Mariano Akerman

Akerman studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his formation in 1987.[3]

In 1991 he received a British Council Grant to research the artwork of Francis Bacon at Marlborough Fine Art and the Tate Gallery in London.

In Asia, Mariano Akerman developed the educational series of conferences The Belgian Contribution to the Visual Arts (2005),[4] In the Spirit of Linnaeus (2007),[5] Discovering Belgian Art (2008-9),[6] Raisons d’être: Art, Freedom and Modernity (2010),[7] German Art (2010),[8] and The Gestalt Educational Program (2011).[9]

In the American continent, the series of lectures Art and Identity (2013) includes a conference devoted to Bacon's idiosyncratic imagery—"To be and not to be."[10]

Specializing in Visual Communication, Akerman lectures on modern art at institutions such as the Museo Nacional de Bellas Artes in Buenos Aires,[11] the National Museum of the Philippines in Manila,[12] the Star of Hope School in Taytay,[13] the National College of Arts in Lahore,[14] the Quaid-i-Azam University in Islamabad,[15] UNIRIO and the Pontifical Catholic University of Rio de Janeiro.[16]

• 1986 RG Gallery, Buenos Aires [17]
• 1988 University of Belgrano, Buenos Aires [18]
• 1989 Bank of Boston Cultural Foundation, Buenos Aires [19]
• 1990 General San Martin Cultural Centre, Buenos Aires [20]
• 2005 National Museum of the Philippines, Manila [21]
• 2005 Total Gallery, Alliance Française, Manila [22]
• 2010 Residence of Belgium, Islamabad [23]
• 2016 Alcazar–Copacabana, Rio de Janeiro[24]

Akerman is author of The Grotesque in Francis Bacon’s Paintings (1999) and "Bacon, Painter with a Double-Edged Sword" (2012).[25]

• The Belgian Contribution to the Visual Arts, Manila and Quezon City, 2005.[26]
• Argentinean Art, Manila, 2006.[27]
• In the Spirit of Linnaeus: The Tercentenary Lectures on Science and Art, Manila and Taytay, 2007.[28]
• Discovering Belgian Art, Karachi and Islamabad, 2008, and Lahore, 2009.[29]
• Raisons d'Être: Art, Freedom, and Modernity, Islamabad and Lahore, 2010.[30]
• German Art: Its Peculiarities and Transformations, Islamabad and Rawalpindi, 2010.[31]
• Shape and Meaning: The German Contribution to the Visual Arts, Islamabad, 2010.[32]
• Tradition and Innovation: Art and Architecture as Structures of Consciousness, Islamabad, 2011.[33]
• Gestalt Educational Program: Theory and Design in the Age of New Objectivity, Islamabad and Rawalpindi, 2011.[34]
• Art and Identity, Buenos Aires, 2013.[35]
• Cultural Heritage and Identity, Rio de Janeiro, 2014.[36]
• Vesalius Rio Program: Anatomy of Art, Rio de Janeiro, 2015.[37]
• Tradition and Innovation: Meeting the Visual Arts, Jerusalem and the Holy Land, 2017-18.[38]

• 
  "Rabbit and Duck" from Fliegende Blätter (1892), an ambiguous image often used by Akerman to exemplify the both-and phenomenon in the visual arts.
• 
  Renaissance Grotesques, digital composition.[39]
• 
  Gestalt in the Eye, digital montage
• 
  Gestalt Principles, digital composition

• Un pintor argentino educa a través del arte en Pakistán — EFE, Spain, 20 April 2010
• German Art: Its Peculiarities and Transformations, — German Embassy web site, May 2010
• Shape and Meaning: The German Contribution to the Visual Arts — German Embassy web site, November–December 2010
• Gestalt: Theory and Design in the New Objectivity Age — SwissPak, October–November 2011
• "Mariano Akerman: Bridging Cultures", excerpts from a note by Sara Mahmood, 2011
• "Mariano Akerman: Bridging Cultures", by Sara Mahmood — Blue-Chip, January–February 2012, pp. 20–24.
• "Enhancing Perception: The Gestalt Lectures and Collage Competition", by Ilona Yusuf — Blue-Chip, January–February 2012, pp. 16–19.