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April 17 2013

Martin Carrizo: Construcciones / Alberto Sendros Gallery, Buenos Aires

Galeria Alberto Sendros presents the first solo exhibition of Martin Carrizo in Buenos Aires. Curated by the artist Carlos Herrera, the show consists of six sculptures made with traditional and obsessive brickwork techniques, small pieces like a stair, a family house, a storehouse, a sewer. The exhibition runs until May 6, 2013.

Martin Carrizo was born in 1983 in Rio Tercero, Cordoba. In 2011, he won the first prize at Itaú Cultural at visual arts. Exhibition include: cultural space Somos Viento, San Francisco, Córdoba in 2009 (solo exhibition), desplegable: pensar el paisaje urbano, Museo Municipal Genaro Pérez, Córdoba  and Jóvenes Creadores Latinoamericanos, cabildo histórico from Córdoba in 2011, y Salón Nacional de escultura, Palais de Glace, Buenos Aires in 2012. Martin Carrizo lives and works in Cordoba, Argentina.

Martin Carrizo at Alberto Sendros Gallery. Opening reception, April 11, 2013. Video by Luciana Zoth, Roberto Rey, Milos Deretich, and Angel Sánchez.

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March 03 2013

Mathieu Mercier: Nueve y Cuarto / Galeria Ignacio Liprandi, Buenos Aires

The current exhibition at Ignacio Liprandi Gallery in Buenos Aires presents French artist Mathieu Mercier. On the occasion of his first exhibition at the gallery, Mathieu Mercier presents a series of recent works and works yet unpublished in Argentina.

Mathieu Mercier was born in 1970 in Conflans-Sainte-Honorine. He lives and works in Paris, France. In 2003, he won the award Prix Marcel Duchamp. His work has been shown in venues such as Centre Georges Pompidou, Musée d’art moderne de la villa de Paris, and Kunsthalle Nürnberg.

Mathieu Mercier: Nueve y Cuarto at Galeria Ignacio Liprandi, Buenos Aires (Argentina). Opening reception, February 21, 2013. Video by Roberto Rey, Milos Deretich, Luciana Zothner, Ángel Sánchez.

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Text by Marie Chênel (February 20013):

Mathieu Mercier: Nueve y cuarto

À l’occasion de sa première exposition personnelle à la galerie Ignacio Liprandi, Mathieu Mercier présente un ensemble d’œuvres récentes et inédites en Argentine.
Dans la série des Scans, l’organique côtoie le mécanique dans une confrontation brutale, différents éléments – poussières, terre, fleurs – étant mis à plat à même la vitre d’un scanner des plus performants. L’appareil de reproduction utilisé a pris au piège son propre fond, lequel forme à la fois le contexte de l’oeuvre et le révélateur de son processus de réalisation. Formats, perspectives, lumière: les réflexes traditionnels de l’analyse picturale ne sont pas loin, d’autant que les objets reproduits, sciemment choisis pour leurs liens avec de grands motifs de l’histoire de l’art, renvoient pêle-mêle aux genres de la nature morte et de la vanité, à la figuration et à l’abstraction.
À cette logique de confrontation répond le système de mise en relations sous-tendant les Sublimations, du nom de la technique employée par Mathieu Mercier pour incruster à chaud des représentations d’outils d’appréhension de l’espace ou de la gamme chromatique sur des socles blancs en Corian, un matériau composite lisse et résistant. À chaque signe sublimé est adjoint avec une certaine espièglerie un objet de la vie courante – bougie, éponge, loupe – choisit dans sa forme la plus standard. Les équations ainsi posées se jouent des frontières entre disciplines scientifiques et esthétiques, entre réalité et abstraction, formant autant de «rébus visuels» dont on admire tout à la fois le fonctionnement autonome et la cohérence d’ensemble.
Ces œuvres apparaissent particulièrement révélatrices de la manière dont Mathieu Mercier travaille par associations d’idées et recoupements visuels, tout comme de son profond attrait pour la capacité de synthèse finale de l’œuvre d’art. La présence signifiante de différents outils de mesures liés à la perception, les troubles optiques provoqués par les photographies Sans titre (Verres 1 à 5) et le subtil jeu d’équilibre à l’apparence précaire de la pièce Sans titre 2001-2012, concourent à placer l’exposition dans son ensemble sous le signe d’une illusion maîtrisée, d’une réflexion sur le sens qui peut surgir du décalage entre image mentale et perception du réel.

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February 28 2013

Carrie Schneider: Burning House at Galería Alberto Sendros, Buenos Aires

The current exhibition at Galería Alberto Senderos in Buenos Aires, Argentina, presents Carrie Schneider’s work Burning House. For this piece, Carrie Schneider filmed and photographed a house that stands on fire during different seasons, weather, and times of day. To achieve this, Schneider built a small house for each setting and set it on fire. On the occasion of the opening reception of the exhibition at Galería Alberto Senderos, Cecilia Lopez accompanied the film with live experimental music.

Carrie Schneider makes performative photographs and short films. Recent solo exhibitions include theMuseum of Contemporary Art, Chicago, the Finnish Museum of Photography, Helsinki, Galleri KiT, Trondheim, and Monique Meloche Gallery, Chicago. Carrie Schneider is based in Brooklyn, NY.

Cecilia López was born in Buenos Aires, Argentina in 1983. She is a performer/inventor/ composer in the experimental music field and plays keyboards and piano. She studied piano and composition with Nessy Muhr, Carmen Baliero, Gustavo Ribisc, Mono Fontana and improvisation with Wenchi Lazo. In her work, she creates pieces that function as structures of sound in space. Rather than think of music in terms of linear development, she considers it something alive, a process a vibration that is already out there, in objects, as in the phenomena of light or heat. She is currently working on her piece “Música Mecánica para Chapas” / “Mechanical Music for Sheet metal” for amplified sheets of metal and variable performers.

Carrie Schneider: Burning House at Galería Alberto Sendros, Buenos Aires. Video by Roberto Rey, Milos Deretich, Luciana Zothner, Ángel Sánchez.

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August 01 2012

Mariano Sardón: Morphologies of the Look / Ruth Benzacar Gallery, Buenos Aires

Argentinian artist Mariano Sardón’s solo exhibition at Ruth Benzacar Gallery in Buenos Aires (Argentina) consists of works that thematize information, technology and neuroscience. The show is entitled Morphologies of the Look (Morfologías de las Miradas). Some of the multimedia works presented were developed as part of a research project at the intersection of neuroscience and modern arts of the Universidad Nacional de Tres de Febrero and the Laboratory for Integrative Neuroscience at the University of Buenos Aires.

Mariano Sardón was born in Bahia Blanca (Argentina) in 1968. Sardón studied physics at the University of Buenos Aires and art at the Internationale Sommerakademie für Bildende Kunst in Salzburg (Austria). In 2001 and 2002 he was scholar of the Fundación Antorchas at Hypermedia Studio, University of California. Currently Mariano Sardón is professor at the Universidad Nacional de Tres de Febrero. He is also in charge of the Interactive Art Program at Telefónica Foundation in Argentina. Selected group exhibitions include: Libro de arena (MAMbA, 2004), Cero absoluto (Galerie Ruth Benzacar, Buenos Aires, 2004), Telefonías (Fundación Telefónica, 2008), Extranjerías (MUAC, Mexico City, 2012), and 11th Havana Biennial (2012).

Mariano Sardón: Morphologies of the Look (Morfologías de las Miradas) / Ruth Benzacar Gallery, Buenos Aires. Opening reception, June 27, 2012. Video by Roberto Rey, Milos Deretich, Luciana Zothner, and Ángel Sánchez. The exhibition runs until August 10, 2012.

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July 27 2012

Chiachio & Giannone: Bordatón / Ruth Benzacar Gallery, Buenos Aires

The artist duo Leo Chiachio & Daniel Giannone is known for their colorful embroidered work. Their current exhibition at Ruth Benzacar Art Gallery in Buenos Aires (Argentina) is entitled Bordatón and shows new hand embroidery tableaux, accompanied by porcelain works.

With their show at Ruth Benzacar Chiachio & Giannone want to expand the limits previously achieved in the art of embroidery. They use larger fabrics, combined new and used materials from various countries such as France, Guatemala, Brazil, USA etc., experiment with special embroidery stiches and print fabrics and designs.

Leo Chiachio was born in Buenos Aires in 1969. Daniel Giannone was born in Cordoba in 1964. They both studied Fine arts in Argentina. Leo studied at the Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón” and the Escuela Superior de Bellas Artes “Ernesto de La Cárcova” with professors Pablo Suárez, Tulio de Sagastizábal, Ahuva Szlimowicz and Graciela Canero. Daniel studied with professors Sergio Bazán, Teresa Lascano and Graciela Canero. Since 2003 they live and work together in Buenos Aires.

Chiachio & Giannone: Bordatón. Ruth Benzacar Gallery, Buenos Aires (Argentina). Opening reception, June 27, 2012. Video by Roberto Rey, Milos Deretich, Luciana Zothner, and Ángel Sánchez.

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July 03 2012

Mariano Vilela and Hernan Salamanco at Schlifka / Molina Gallery, Buenos Aires

Schlifka / Molina is a contemporary art gallery in Buenos Aires, Argentina that represents and exhibits works of national and international artists. Currently, the gallery shows paintings and drawings by Hernan Salamanco and Mariano Vilela.

Mariano Vilela and Hernan Salamanco at Schlifka / Molina Gallery, Buenos Aires. Opening reception and interviews, May 19, 2012. Video by Roberto Rey, Milos Deretich, Luciana Zothner, and Ángel Sánchez.

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May 31 2012

Manuel Ameztoy at Faena Arts Center, Buenos Aires

Running concurrently with the presentation of three large-scale installations by the Cuban artist duo Los Carpinteros, the Faena Arts Center in Buenos Aires presents a solo exhibition with works by Manuel Ameztoy, entitled Paraísos Desplegables (Pop-up Paradise).

In the Sala Catedral space of the Faena Arts Center, Manuel Ameztoy presents a huge installation made of paper cutouts and videos. Manuel Ameztoy was born in La Plata, Argentina in 1973. The artist first studied drawing at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. In 1995, he left that institution for one year in order to study at the Escuela Nacional de Artes Plásticas San Carlos, in Mexico, where he took classes in experimental printmaking with María Eugenia Quintanilla. While in Mexico, he became familiar with the various uses of garlands for the Day of the Death festivities. Since then, non-textile paper cutouts have been a mainstay of his art.

Manuel Ameztoy: Paraísos Desplegables. Faena Arts Center, Buenos Aires. Opening reception, May 15, 2012. Video by Roberto Rey, Milos Deretich, Luciana Zothner, and Ángel Sánchez.

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In 2004, he was awarded a mention at the LVIII Salón Nacional de Rosario Museo Castagnino. That same year, thanks to the piece he made for the exhibition Onírico y Privado held at the Fundación Telefónica, Ameztoy became a fundamental figure on the Buenos Aires contemporary art scene.

Works in tissue paper in large acrylic boxes were the cornerstone of his solo exhibitions Los Ultimos Reyes (2006) and El Rey (2005), both held at Galería Braga Menéndez Arte Contemporáneo. Additional solo exhibitions include Las Fuentes del Nilo at Galería Cecilia Caballero y Chez Vautier (2011) and Cortar y Pegar at Fundación PROA (2011). In those exhibitions, Ameztoy presented his works with layers of paper in different formats (framed and hanging).

In 2005, he participated in the Barrio Joven stand at ArteBA, and in 2008 in the Arteprima section of the Milan Art Fair, MIART Art Now!. Thanks to constantly evolving work in which paint and paper come together to create chromatically striking installations, he was invited to participate in the 2011 edition of Pinta New York. His work forms part of institutional collections at the Museum of Latin American Art in Los Angeles and MACRO (Museo de Arte Contemporáneo de Rosario), among others, as well as major private collections in Argentina, Brazil, the United States and Europe.

Since 2003, Ameztoy has been an adjunct professor in the “Taller proyectual de pintura” program directed by artist Elsa Soibelman at the Instituto Universitario Nacional de Arte (IUNA). Since 2010, he has formed part of the Escuela de Proyectos. At the Escuela de Proyectos, which is coordinated by Laura Messing, artists Augusto Zanella, Sergio Bazán, Andrea Juan and Horacio Zavala deploy their talent and experience to further the education of emerging visual artists.

Manuel Ameztoy lives and works in Buenos Aires and Entre Ríos.

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May 22 2012

Los Carpinteros at Faena Arts Center in Buenos Aires, Argentina

The Faena Arts Center in Buenos Aires, Argentina currently presents a solo exhibition of the collective Los Carpinteros. Los Carpinteros (The Carpenters) are considered as one of the most relevant international artists that emerged from Cuba in the last decade of the 20th century. Los Carpinteros is an artist duo consisting of Marco Castillo and Dagoberto Rodríguez. They chose to present themselves as Los Carpinteros in 1994, because they wanted to renounce the notion of individual authorship and refer to an older guild tradition of artisans. In their installations, sculptures and watercolors, Los Carpinteros mix design, architecture, and urbanism. They are interested in the intersection of art and society.

For the exhibition at Faena Arts Center Los Carpinteros chose to present three sculptural works: Avião, El Barrio, and Alumbrado Público. In this video Marco Castillo and Dagoberto Rodríguez speak about their exhibition, and Alan Faena provides you with an introduction to the Faena Arts Center.

Works of Los Carpinteros are part of the collections of renowned art museums such as the Los Angeles County Museum of Art; The Museum of Modern Art and the Guggenheim Museum in New York; the Tate Modern in London; the Museo de Bellas Artes in Havana; and the Museo Nacional Centro de Arte Reina Sofia in Madrid. Marco Castillo and Dagoberto Rodríguez graduated from the Instituto Superior de Arte (ISA) in Havana. In 1991 they formed the collective.

The exhibition of Los Carpinteros is shown in the Sala Molinos of the Faena Arts Center. The building that houses the Faena Arts Center was once one of Argentina’s first big mills. The Faena Arts Center opened in 2011 and is part of the Faena Arts District, which was developed by Fashion designer and real-estate developer Alan Faena. The center has over 4,000 m2.

Los Carpinteros at Faena Arts Center, Buenos Aires, Argentina. Opening reception, May 15, 2012. Video by Roberto Rey, Milos Deretich, Luciana Zothner, and Ángel Sánchez.

For more videos on Los Carpinteros click here!

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April 17 2012

El Color, Instrucciónes de Uso. Group Exhibition at Galeria Vasari, Buenos Aires

El color – instrucciones de uso opened at Galeria Vasari in Buenos Aires, Argentina on April 11, 2012. The exhibition aims at renewing the perception of color and the ways it is used in abstract painting. Displayed are the works of Fabian Burgos, Juan José Cambre, Veréonica Di Toro, Karina Peisajovich, Emmanuel van der Meulen, Oliver Filippi and a work by the late artist Mirtha Dermisache.

Within the exhibition, curator Phillipe Cyroulnik underscores the contemporary Argentinean abstract undercurrent represented by the gallery, while at the same time introducing two French artists, Filippi and van der Meulen, revealing the vitality of the French abstract scene. His focus, as Cyroulnik described in our interview was “to choose artists using traditions from Latin American abstract art, but who are involved in a discussion with American and European abstract ways.”

El Color: Instrucciónes de Uso. Group Exhibition at Galeria Vasari, Buenos Aires. Opening reception, March 29, 2012. Video by Daniel Barney.

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April 11 2012

León Ferrari: Brailles and Rereadings of the Bible / Malba – Fundación Costantini

The exhibition León Ferrari: Brailles and Rereadings of the Bible of renowned Argentinean artist León Ferrari recently opened at the Malba – Fundación Costantini in Buenos Aires. Amassed over the past three decades, the artwork shown consists of two series of work Brailles and Relecturas de la Biblia (Brailles and Rereadings of the Bible). Through appropriated images and the use of collage and other gestures, he questions the west’s and east’s perception of sex, violence, and religion.

Inside the exhibition space the walls are painted a pink flesh toned hue making for an interesting backdrop to the collection of erotic images originating from all sides of the globe. One of the shows main objectives is to establish a dialogue with the show Bye Bye American Pie, opening at the Malba on the same day and installed on the floor above. Both contain a critical gaze and ethical commitment apparent throughout each show, tying the exhibitions together.

Ferrari’s career is punctuated by the controversy and discussion that stems from his oeuvres, a vast body of work that continues to try to grapple with themes such as intolerance, war and religion. The exhibition runs until 2 July, 2012.

León Ferrari – Brailles y relecturas de la Biblia. Latin American Art Museum of Buenos Aires (Museo de Arte Latinoamericano de Buenos Aires, MALBA). Opening reception, March 29, 2012. By VernissageTV correspondent Daniel Barney.

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Press release (Spanish):

Malba – Fundación Costantini presenta León Ferrari. Brailles y Relecturas de la Biblia, una exposición individual del artista argentino León Ferrari (Buenos Aires, 1920), con una selección de 70 obras que integran sus “Brailles” y “Relecturas de la Biblia”, dos series realizadas por Ferrari a lo largo de tres décadas y hasta ahora sólo parcialmente conocidas.

La muestra se presenta en diálogo con Bye Bye American Pie, una exposición que, al igual que las obras de Ferrari, arroja una mirada crítica sobre las hegemonías culturales y políticas. “La producción de Ferrari se caracteriza por la irreverencia con la que aborda el acto creativo y el compromiso ético que articula a través de su cuerpo de obra”, explica Florencia Battiti, curadora de la exposición.

En 2004 Malba presentó en la terraza del museo León Ferrari. Artefactos para dibujar sonidos con un conjunto de sus instrumentos musicales, muestra que se realizó en simultáneo con la retrospectiva exhibida en el Centro Cultural Recoleta y de la cual Malba formó parte como institución co-productora del catálogo.

Junto con Brailles y Relecturas de la Biblia, Malba editó un catálogo de 164 páginas, bilingüe español e inglés con un ensayo del crítico literario y escritor Daniel Link titulado “León Ferrari: la experiencia exterior” y la reproducción color de todas las obras representadas en la muestra.

“Los tópicos de la iconoclasia, en la que el ‘escándalo’ encuentra sus fundamentos (adhesión o rechazo), han puesto a Ferrari en el aparente lugar del destructor de imágenes, cuando su obra apunta precisamente a lo contrario: a la producción de imágenes, al pensamiento sobre la imagen, a la transformación de la imagen (en sus fundamentos teóricos, en sus efectos políticos); nunca, jamás, a su olvido”, reflexiona Daniel Link.

CV
León Ferrari (Buenos Aires, 1920). Inició su producción artística en Roma como escultor autodidacta, con piezas en terracota. De regreso a Buenos Aires, trabajó en cerámica, yeso, cemento, madera, alambres de acero inoxidable, collages y dibujos. Desde 1962 comenzó a introducir estrategias conceptuales en su obra al vincular el dibujo y la escritura. También retomó las esculturas metálicas y experimentó con fotocopias, arte postal, heliografías, videotexto, instrumentos musicales, grabado, collage y ensamblaje. Todos los recursos le sirvieron para ejercer una fuerte crítica al poder político y religioso. En 1965 realizó su obra más emblemática, La civilización occidental y cristiana, una pieza fundamental del arte político contemporáneo. En los últimos años su producción alcanzó gran visibilidad internacional. En 2007 expuso en la 52ª Bienal de Venecia, en la que obtuvo el León de Oro. Vive y trabaja en Buenos Aires.

Florencia Battiti (Buenos Aires, 1965). Es Licenciada en Artes por la Facultad de Filosofía y Letras (UBA). Obtuvo un Postgrado en Gestión y Comunicación Cultural, FLACSO, Argentina (2003). Es Investigadora del Instituto de Teoría e Historia del Arte “Julio E. Payró” y docente universitaria de arte argentino contemporáneo. Desde 2000 se desempeña como Coordinadora Artística del Parque de la Memoria dentro del ámbito del Gobierno de la Ciudad Autónoma de Buenos Aires. Ha realizado tareas de investigación, producción y curaduría de exposiciones de artes visuales en el país y en el exterior. Recientemente se desempeñó como curadora adjunta por Argentina para la I Bienal Internacional del Fin de Mundo, Tierra del Fuego (2007) y como curadora de la exposición de artistas invitados para la IV Bienal Internacional de Arte Textil Contemporáneo, World Textile Art, Buenos Aires (2009). Asimismo fue curadora del proyecto Nature Forecast, exhibido en la Galeri Petronas en Kuala Lumpur, Malasia (2008) y de la exposición Arte contemporáneo de Santa Fe, dentro del programa Argentina Pinta Bien (2011). Es miembro de la Asociación Argentina de Críticos de Arte (AACA) y de la Asociación Internacional de Críticos de Arte (AICA). Integra el Consejo Editorial de Public Art Dialogue, publicación especializada en arte público, editada por Routledge, Taylor & Francis Group.

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April 04 2012

Bye Bye American Pie at MALBA, Buenos Aires

MALBA, the Latin American Art Museum of Buenos Aires opens its 2012 exhibition schedule with the exhibition Bye Bye American Pie, a selection of over 110 works of seven prominent American artists: Jean-Michel Basquiat, Larry Clark, Nan Goldin, Jenny Holzer, Barbara Kruger, Cady Nolan and Paul McCarthy.

Curated by Philip Larratt-Smith and designed as a continuation of the previous exhibition at MALBA, Andy Warhol: Mr. America (2009-2010), Bye Bye American Pie explores the transformations of American culture from the seventies to the present. This research brings together key pieces of each artist in various media: paintings, photographs, installations and works on paper from major public and private collections worldwide.

Bye Bye American Pie. Latin American Art Museum of Buenos Aires (Museo de Arte Latinoamericano de Buenos Aires, MALBA). Opening reception, March 29, 2012. Video by Daniel Barney.

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March 29 2012

Miguel Rothschild and Valentina Liernur at Ruth Benzacar Gallery, Buenos Aires

The tandem shows of artists Miguel Rothschild and Valentina Liernur at the Ruth Benzacar Galeria de Arte in Buenos Aires opened on March 21, 2012. The gallery is an icon for highlighting emerging and established Argentinean artists. Miguel Rothschild engages with religious iconography and the subtle balance between intimacy, mystery, and spirituality. In many of the pieces he uses photography in unexpected way, re-appropriate the image’s surface as another working palette. His work invades the exhibition space and forces the viewer to move around it, approach it and reconsider what they are looking at. The show of Valentina Lierunur focuses on the form, aesthetic and meaning of the images she creates. Using publicity photos from popular magazine in some pieces, while relying on formal painted media in others, her work is to speak for itself. As she stated in our interview: “no text…no press release,” just art. The exhibitions run until April 27, 2012.

Miguel Rothschild: Felices los que creen sin haber visto and Valentina Liernur: Valentina Liernur. Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina. Opening, 21 March, 2012. Video by Daniel Barney.

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March 26 2012

Aire de Lyon at Fundación PROA, Buenos Aires, Argentina

Argentinean curator Victoria Noorthorn opened “Aire de Lyon” at Fundación PROA in Buenos Aires, Argentina on Friday, 17 March, 2012. The exhibition aims to share with the public of Buenos Aires a selection of the numerous messages, thematics and formal and conceptual art expressions that were part of the 11th Biennale of Lyon (2011).

PROA’s modern and traditional mix of architecture creates a challenging exhibition space with many angles, high ceilings and corridors. The artworks engulf the space using structural supports and aesthetic details of the building as new installation possibilities. Many of the works already shown in Lyon are today exhibited along side new commissions that take into account PROA’s unique space. Air de Lyon runs until June 17, 2012.

Air de Lyon. Participants of the 11th Biennale de Lyon in Buenos Aires / Fundación PROA, Buenos Aires, Argentina. Opening reception, March 17, 2012. Video by VTV correspondent Daniel Barney.

See also: Biennale de Lyon 2011: A Terrible Beauty is Born.

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Participating artists are: Gabriel Acevedo Velarde (Peru), Zbynek Baladrán (Czech Republic), Ernesto Ballesteros (Argentina), Eduardo Basualdo (Argentina), Erick Beltrán (Mexico), Diego Bianchi (Argentina), Katinka Bock (Germany), François Bucher (Colombia), Virginia Chihota (Zimbabwe), Lenora de Barros (Brazil), Augusto de Campos (Brazil), Marina De Caro (Argentina), Julien Discrit (France), Marlene Dumas (South Africa), Aurélien Froment (France), Michel Huisman (Netherlands), Christoph Keller (Germany), Irina Kirchuk (Argentina), Eva Kotátková (Czech Republic), Robert Kusmirowski (Poland), Luciana Lamothe (Argentina), Guillaume Leblon (France), Kemang Wa Lehulere (South Africa), Christian Lhopital (France), Laura Lima (Brazil), Jorge Macchi (Argentina), Cildo Meireles (Brazil), Bernardo Ortiz (Colombia), Garrett Phelan (Irerland), José Alejandro Restrepo (Colombia), Tracey Rose (South Africa), Alexander Schellow (Germany), Javier Tellez (Venezuela), Erika Verzutti (Brazil), Judi Werthein (Argentina).

Presentation: Aire de Lyon, Temporada 2012

Con la exhibición Aire de Lyon, Proa da inicio a la temporada 2012, en la que la voluntad de relacionar experiencias artísticas contemporáneas, incorpora material para contribuir a un diagnóstico y debate sobre el estado de la reflexión del arte.

Como primera muestra del año, Aire de Lyon renueva la fuerza de su alma mater –la elogiadísima Bienal que la ciudad francesa albergó desde septiembre a diciembre de 2011– proyecto curatorial de la argentina Victoria Noorthoorn. Si con el verso del poeta inglés W. B. Yeats, “Una belleza terrible ha nacido”, la Bienal anunciaba el valor del tiempo en sus postulados, con Aire de Lyon esa misma belleza se manifiesta en uno nuevo tiempo.

Site-specifics concebidos para Proa, obras exhibidas antes en Lyon, la presencia de artistas internacionales y locales traen nuevos Aires a nuestros “buenos aires”: un fragmento de contemporaneidad, con recortes de África, Europa del Este y Latinoamérica.

Aire de Lyon, curada por Victoria Noorthoorn, es posible gracias a la colaboración de La Biennale de Lyon, la Fundación Mondriaan, la Embajada de Francia en la Argentina, la Alianza Francesa, el Instituto Francés y Ternium Siderar/Organización Techint.

El acento recae desde junio en la investigación, dando cuenta así de las relaciones entre Brasil y la Argentina en el marco de una escena artística decisiva para ambos países: la década del 60. Política, consumo de masas y el ímpetu anti-institucional organizan la exhibición Pop, realismos y política. Brasil-Argentina, curada por Paulo Herkenhoff y Rodrigo Alonso.

En octubre, la llegada a Proa de la primera retrospectiva sudamericana de la obra del gran artista suizo Alberto Giacometti, uno de los más importantes del siglo XX, presenta más de 130 obras de la colección de la Fundación Alberto y Anette Giacometti de París, en un acontecimiento único.

ProaCine, en el marco del Bafici, estrena el documental Patience (After Sebald), de Grant Gee: una lectura personal de la novela Los anillos de Saturno, de W. G. Sebald; ProaLiteratura, en el Filba, invita a Buenos Aires a Mario Bellatin. Y a 100 años de su nacimiento, ProaMúsica rinde homenaje a John Cage.

Damos la bienvenida a la temporada 2012 de Proa y agradecemos la presencia y el aporte de la Organización Techint en el desarrollo de nuestro programa cultural.

Adriana Rosenberg
Presidente


October 26 2011

Graciela Taquini. Grata Con Otros / Centro Cultural Recolta, Buenos Aires

The anthological exhibition Grata con Otros is being showed in the Cronopios Room of the Centro Cultural Recolta CCR in Buenos Aires, Argentina. It presents, for the first time, the whole of the artistic work of the multifaceted Graciela Taquini, referent and pioneer in the universe of the digital art and relational aesthetic in Argentina. Curated by Rodrigo Alonso and with the montage design of Daniel Fischer, we can see works of the same Graciela and works made in collaboration with other artists, which are exhibited along reflections and stories of colleagues that directed their creative sight towards the figure of Graciela, who inspired their productions.

Photographs and video-installations are some of the technological mediums that expose Taquini’s trajectory, becoming not only a collection of pieces that take part in a visual art exhibition, but also the portrait of a life in the art, in which the curatorial practice that took place during a great part of her professional development converges with her more recent artistic practice. In concordance with the exhibition, the CCR Micro cinema is showing TV shows, video art, movies and documentaries in which “The Video’s Aunt” took part.

She auto defines herself as a conceptual artist: “I don’t paint, I don’t take photographs, I don’t handle the camera or edit. I think and create through the construction with others. I’m interested in that initial moment, seeing how the idea is slowly built and the creation of the team to make it, the Art is a dynamic construction. That’s what history is going to say, who is responsible for recovering forgotten things. Certain current looks resignify and appreciate forgotten artists. Who legitimizes? History, colleagues, artists, time, public, investigators, it’s like a sum of looks. One doesn’t have to talk about art, but of artistic practices. I don’t agree with the taste theory. Art is not what I like. It’s not a democratic theory either.”

Graciela Taquini. Grata Con Otros at Centro Cultural Recolta, Buenos Aires. Vernissage, August 19, 2011. Video and text by Roberto Rey, Milos Deretich, Luciana Zothner, Àngel Sánchez.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.

Text in Spanish:

En la Sala Cronópios del CCR se presenta la muestra antológica GRATA CON OTROS, esta gran exposición presenta por primera vez la obra artística de la multifacética Graciela Taquini en su conjunto, ineludible referente y pionera en el universo del arte digital y la estética relacional en Argentina. Curada por Rodrigo Alonso y con diseño de montaje de Daniel Fischer, podemos ver obras propias y obras realizadas en colaboración con otros artistas, que se exhiben junto a diversas reflexiones-retratos de colegas que posaron su mirada creativa sobre la figura de Graciela quien inspiró sus producciones.
Fotografías y video-instalaciones son algunos de los soportes tecnológicos que dan cuenta de la trayectoria de Taquini, constituyéndose no solo como un conjunto de piezas que conforman una muestra de arte visual, sino como el retrato de una vida en el arte, en la que confluyen la práctica curatorial, transitada durante un extenso tramo de su desarrollo profesional, incorporando la práctica artística en su madurez. En concordancia con la muestra, se proyectarán, en el Microcine del CCR, programas de TV, de video arte, películas y documentales en las que intervino “La Tía del Video”.
Ella se autodefine artista conceptual “No pinto, ni hago fotos, ni manejo cámara ni hago edición: Pienso y creo a través de la construcción con los demás. Le interesa ese momento inicial, y ver de a poco como se construye esa idea y la creación del equipo para hacerla, el Arte es una construcción dinámica. Eso lo va a decir la historia, quien es responsable de rescatar cosas olvidadas y perdidas de vista. Ciertas miradas actuales re significan y aprecian nuevamente artistas olvidados. ¿Quién legitima? La historia, los colegas, los artistas, el tiempo, el público, investigadores, es como una sumatoria de miradas. No hay que hablar de arte sino de prácticas artísticas. Nunca estuve de acuerdo con la teoría del gusto. El arte no es lo que me gusta a mí. Tampoco una teoría democrática.”


October 20 2011

Azar, Lockett, Rey, Salamanco at Pasaje 17, Buenos Aires

It was more than improbable that this four artists met in a common project. Nevertheless, here they are, luckily gathered: Amadeo Azar, Milo, Roberto Rey and Hernán Salamanco present this strange and seductive exhibition, at the Contemporary Art Gallery Pasaje 17.
Azar, moving away from the dystopias, from neat models, axonometric drawings and faint watercolors joins Salamanco, who gives up his industrial paints and recovered signs in order to work together in a project that, even though is being executed in their present artistic maturity, has been gestated since their childhoods, from memories and pictures kept by the artists through the years. They make a disturbing piece of art that remits to creepy and fascinated children of ambiguous ingenuity.

Roberto Rey goes deeper into the time/light allusion and conceives, with Visual Exercise, a multimedia installation that, quoting the curator, ponders, though different mediums such as the video, the model and the image, about the limits in which thing acquire or lose their entities depending on the light that shines down on them. It’s a metaphor about our perceptive disabilities or the excess with which the century of the lights still irradiates its irreducible reason and Rey takes over with that implacable light until the point of making one of Argentina’s icon of modernity, Amancio Williams’ House of the Bridge (Casa del Puente) vanish.

Milo, from his apparent simplicity, surprises us from the moment of the conception of his work. Two of his pieces were made in public, making his production a permanent exercise of exchange with the spectator, encouraging him to play an active game, that in this case was extended to his colleagues.

The gallery’s proposal deserves a separate paragraph. Two days before the inauguration, and with the participation of the artists, it invited the general public to witness the curatorship, the montage and execution of some of the pieces exposed, transforming the usual intimacy of the backstage into an open doors performance.

In the underground room there are paintings by Roberto Rey and Milo Lockett and some papers made by the pair of Azar and Salamanco.

With curatorship by Héctor Médici and a spotless coordination by Dolores Casares, this is an exhibition to be appreciated by artists and by those unwary ones that dare to go into these unique universes that are displayed.

Azar, Lockett, Rey, Salamanco at Pasaje 17, Buenos Aires / Argentina. Live painting and vernissage, August 1 and 3, 2011. Video and text by Roberto Rey, Milos Deretich, Luciana Zothner, Àngel Sánchez.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.

Text in Spanish:

Resultaba más que improbable que estos cuatro artistas se encontraran en un proyecto en común, sin embargo acá están afortunadamente reunidos: Amadeo Azar, Milo Locket, Roberto Rey y Hernán Salamanco realizan esta extraña y seductora muestra, en la Galería de Arte Contemporáneo Pasaje 17.
Azar alejándose de la distopia, de cuidadas maquetas, dibujos axonométricos y tenues acuarelas se articula con Salamanco, que también cede en este caso, sus esmaltes industriales y los recuperados carteles, en pos uno y otro de un proyecto conjunto, que aportando desde sus infancia y ejecutado en su actual madurez artística, se gesta desde los recuerdos y las imágenes conservadas por los artistas a través de los años, realizan en la sala un inquietante mural que remite a tenebrosos y alucinados chiquillos de equívoca ingenuidad.
Roberto Rey profundiza en la alusión tiempo/luz y concibe, con Ejercicio Visual (cita por Ejercicio Plástico, de David Alfaro Siqueiros), una instalación multimediatica , que, en palabras del curador, reflexiona a través de diversos dispositivos como el video, la maqueta y la práctica pictórica, sobre los límites con los que las cosas adquieren entidad o la pierden según la iluminación a la que están sometidas. Metáfora sobre nuestras discapacidades perceptivas o del exceso con el que el siglo de las luces aun irradia su razón irreductible, Rey somete con esa luz implacable hasta ¿desvanecerlo?, a uno de los iconos de la modernidad en la Argentina, la Casa del Puente de Amancio Williams.
Milo, desde su aparente simplicidad nos sorprende desde el momento mismo de gestar la obra, dos de los cuadros fueron realizados con público presente, haciendo de su producción, un ejercicio permanente de intercambio con el espectador, incitándolo a un juego activo, que en este caso se extendió también a sus compañeros de proyecto.
Párrafo aparte merece la propuesta de la galería, que dos días antes de la inauguración y con participación de los artistas invito al público en general a presenciar la curaduría, montaje y realización de varias de las obras expuestas, transformando la habitual intimidad del backstage en una performance a puertas abiertas.
En la sala del subsuelo se pueden ver pinturas de Roberto Rey y Milos Locket y unos papeles de la dupla Azar / Salamanco.
Con curaduría de Héctor Medici y la impecable coordinación de Dolores Casares, es esta una muestra para ser apreciada por artistas, y por los incautos desprevenidos que se animen a adentrarse a estos universos tan particulares que se despliegan en esta muestra.


July 27 2011

Dolores Casares. Solo Exhibition at Palacio Duhau, Buenos Aires, Argentina

This episode covers the opening of the solo exhibiton of Dolores Casares at Palacio Duhau in Buenos Aires, Argentina. In this show, the Argentine artist, art teacher and curator presents sculptures made of acrylic, which explore the aesthetics of light and geometry.

Dolores Casares at Palacio Duhau – Park Hyatt, Buenos Aires, Argentina. Opening, June 30, 2011. Video by Roberto Rey, Milos Deretich, Luciana Zothner and Angel Sánchez.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.


June 09 2011

arteBA Buenos Aires 2011

The twentieth edition of the art fair arteBA in Buenos Aires, Argentina ended on Monday, May 23, 2011. According to the fair organizers, more than 120,000 viewers visited the fair in the five days it was presented in the blue and green pavilions of the fair site and convention center La Rural. Ninety-eight galleries from Argentina, Brazil, Chile, Colombia, Costa Rica, Germany, Mexico, the Netherlands, Peru, Puerto Rico, Spain, the United States, Uruguay and Venezuela presented works by 600 artists.

arteBA Buenos Aires 2011, Buenos Aires / Argentina. Vernissage, May 19, 2011. Video by Roberto Rey, Milos Deretich, Luciana Zothner and Angel Sánchez.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.


May 26 2011

Daniel Santoro at Galería Palatina, Buenos Aires

Following the report on the third edition of the new media art show FASE: Zona de Prueba, this is the second video by VernissageTV’s correspondents in Buenos Aires, Argentina. It shows the opening reception of the exhibition with works by Argentinian artist Daniel Santoro at Galería Palatina, Buenos Aires.

Daniel Santoro at Galería Palatina, Buenos Aires / Argentina, April 27, 2011. By Roberto Rey, Milos Deretich, Luciana Zothner and Angel Sánchez.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.


May 19 2011

FASE 3rd Edition 2011: Zona de Prueba / Centro Cultural Recoleta, Buenos Aires

FASE is an annual meeting in Buenos Aires, Argentina, dedicated to new media art. Artists and institutions from Argentina and abroad present experimental photography and audiovisual works, digital art, animation, virtual art, Internet art in all its aspects.

The third edition of FASE was held from 5 to 8 May 2011 under the title “Zona de Prueba” (Test Zone) at the Centro Cultural Recoleta. FASE 3 transformed the Center into a platform for testing and experimenting according to the motto: trial and error.

This video by our new correspondents in Buenos Aires, Luciana Zothner, Roberto Rey, Milos Deretich, and Ángel Sánchez provides you with a walk-through of the exhibition on the occasion of the opening on May 5, 2011.

FASE 3rd Edition 2011: Zona de Prueba / Centro Cultural Recoleta, Buenos Aires. Opening reception, May 5, 2011.

PS: Hit the jump for text in Spanish.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.

Fase 3 es el encuentro anual de referencia en Buenos Aires, Argentina, donde artistas e instituciones públicas y privadas del país y del exterior trabajan, investigan y desarrollan temas de experimentación fotográfica y audiovisual, nuevas tecnologías, arte digital, animación, arte virtual, arte en Internet, videojuegos, robótica y biotecnología, tanto en sus aspectos high como low tech.

Fase 3, se realizó del 5 al 8 de mayo de 2011 bajo el lema ”Zona de Prueba”, y transformo al Centro Cultural Recoleta en una plataforma de prueba y experimentación que tuvo como eje de esta edición el arte como proceso con elecciones constantes a través de la prueba y el error.

No se trato de diálogo de obras preexistentes sino de trabajar en sitios determinados con obras que impliquen elaboración y planificación en el tiempo, procesos, expansiones y cambio, para lo cual, instituciones y artistas hicieron un gran esfuerzo de producción. Es necesario apostar sin red. Dar oportunidad o el permiso para el ensayo y el error.

Directora: Pelusa Borthwick; Idea y produccion: Marcela Andino, Patricia Moreira; Curadora: Graciela Taquini;Curador del Espacio de reflexión: Rodrigo Alonso.


January 23 2011

Maria Kodama: Windows on the World

Our monthly series showcases the drawings of artist Matteo Pericoli, detailing the views from the windows of leading writers. This week, the widow of Jorge Luis Borges is reminded of him through the sensations he enjoyed in Buenos Aires

A certain house in the Buenos Aires neighbourhood of Recoleta has a window that is doubly privileged. It overlooks a courtyard garden of the kind known here as a pulmón de manzana – literally, the lung of a block – which affords it a view of the sky and an expanse of plants, trees and vines that meander along the walls of neighbouring houses, marking the passage of the seasons with their colours. In addition, the window shelters the library of my late husband, Jorge Luis Borges. It is a real Library of Babel, full of old books, their endpapers scribbled with notes in his tiny hand.

As afternoon progresses and I look up from my work to gaze out of this window, I may be invaded by springtime, or if it's summer, by the perfume of jasmine or the scent of orange blossom, mingled with the aroma of leather and book paper, which brought Borges such pleasure.

The window has one more surprise. From it, I can see the garden of the house where he once lived and where he wrote one of his best-known short stories, "The Circular Ruins''. Here, I can move back and forth between two worlds. Sometimes, following Borges, I wonder which one is real: the world I see from the window, bathed in afternoon splendour or sunset's soft glow, with the house that once belonged to him in the distance, or the world of the Library of Babel, with its shelves full of books once touched by his hands?


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