Skip to content
Alessandro Balteo-Yazbeck, Last oil barrel, date postponed

Alessandro Balteo-Yazbeck

Last oil barrel, date postponed
Sustainable wood, paper, ink and financial markets

Unit dimensions 3.5 x 2.5 cm

Unnumbered, unlimited edition
For price reference click to see Oil Future index

Alessandro Balteo-Yazbeck, Ian Gulf (map diptych) (detail), 2018

Alessandro Balteo-Yazbeck

Ian Gulf (map diptych) (detail), 2018

From the series All the Lands from Sunrise to Sunset

Two vintage maps (lithographs) custom mounted

on conservation mat board, individually framed

Installed: 43 x 75 cm, Framed: 43 x 35 cm (each)

Alessandro Balteo-Yazbeck, #UtopicHope, 2018

Alessandro Balteo-Yazbeck

#UtopicHope, 2018

From the series All the Lands from Sunrise to Sunset
Paper collage on wood, 70 x 96 cm

Alessandro Balteo-Yazbeck, #Skeptodelutional, 2018

Alessandro Balteo-Yazbeck

#Skeptodelutional, 2018

From the series All the Lands from Sunrise to Sunset

Paper collage on wood, 109 x 110.5 cm

Alessandro Balteo-Yazbeck In collaboration with Attilio Napolitano

Alessandro Balteo-Yazbeck
In collaboration with Attilio Napolitano
Cheap, 2018
From the series All the Lands from Sunrise to Sunset
Centenary olive wood, rabbit skin collagen-glue,

insect-based shellac, velvet, lead weights and integrated

circuit data storage microchip with near field communication technology
Carving: 22 x 40 x 18 cm, Box: 25 x 71 x 41.5 cm

Alessandro Balteo-Yazbeck In collaboration with Attilio Napolitano

Alessandro Balteo-Yazbeck
In collaboration with Attilio Napolitano
VoIP, 2018
From the series All the Lands from Sunrise to Sunset
Centenary olive wood, rabbit skin collagen-glue,

insect-based shellac, felt and Voice-over Internet Protocol hardware
Carving: 50 x 37.5 x 28 cm, Box: 63 x 43 x 43 cm

Alessandro Balteo-Yazbeck, Standard, 2018

Alessandro Balteo-Yazbeck

Standard, 2018
From the series Modern Entanglements
Archival inkjet print and narrative label
157 x 126 cm. approx. (framed), Ed. of 5 + AP

Alessandro Balteo-Yazbeck, Instrumentalized #30, 2017

Alessandro Balteo-Yazbeck

Instrumentalized #30, 2017
Worn-stained pajama pants, semi-stretched around plinth, with hanging cardstock tag

98 x 31 x 28 cm approx

Alessandro Balteo-Yazbeck, Instrumentalized #24, 2017

Alessandro Balteo-Yazbeck

Instrumentalized #24, 2017
Pattern imprinted translucent polyester shirt,

semi-stretched flat on canvas, with hanging cardstock tag

76 x 35 x 3.5 cm (Artwork), 151 x 35 x 3.5 cm (Display)

Alessandro Balteo-Yazbeck, Flashbacks. Israeli Nuclear Arsenal, 2004-2013

Alessandro Balteo-Yazbeck

Flashbacks. Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper, wooden

billboard and anaglyph (red & blue) 3D glasses

252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Flashbacks (detail). Israeli Nuclear Arsenal, 2004-2013

Alessandro Balteo-Yazbeck

Flashbacks (detail). Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper, wooden

billboard and anaglyph (red & blue) 3D glasses

252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Delivery Methods, Since 1967

Alessandro Balteo-Yazbeck

Delivery Methods, Since 1967

Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper,

wooden billboard, neon sign

252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Delivery Methods, Since 1967 (detail)

Alessandro Balteo-Yazbeck

Delivery Methods, Since 1967 (detail)

Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper,

wooden billboard, neon sign

252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Waldorf Astoria, 1961

Alessandro Balteo-Yazbeck

Waldorf Astoria, 1961

Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper

wooden billboard, 252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Waldorf Astoria, 1961 (detail)

Alessandro Balteo-Yazbeck

Waldorf Astoria, 1961 (detail)

Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper

wooden billboard, 252 x 356 cm, Ed. of 6 + AP

Alessandro Balteo-Yazbeck, Chronoscope, 1951, 11pm, 2009-2011

Alessandro Balteo-Yazbeck

Chronoscope, 1951, 11pm, 2009-2011

In collaboration with Media Farzin

Single channel HD video installation incl. screenplay

booklets, sofa and table, 24:49 min, B & W, sound
Dimensions variable, Ed. of 5 + 2 AP

Installation view at Rochester Art Center, Minnesota, USA

Alessandro Balteo-Yazbeck, Standard Creole with Bikini, 1940s.

Alessandro Balteo-Yazbeck

Standard Creole with Bikini, 1940s.

From the series Modern Entanglements, U.S. Interventions, 2006-2009

In collaboration with Media Farzin

Custom framed C-print and wall label with narrative text

92.7 x 195 cm, Ed. of 5 + AP

Alessandro Balteo-Yazbeck, Mobile for the Hotel Ávila, 1939–1942 and The Larger Picture, 1939–1942 (Suite view)

Alessandro Balteo-Yazbeck

Mobile for the Hotel Ávila, 1939–1942 and The Larger Picture, 1939–1942 (Suite view)

From the series Modern Entanglements, U.S. Interventions, 2006-2009

In collaboration with Media Farzin

Two framed C-prints, mock construction plan of Calder’s mobile (print on paper) and two wall

labels with narrative text, 280 x 410 cm

Alessandro Balteo-Yazbeck, Eames-Derivative (small version), 2006-2013

Alessandro Balteo-Yazbeck

Eames-Derivative (small version), 2006-2013

From the series Cultural Diplomacy: An Art We Neglect

In collaboration with Media Farzin
1242 custom-made slotted cards, silk thread, 5 framed vintage magazine ads, three narrative wall labels, vinyl wall lettering, glass and wood platform, Installation dimensions variable, Platform: 594 cm long, with the house of cards on top 150 cm high approx. Framed ads: each 54 x 43 cm approx, Vinyl wall lettering minimum size 75 x 520 cm, Ed. of 6

Alessandro Balteo-Yazbeck, Eames-Derivative (small version) (S detail), 2006-2013

Alessandro Balteo-Yazbeck

Eames-Derivative (small version) (S detail), 2006-2013

From the series Cultural Diplomacy: An Art We Neglect

In collaboration with Media Farzin

Alessandro Balteo-Yazbeck, Eames-Derivative (small version) (detail), 2006-2013

Alessandro Balteo-Yazbeck

Eames-Derivative (small version) (detail), 2006-2013

From the series Cultural Diplomacy: An Art We Neglect

In collaboration with Media Farzin

Alessandro Balteo-Yazbeck, Didactic Panel and Model of Alexander Calder's Vertical

Alessandro Balteo-Yazbeck

Didactic Panel and Model of Alexander Calder's Vertical

Constellation with Bomb, 1943. (Installation view)

From the series Cultural Diplomacy: An Art We Neglect, 2007-2009

In collaboration with Media Farzin
Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text and vinyl lettering, Dimensions variable, Ed. of 5 + AP

Alessandro Balteo-Yazbeck, R.S.V.P, 1939. From the series Cultural Diplomacy: An Art We Neglect, 2007-2009

Alessandro Balteo-Yazbeck

R.S.V.P, 1939. From the series Cultural Diplomacy: An Art We Neglect, 2007-2009

In collaboration with Media Farzin
Framed C-print; framed Time magazine cover, (May 22, 1939); vinyl lettering on wall and wall label with narrative text, Installation size 90 x 120 cm, Ed. 5 + AP

Alessandro Balteo-Yazbeck, Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art (detail), 2008. From the series Cultural Diplomacy: An

Alessandro Balteo-Yazbeck

Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art (detail), 2008. From the series Cultural Diplomacy: An

Art We Neglect, 2007-2009

In collaboration with Media Farzin

Framed C-print, vinyl lettering, wall label with

narrative text, Framed print 105 x 130 cm, Installation

dimensions 177 x 160.5 cm, Ed. of 5 + AP

Alessandro Balteo-Yazbeck, Model of Alexander Calder’s Cône d’ébène, 1933 + Saddam Cloud. (Installation view)

Alessandro Balteo-Yazbeck

Model of Alexander Calder’s Cône d’ébène, 1933 + Saddam Cloud. (Installation view)
From the series Modern Entanglements, U.S. Interventions, 2006-2009

In collaboration with Media Farzin
Ebonized wood, wire, metal bar, nylon and vinyl fabric, carbon fiber, lead, cotton thread, vinyl lettering on wall and wall label with narrative text, Dimensions variable, Ed. of 5 + AP

Alessandro Balteo-Yazbeck, UNstabile-Mobile (Installation view), 2006

Alessandro Balteo-Yazbeck

UNstabile-Mobile (Installation view), 2006

From the series Modern Entanglements, U.S. Interventions
Paper documents, vinyl lettering, framed New Yorker magazine and Calder like sculptural model of Iraqi oilfields made of carbon fiber, plastic, metal and

plexiglas, Dimensions variable, Ed. of 6

Alessandro Balteo-Yazbeck, 2 corrupted files from page 13, [m8], 2006-2008

Alessandro Balteo-Yazbeck

2 corrupted files from page 13, [m8], 2006-2008

From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting

with Dibond backing and aluminum stretcher

114 x 152 cm approx, Ed. of 3 + 2 AP

Alessandro Balteo-Yazbeck, Corrupted file from page 19, [m13], 2006-2008

Alessandro Balteo-Yazbeck

Corrupted file from page 19, [m13], 2006-2008

From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting

with Dibond backing and aluminum stretcher

152 x 114 cm approx, Ed. of 3 + 2 AP

Alessandro Balteo-Yazbeck, The President wants You to buy this magazine, 2001-2002

Alessandro Balteo-Yazbeck

The President wants You to buy this magazine, 2001-2002
From the series Systemic Analysis (Installation view)
Laser cut Smart Money and Playboy magazines

Dimensions variable, Ed. of 3 + 2 AP

Alessandro Balteo-Yazbeck, We Will Never Forget, 2001

Alessandro Balteo-Yazbeck

We Will Never Forget, 2001
From the series Systemic Analysis, (Folios)
Laser cut of page 4 folio, Time Magazine Oct. 1, 2001

on perforated matt board, Framed size: 47 x 69.5 cm, Ed. of 3 + 2 AP

Alessandro Balteo-Yazbeck, Symbolic Surplus, Miranda Tower, Assemblage #5

Alessandro Balteo-Yazbeck

Symbolic Surplus, Miranda Tower, Assemblage #5
From the series Symbolic Surplus-Court_ing wall, 1995­-2000
10 C-prints Diasec on Plexiglas plus one framed C-print
300 x 240 cm, Ed. of 5

Alessandro Balteo-Yazbeck, Miranda Tower 1958 (detail), 1998

Alessandro Balteo-Yazbeck

Miranda Tower 1958 (detail), 1998
From the series Symbolic Surplus-Court_ing wall, 1995­-2000
Documental photograph

Biography

1

Detail of Alessandro Balteo-Yazbeck, UNstabile-Mobile, 2006 (From the series Modern Entanglements, U.S. Interventions)

Alessandro Balteo-Yazbeck’s artworks are connected to current political events, which he uses to question propaganda strategies employed to convey values such as freedom, prosperity, security, and utopia, interweaving these principles with oil policies and global economic ties. Working in a variety of media, including photography, film, installation, and found materials, his discourse juxtaposes disparate elements from a variety of disciplines and sources in order to contextualize historical problems, from the Cold War to oil exploitation in present-day circumstances. On this interesting basis of reflection, his works become “poetic documents,” exposing shadows, cracks, and perverse moments in specific situations that reveal multiple layers of meaning and connections fraught with tension. At times, Balteo-Yazbeck refers to or incorporates the works of other artists, like Alexander Calder, as a counterpoint to this own discourse.

Detail of Alessandro Balteo-Yazbeck, #FosilFuel, 2018

From the series All the Lands from Sunrise to Sunset

Born in 1972, Balteo-Yazbeck graduated in Fine Arts in his native city – Caracas, Venezuela, where he extensively exhibited his work, and later moved his practice to New York from 2000 to 2010. He is now based in Berlin.

Institutional solo exhibitions include: Diplomatic Entanglements, Rochester Art Center, USA (2015); A little bit of heaven (1998-2008), Carpenter Center for the Visual Arts, Harvard University, USA (2008); Analysis, Jersey City Museum, USA (2006). Other solo exhibitions include: Alessandro Balteo-Yazbeck: All the Lands from Sunrise to Sunset, Galerie Martin Janda, Vienna, Austria (2020), Instrumentalized, Carmen Araujo Arte, Caracas, Venezuela (2018); Instrumentalized, Green Art Gallery, Dubai, UAE (2018); Autocratic Nostalgia: Venezuelan Contemporary Landscapes, Henrique Faria, New York, USA (2017); Electoral Autocracy (Venezuelan Case), Galerie Martin Janda, Vienna, Austria (2016), Diplomatic Entanglements, Rochester Art Center, Rochester, MN, USA (2015); Corrupted Files, Galeria Luisa Strina, Sao Paulo, Brazil (2012).

Recent group exhibitions include: Nuestra América, Galeria Luisa Strina, São Paulo Brazil (upcoming); Making New Time, curated by Omar Kholeif, Sharjah Biennial 14, Sharjah, UAE (2019); Crude, Jameel Arts Centre, Dubai, UAE (2018); Everything Is Connected: Art and Conspiracy, The Met Breuer, The Metropolitan Museum of Art, NY, USA (2018); Parapolitics: Cultural Freedom and the Cold War, Haus der Kulturen der Welt, Berlin, Germany (2017); 4.543 billion. The matter of matter., CAPC Musée d’art contemporain de Bordeaux, France (2017); Colourless Green Ideas Sleep Furiously, curated by David Upton, Project Arts Centre, Dublin, Republic of Ireland (2017); Weapon of Choice, Shiva Art Gallery, New York, USA (2017); Acordo de Con ança, Biblioteca Mário de Andrade, São Paulo, Brazil (2017); La Democrazia in America, XVI Quadriennale D’Arte Di Roma, Palazzo delle Esposizioni, Rome, Italy (2016); Liquid Assets, Steirischer Herbst, Graz, Austria (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art, Detroit, USA (2013); Order, Chaos, and the Space between: Contemporary Latin American Art from the Diane and Bruce Halle Collection, Phoenix Art Museum, Phoenix, Arizona, USA (2013).

Back To Top