE edición Agosto 2020 Inglaterra ,

Reino Unido 17_ Entrevista con Plataforma de arte ARTWORPEDIA Agosto
2020 Mexico / instagram artworkpedia , Mexico

18_Publicacion Revista de arte ARTE Y PRAXIS Agosto

2020/www,arteypraxis.com Argentina

19_ Publicacion en www.Troopart.com / RubenMolina Julio 2020 Argentina

20_ El CLUB del Artista App PlayStore / Ruben Molina , August 2020 , Chile
 155

ANEXOS /ANNEXES
 156

THE AJALA PROJECT DUBAI UAE

Principal: Mr. Bayo Hassan Bello

Instagram TheAjalaProject
Cover art by Ruben Molina our Venezuelan artist who will be showcasing his
work with us this Dubai Art Season. Don’t miss us this year at Sikka Art Fair
2018, DIFC Art Nights and World Art Dubai. ( text from The Ajala Project )
Post “Viva Venezuela “ Exhibition in Dubai Design District on July 24, 2018
Post “Viva Venezuela “ Exhibition in Dubai Design District on July 24, 2018
“Viva Venezuela “ Exhibition in Dubai Design District on July 24, 2018

Mr Bayo Hassan Bello Principal of The Ajala project Dubai UAE

Venezuelan people in Dubai UAE

“Viva Venezuela “ Exhibition in Dubai Design District on July 24, 2018

Mr Bayo Hassan Bello and his team The Ajala Project

“Viva Venezuela “ Exhibition in Dubai Design District on July 24, 2018
REVIVING HUMANITY MEMORIAL SHARM EL SHEIK EGYPT 164

FIRST WYF SYMPOSIUM SCULTURE 2018

DESIGN BY SHOSA ABOULKHEIR / SHOSHA KAMAL DESIGN HOUSE

Photo with egyptian president Abdelfatah El-Sisi in november 2018

( second row in center )

Reviving Humanity memorial in Sharm el Sheikj Egypt

design by Egyptician designer Shosha Aboulkheir

Ruben Molina World Youth Forum First Symposium of Sculture 2018 in
Egypt
Reviving Humanity memorial in Sharm el Sheikj Egypt

design by Egyptician designer Shosha Aboulkheir

FIRST WYF SYMPOSIUM SCULTURE 2018
Ruben Molina World Youth Forum First Symposium of Sculture 2018 in
Egypt
Photo with the seventy-two sculpturs from several countries who
participated at the symposium.

(up and to the left )

Place: The Egyptian museum in The Cairo Egypt , 2018

Ruben Antonio Molina Perez

Rubenmolina7@gmail.com

Twiter rubenmolinart

Instagram rubenmolinart

Facebook rubenmolinaart

Youtube ruben Molina pintor

Artworks

Venezuela, year 2020