Carlos Medina

Barquisimeto, Venezuela, 1953

Exhibition: Constructive Art Kinetic Art →

Venezuelan artist, born in 1953. Graduated in the School of Visual Art of Caracas, celebrating the end of his academic studies in 1975 with an individual exhibition of iron and stone sculptures called: Abstracciones geométricas espaciales, presented by the Museum of Contemporary Art of Caracas. The same year he earns the Sculpture Prize in the 4th National Salon of Young Artists organized by the National Institute of Culture and Fine Arts.

In 1977 he travels to Italy and settles down in Carrara with scholarships successively granted by the Italian government and Foundation for Culture and Arts (Fundarte), Caracas. This stage features the practice of superior carving and turning techniques, and also the study of new conceptualizations over tridimensional work. He assists at the Professional School of Marble and pursues several courses at the Academy of Fine Arts in Carrara. Works the stone at the industry Gonari Marmi; bronze sculpturing at the Fonderia Mariani in Pietrasanta, and graphics and engravings at the Rikjscentrum Frans Masereel, Kasterlee, Belgium. During this period participates in exhibitions, symposia and events in several European countries.

Medina returns to Venezuela in 1984, and he resumes the iron and steel sculpturing for urban scale production. Assiduous researcher of techniques and materials becomes a reference of volumetric sculpture. In the following decades develops more than twenty monumental works including the iconic Fragment of rain to Caracas, a project dating from 1989 and finally realized in 2014, as a gift to the city.

Always focused on geometric abstraction, going from volumetric to spatial concerns, in the last two decades he has focused his interest in exploring spatial proposals that abandon the supports and integrate light, shadow, reflection and space time. His work is consolidated in the essential and imperceptible interpretation of universe.

Medina currently lives and works in Paris and is an artist at the Atelier Cruz Diez and important French galleries, including the emblematic Galerie Denise René in Paris. He has more than twenty awards and prizes granted to him from recognized organizations of art and culture.

“The natural evolution of sculpture and painting is toward the immaterial.” — Carlos Medina

Essential — Bélgica Rodríguez

In one occasion, regarding the development of his work, the abstract-conceptualist sculptor Carlos Medina (Venezuela, 1953) stated that “the natural evolution of sculpture and painting is toward the essential.” Faithful to this principle, he has slowly but steadily simplified the initial volumetric processes of his earlier works exhibited in the Sofia Imber Museum of Contemporary Art of Caracas (1975), to achieve the supreme lightness and transparency patent in his pieces exposed in the Museum of Contemporary Art of Zulia in Maracaibo (2013-2014). The measured transformation of geometrical form to the point of becoming a conceptual statement has defined his trajectory. The series of works he has been working for a couple of decades—open sculptures invading empty and full spaces—are inscribed in a new aesthetic vision in which tri-dimensionality appears both as a volumetric and spatial concept, starting with an essentialist and monochromatic geometry where “emptiness” plays also a leading role.

Medina certainly goes from the material to the essential. By eliminating mass and volume, he approaches the material dissolution of the geometric form. For him “matter and pure forms or elements concentrate the spatial importance of the work,” which in the ensemble of all the series that compose it are an extraordinary example of an organic-conceptual minimalism. Each series encompasses a determined material as well as a conceptual reflection on geometric and constructivist postulates. For the artist, “form motivates the choice [of material and this is] the consequence of an idea.” Accordingly, he analyzes the concept to qualify the final work as a “pre-conceived” result which is eventually “materialized.” Each series comports a different geometry based on its location in space and the meaning that corresponds to it. However, such geometry is not submitted to inflexible aesthetic codes, for within his creative system the artist carries out a random intuitive and instinctive operation which allows him to organize his installations in conformity with the energetic vibration of the urban or domestic nature permeating the space.

Though it remains deeply abstract, constructivist and conceptual, in Carlos Medina’s whole work there is a perceivable mystical, spiritual and emotive character, which can be sensed in the Drops or Neutrinos, in the Fugues or the Tubulars, charged with sensitive mysteries belonging to a nature whose plants and flowers he approaches with the delicacy of a priest officiating a sacred ceremony.

Series

**Fugues and Cylinders**This series features installations with a number of nylon threads coming off a central point to spread out in a tension radiated across a given space until they are attached on a flat surface. The set of threads forms a kind of transparent triangle according to the simple combination of the space “filling” the thread and the “void” generated amidst each one of them. A variation of these installations, aesthetically simple in its initial presentation, is the incorporation of metallic cylinders which totally alter their morphology by creating volumes suspended in space as if by an imponderable magic. The profusion of nylon threads falling like rain creates a vital space which the spectator perceives with a thrill similar to the one enticed by an optical illusion. HARVEST , 2015 Space intervention | Nylon, acrylic disks and plastic cylinders | Variable dimensions | Marión Gallery, Panama

**Neutrinos on Paper**The Neutrinos on paper series has a complex origin. Through an absolute synthesis in realization and conceptual proposal, this work corresponds, in its apparent simplicity, to an integral, unprecedented plastic-visual expression. It was carried out between Caracas and Carrara during the 1970s under the title “Geometric-spatial abstractions,” using as support a number of photographic negatives from the study of the late Venezuelan photographer Luis Brito. Carlos Medina’s research was focused on the realization of a work on paper using not only a portion of his previous geometric drawings, but also the mysterious graphic signs that he carved on his “Cumarebo stones” series, both on the plane and on the volumetric ones, and also on the “Black irons” (exhibited in the Sofia Imber Museum of Contemporary Art of Caracas in 1975) plus the “Red-Black” series. In Medina’s permanent exploration of the essential and the transparent, the thirteen drawings composing “Neutrinos on paper” go from the bi-dimensional to the tri-dimensional. That is to say, the nylon lines of different lengths and the uneven spheres, turned into a suspended, almost imperceptible tissue, proceed to occupy the physical space, thus generating the “Neutrinos” installations. SPACE SPHERES, Tribute to Pol Bury, 1977 Paper, graphite and photographic negative | 23 x 30 cm | 9.1 x 11.8 in. Carlos Medina Foundation, Venezuela

**Neutrinos**Medina formalizes with this title a series of installations of variable dimensions carried out in acrylic paint, automobile lacquer and nylon. Along with the Drops, this ensemble could be viewed as the result of the artist’s constant reflection on the achievement of the “essential” in his work. That is, a minimalist concept installed from ideas developed in situ in an ever “moldable” space according to its dimensions. The installation is sustained by nylon threads and/or wires holding on their end spheres of different dimensions and materials like obsidian, conglomerate, tungsten and more recently acrylic, hematite, white coral and crystal. Many previous drawings sustain the definite installation according to the artist’s aesthetic needs. The Neutrinos generate virtual motion, they “move” following the displacement of the light source, thus producing a dichotomy between the real and the unreal, the physical and the transparent, the tangible and the ephemeral, the intellectual and the emotional. It is important to point out that these pieces have as antecedent the Plano-Grafito II sculpture elaborated in 1976 with Cumarebo stone, which shows on one of its surfaces a carved “design” corresponding to the installations built between 1992 and 2014. NEUTRINOS MZ, 2013 Space intervention | Nylon, acrylic spheres | Variable dimensions | Zulia Contemporary Art Museum, MACZUL, Venezuela

**Drops**The formal and conceptual proposal of the Drops appears with Carlos Medina’s experimentations carried out in the early 1980s. The first results are shown in 1989 with Nazarene Drops, two elements with a height of three meters standing on a flat surface. After twenty-five years of permanent work with this organic form, seven more Drops over six-meters-high each are installed on Caracas’s Francisco Fajardo highway under the title Rain fragment for Caracas 1989-2014. The Drops can be either sculptures in their individual dimension, hanging installations or ensembles placed on flat surfaces. They are integrated in two series: one comporting a solid element and a different one of a translucent quality resulting from the folding of a stainless steel wire placed in a space, either hanging freely from a nylon thread and moved by the wind, or fixed on a wall. Both series can have different dimensions and, responding to the artist’s aesthetic needs, are suspended to create an apparent fragile balance and highly structured transparencies which the spectator has to discover by himself. FRAGMENT OF RAIN FP, 2012 Space intervention | Nylon and aluminium | Variable dimensions | BBVA Provincial Foundation, Venezuela

**Rods**This is one of the most emblematic series for the divestment of all representational character and materials, lacking weight and volume, with a final configuration seemingly related to an alphabet whose content is necessary to decipher. The rods may adopt a variety of appearances, from a drop to a geometric shape “begotten” the instant in which the movement is produced, or by superimposing them, or when receiving an incision of light. Depending on the metallic rod used and the wall where it is hanged, the projected shadow is fundamental. In this work, Medina explores a new way to advance an unlimited kinetic concept which gives him freedom to handle the ductile material at will. LEAVES AND DROPS, 2015 Space intervention| Nylon and stainless steel rods | Variable dimensions | Gabinete del Dibujo y la Estampa de Valencia, Venezuela

**Tubulars**A series of metallic structures realized from tubulars bars wires whose corporeal structure behaves like drawings on space in accordance with their physical and visual lightness and the configuration determined by the artist. The tubular material is thin in its exterior and void in its interior, offering the possibility to bend it, twist it and stretch it at will, thus generating the plastic tensions that turn the space into a dynamic enclosure, at once ephemeral and real. These simple, aerial structures are intriguing and fascinating for their relations to the ground, the wall, the space and the spectator. Without a grandiloquent plastic discourse, they are installed in space in the plenitude of their silence. TUBULARS, 2011 Space intervention | Copper tubulars bars | Variable dimensions | Art Museum of Guadalajara University, MUSA, Mexico

**Laser**This series started in 1985 with installations of variable dimensions in which a laser beam plays the leading role. The beam is projected from a tripod on a sheet of paper previously endowed with a geometrical shape: triangle, circle, square. The work exists as the laser is projected on the supporting surface which in turn adapts itself to the unprecedented possibilities provided by the technical innovation’s color. It is not an ephemeral work but a color-light line which becomes an artistic proposal. LASER LUCIO SERIES, 2011 Installation | Mdf, paper, tripods and laser | Variable dimensions | Art Museum of Guadalajara University, MUSA, Mexico

**Rolled Surfaces**This series is constituted by flat constructions, impeccably white and always attached to the wall, in whose surfaces appear alterations or foldings resulting in geometrical shapes, generally wavy, which protrude and are projected toward the spectator. The artist explore here the resource of trompe l´oeil. The geometrical projections have no perceptible origin, they seem to silently slide from the depth of the support’s surface. Realized in industrial materials such as PVC, MDF and white acrylic paint, the light source plays a very important role, since the incidence of light on their protrusions and entrants produce positive and negative poles which are part of their own plastic spatiality. With defined contours, open spaces in their interiors and a given geometric shape which can transform into a different one, they can also rotate, so that a square may end up being a rhombus. Color emphasizes the work’s immateriality, whether in pure white or the hue of the material used. WHITE SURFACE LXXXVIII. Guadalajara Suite, 2011 Rolled | Mdf, pvc, white paint 65 x 65 cm | 25.6 x 25.6 in. Carlos Medina Foundation, Venezuela WHITE SURFACE LXXXIV. Guadalajara Suite, 2011 Rolled | Mdf, pvc, white paint 50 x 53 cm | 19.7 x 20.8 in. Carlos Medina Foundation, Venezuela

**Essential Surfaces**In general, Carlos Medina’s work is characterized by its intimist tone within its perfect minimalism. In this series these qualities appear in full intensity. The artist rejoices in the cleanness of a surface in which a single cut, a single change of linear coordinates, a single rotation, a single brushstroke, contains the “whole” of a mysterious meaning corresponding to a total void. Medina strips the square as support and work at the same time, container and contained, and approaches a space-time dimension stopped in the possible fragility of a real context. It can be viewed as a philosophical as well as formally plastic statement emphasizing the “value of the plane” in the essentiality of the proposal. SQUARE STUDIO I. Malevich Series, 2015 Direct router carving and rolled | Mdf, pvc, white paint and steel rod | 60 x 60 cm | 23.6 x 23.6 in. Marion Gallery, Panama STUDIO WHITE SURFASE 38, 2011 Direct router carving | Mdf, pvc, white paint 30 x 30 cm | 11.8 x 11.8 in. Art Museum of Guadalajara University, MUSA, Mexico

Art selection 34

**Spatial Geometric Structures A & B · Green Column**Mobiles with carved pieces in Persian red travertine; emerald green marble from Sardinia · 85 x 39 x 23 in. · 85 x 39 x 19 in. · 122 x 43 x 21 in · 1981 – 1982

**Bolívar**Oak sculpture with steel base · Ø 118 x 7.9 in. / ø 300 x 20 cm · Forma Viva Kostanjevica Museum, Slovenia · 1982

**Monument to Decentralization**Welded and oxidized manganese steel structure · 473 x 315 in. / 1200 x ø 800 cm · Puerto Cabello, Venezuela · 1995

**Círculos Espaciales, -spacial Circles**Laminated and oxidized steel structure · Dimensions variable · Capital Plaza Center · Barquisimeto, Venezuela · 1997

**Drops, Leaves, Circles**Wood / Steel · 1980s

**La Ciudad**Rolled steel structure and cast steel parts · 94 x 1461 x 28 in. / 240 x 1200 x 70 cm · Art Museum of Barquisimeto, Venezuela · 1998 – 2001

**Fragmento de Lluvia para Caracas**Steel, paint and automotive finish · Seven pieces each · 236 x ø 63 in. / 600 x ø 160 cm each · Caracas, Venezuela · 1989 – 2014

**Fragmento de Lluvia (Rain Fragment)**Spatial intervention with turned and polished aluminum suspended with nylon · Galería de Arte Ascaso, Caracas, Venezuela · 1999 – 2012

**Fragmento de Lluvia Circular**Spatial intervention with turned and polished aluminum suspended with steel wire · 1200 x ø 250 cm · Punta Cana, Santo Domingo · Private collection · 1999 – 2013

**Surfaces sur mur · Interventions Drops & Nylon · Interventions Tiges & Nylon**Metal rods on wood; drops, rods and nylon · Private collections, Miami, USA · 1999 – 2016

**Neutrinos (detail)**Space intervention / installation · Acrylic, cellulose and nylon · Dimensions variable · Guadalajara Arts Museum, Mexico · 2012

**Sphères de Neutrinos**Acrylic · Palais Royal, Paris, France · Ø 250 cm (each) · 2018

**Neutrino Rings**Hematite, white jade and obsidian, on polycarbonate · Ø 39 in. / Ø 98 cm · Ascaso Gallery, USA

**Neutrinos Pattern**59 x 59 in. / 150 x 150 cm · Aluminum and paint · Ascaso Gallery Miami, USA · 2020

**Essential Fragment**Copper rods and nylon · Dimensions variable · Ascaso Gallery, Miami, USA · 2010 – 2016

**Fragment Essentiel (Essential Fragment)**Stainless steel bars and nylon · 59 x 20 in. / 150 x 50 cm · 2010 – 2023

**Fragmento de Nubes (Fragment of Clouds)**Stainless steel bars, paint and nylon · 59 x 20 in. / 150 x 50 cm (each) · 2015

**Space Cylinder**Nylon and black steel rods · Dimensions variable · Marion Gallery, Panamá · 2016

**Level Surfaces**Direct carving on mdf and acrovinyl paint · Dimensions variable

**White Surfaces**PVC insertions on mdf and acrovinyl paint · Dimensions variable · 2010 – 2012

**Cercles Spatiaux (Space Circles)**PVC inserts on wood and acrovinyl paint · 24 x 24 in. / 60 x 60 cm · Private collection, Paris, France · 2016

**Círculo & Cuadrado (Circle & Square)**Polished stainless steel · 59 x 89 x 59 in. / 150 x 225 x 150 cm · Madrid, Spain · 1980 – 2023

**Empty Sculpture**Rolled aluminum tubes · Dimensions variable · Galeria de Arte Ascaso, Caracas, Venezuela · 2016

**Neutrinos Suspended Over the Wall**Cellulose, elastic rope and nylon · Dimensions variable · Galerie Denise René, Paris, France · 2000 – 2022

**Traveling Neutrinos — suspended under the ceiling (detail)**Cellulose, elastic rope and nylon · Dimensions variable · Galerie Denise René, Paris, France · 2020 – 2023

Studio & exhibitions

Carlos Medina — studio / exhibition view

Public works

1978 — Carrara, colección privada, Caracas, Venezuela
1980 — Column for Ostende., National Art Gallery Caracas, Venezuela
1982 — Bolívar. Kostanjevica Castle, Slovenia · Círculo espacial. Museo de Escultura Kostanjevika, Slovenia · Columna Verde, Museo de Arte Alejandro Otero, Caracas, Venezuela · Family Civil Hospital Kostanjevica, Slovenia
1987 — Estructura Móvil , Caracas Subway, Caricuao Station, Venezuela
1992 — Columna para Chile, De los Reyes Park, Santiago de Chile, Chile. (Destroyed)
1993 — Hito, Procter & Gamble, Valencia, Venezuela
1994 — Sidor. Sidor Steel Industry, Puerto Ordaz, Venezuela
1995 — Hoja (Leaf) Culiacán, Culiacán, México · Monument to the Decentralization, Puerto Cabello, Venezuela
1996 — Columna para Valdivia, Alcaldía de Valdivia, Chile
1997 — Círculos Espaciales. Centro Capital Plaza Barquisimeto, Venezuela · Hoja, BADAN, Barquisimeto, Venezuela
1998 — Columna para Zacatecas, México · Monument to Sisal, El Cují, Venezuela · Columna Constructiva. Justice Palace, Barquisimeto, Venezuela
2001 — La Ciudad. Caracas, Venezuela
2002 — Doble Círculo Espacial IV. Centro Javier, Barquisimeto, Venezuela
2003 — Círculo Chetumal. Quintana Roo,México
2004 — Fragmento de lluvia (Rain fragment) Yacambú. Alcaldía Iribarren. Venezuela
2005 — Gota (Drop) Guadalajara, Guadalajara University, México · Cilindro, Colima University, México · Hoja II, Trujillo, Venezuela
2006 — Fragmento de Lluvia (Rain fragment). Museo Yeong - Wol, Corea del Sur
2007 — Hoja Espartana, Museo Vial, Porlamar, Venezuela
2011 — Columna Barroca, Sabana Grande, Caracas, Venezuela
2012 — Jardín de las Esculturas, Museo de Barquisimeto, Venezuela
2013 — Gota y Flor (Drop & Flower). Colección privada. Bogotá, Colombia
2014 — Fragmento de Lluvia para Caracas 1989-Caracas, Venezuela
2018 — Sphères avec neutrinos (éphémères), Palais Royal, Paris, France
2022 — Neutrino spheres Pinta Fair,Miami USA
2023 — Círculo & Cuadrado Madrid, Spain
In project — Intervention Bussy St. Georges Station EuroDisney, France

Exhibition selection

2023 — Neutrinos. Carlos Medina. Galerie Denise René, Paris, France · Circle & Square. Madrid Luxury District.Madrid, Spain
2022 — Movement Tribute to Denise René, Bonisson Art Center, Rognes, France · Why white?. Art Paris & Wagner Gallery,Paris, France
2021 — Beyond the visible, Ascaso Gallery, Miami, USA · Mesures / Démesures. Graf Galerie, Paris France
2020 — Immersive fragment -penetrable- Galerie Denise René, París, France
2019 — Géométries de lumière. Galerie Wagner Le Touquet-Paris-Plage. France
2018 — Carlos Medina El arte de la levedad. Galería Cesta República, Madrid, España · Medina: Del concepto a la forma. Guanajuato. Art Center. Mexico
2017 — Fragments Essentiels, Espace Meyer Zafra, Paris, France · La nature en la sculpture. VillaDatris. Foundation. Isle-sur-la-Sorge, France · 40 años Geometría Galería GraphicArt, Centro Cultural Olivar, Lima Perú
2016 — Essential, Medina. Ascaso Gallery, Miami, USA
2015 — Veintiuno. La plástica del siglo XXI, MUSA Collection, Guadalajara Mexico
2013 — Aflorarte, 93 Park, Bogotá, Colombia · Esencial,. Museum of Contemporary Art (MACZUL), Maracaibo, Venezuela
2013 — Esencial, Museum of Contemporary Art, Yucatán (MACAY), Merida, Mexico
2012 — Muestra Internacional Escultura Acero, Villacero Foundation, Monterrey,Mexico
2011 — White Surfaces, Art Nouveau Gallery, Miami, USA
2009 — La Estrategia de la Forma, Museo MARCO, Monterrey, México
2008 — XI Bienal del Cairo, Egipto
2007 — Escultura Latinoamericana en Acero, Museum Modern Art, Cartagena, Colombia
2006 — MOLAA Award, Museo Latinoamericano de Los Ángeles, California, USA · Small format sculptures, Museum of Contemporary Art, Yeong Wol, South Korea
2005 — Arte Venezolano del Siglo XXI, Fine Arts Museum, Caracas
2003 — Carlos Medina y su obra, Museum of Maya Culture, Chetumal, Mexico
2002 — Abstracción y Geometría. Museum of Contemporary Art of Caracas Collection
1996 — Esculturas Pequeño Formato, Art room of the town Hall, Valdivia, Chile
1990 — Obra en Madera, Museum of Contemporary Art, Caracas
1987 — Mármoles, Museum of Modern Art Jesús Soto, Ciudad Bolívar, Venezuela
1984 — Carlos Medina Esculturas, Fine Arts Museum, Caracas, Venezuela
1980 — Sculptures in the Royal Villa, Ostende, Belgium · International sculpture in marble, Apple Gallery, Zwarte Panter Gallery, · Maeyaert Gallery, Belgium
1981 — Ministry of Culture traveling exhibition through national museums, Belgium
1979 — Mármoles y Granitos, Van Vlaenderens Gallery & Luka Gallery, Belgium
1975 — Abstracciones geométricas espaciales, Museum of Contemporary Art, Caracas

Awards selection

2021 — Win the Contest Intervention of the Bussy St.Georges station, France
2020 — Best international trajectory artist, International Association of Art Critics (AICA)
2017 — Best book: De lo material a lo esencial. International Association of Art Critics (AICA)
2014 — Sculpture Award Association of Artists Caracas Venezuela
2012 — Title of Guest of Honor and the Keys of the City in Resistencia, Argentina
2008 — Mention of Honor, I Biennial of Sculpture, Guadalajara, Mexico
2003 — Special Mention, Salon Exxon, National Art Gallery, Caracas, Venezuela
2002 — Ministry of Culture Prize, I Andean Biennial of Sculpture Modern Art Museum Ecuador
1993 — Great Prize Salon Arturo Michelena, Athenaeum of Valencia, Venezuela · Sculptors prize, I American Sculpture Contest. Resistencia, Argentina
1992 — Sculpture Prize, XVII National Salon of Art Aragua, Maracay, Venezuela
1991 — National Biennial of Sculpture Museum Contemporary Art, Porlamar, Venezuela 1986 · I Biennial of Guiana Art Prize, Museum of Modern Art Jesus Soto, C.Bolivar, Venezuela
1981 — Award of Acquisition, National Council for Culture, Caracas, Venezuela
1978 — City of Carrara Sculpture Prize, Italy · Painting Prize of the I International Biennial Young Artists, Viareggio, Italy
1976 — The Sculpture Prize at the II Salon of Art Fondene, Porlamar, Venezuela
1975 — National Salon of Young Artists. National Institute of Culture and Fine Arts, Caracas, · Venezuela

Publications & media

2023 — Interview on Radio France International by the journalist Jordi Batallé · Interview IVC Network / @es.goi · Published the catalog Neutrinos.Carlos Medina. Text by Domitille d´Orgeval · Reference in Spanish media: digital, print and television on the Madrid Luxury Art (MLA), · organized by the Madrid City Council and AGM Art Group
2022 — Article by David D'Arcy The Art Newspaper about Neutrino Spheres Pinta Fair, Miami, US · The journalist César Miguel Rondón interviews Medina at his program "En Conexión", · which he conducts daily from Miami, USA · The magazine Review, circulating in Venezuela, offers its cover and develops the main · article about the exhibition Círculos y Planos at Espace Villandry, Barquisimeto, · Venezuela
2021 — Published the catalog Beyond the Invisible. Text by Adriana Herrera · The art critic Dennys Matos, publish a Medina review at the Miami Herald,
2020 — The art magazine L´œil, reviews his exhibition at Galeria Graf Paris · The art critic Domitille D´Orgeval writes -Immersive Fragments penetrable installation at · Galerie Denise René · El Universal, venezuelan newspaper publishes an article about Medina
2019 — Appears in France TV his work Sphères de Neutrinos (Television program Laisser-vous · guider, Au coeur de la révolution française by Stéphane Bern, important presenter in · France · The art magazine, Artefacto circulating in Miami, offers its cover and the main article about · the work at the Palais Royal, Paris, Sphéres de Neutrinos
2018 — The Venezuelan producer Jorge Díaz, makes the first part of the documentary that will · reflect the activity of Medina in Venezuela - USA - France
2017 — Hermann Éditeurs, published in Paris, France, his book Medina. From the material to the · essential, by Bélgica Rodríguez, · The audiovisual platform ArtePorvenir, based in Miami, premieres the documentary Carlos · Medina: From the material to the essential · Published the catalog Fragments Essentiels, Paris, France,
2016 — Published his Essential catalog writes by the art critic Carol Damian, USA · Published the catalog Imperceptible, by the Colombian art critic Alvaro Medina · The TV program Entre dos in Miami, by Laura Fursic, reviewed his exhibition · Antonio Capra, produced an artistic video about the Essential Miami, USA · The art critic Dennys Matos, published in the magazine Art Nexus, No. 101, 2016, an · article about Medina

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