Narcisa Hirsch «The famous unkown filmmaker»

13/03/202410/03/2024 por Hoornik Art

Narcisa Hirsch

Narcisa Hirsch, a "Famous Unknown Filmmaker" as defined by herself, and quoted by MOMA Museum, was born in Berlin in 1928.

She was dedicated to Super 8 experimental performance art and cinema. She ended up living in Patagonia, Argentina, where she arrived in 1937. At MOMA, Narcisa’s work is described as politically subversive Happenings on street corners in Buenos Aires and New York during the 1960s and ’70s. She handed out apples and plastic toy babies to puzzled passersby, roamed throughout South America and the United States, capturing her travels in camera viewfinders, defied tidy distinctions of genre between the diaristic, the structuralist, the epistolary, and the mythological, and experimented with artists like Carolee Schneemann, Marie Louise Alemann, and Werner Nekes.

The story of how she ended up living in Patagonia in her nineties when the Pandemic emerged, starts with Linda Rautenstrauch, who was married to some cousin of her mother. Narcisa tells the story of her organizing the Camping Musical Bariloche in the 60’s.

NH: “One day we came to have tea at her house, they lived in what was the capricorn, she wanted to get rid of those neighbors, why don’t they buy the house next door that is for sale?”

In her narrative, the house was a pretty ugly cabin, they didn’t want to buy something fixed, so they bought that house they offered them, prefabricated:

“My husband and I offered the owner 10 out of 100. He left offended, he told us no. and a week later he came back and told us YES! We had bought it without wanting to and that’s where it started. At that time, there I was filming, I started painting, with cinema, so I don’t know if at that time, that was in 56, I was pregnant with my son Gugu, I don’t know if I was making cinema or not”.

CT: What were you thinking when all this was being filmed? It’s crazy that your works at some point represent something that fades away, it represents the present, what we are living. Is it a projection of the future?

NH: It’s interesting what you’re saying. I never thought about anything, I didn’t have to answer to anyone, no one paid me for anything, and no one had commissioned the film. I was completely free, especially later when the super 8 came along. The 16mm eventually became more expensive, I had to go to the lab to develop it, and it was something that was never shown, nor was it going to be sold. That’s when the super 8 appeared, which was the video of now, everyone had a super 8 camera that filmed their trips, weddings, or children in the pool. It was the video that was used. I had several super 8 cameras, one after another, not at the same time. It was practical because you put it in your backpack and that was it. The BOLEX is bigger, depending on the type, I had a BOLEX for 30-meter films, and those cameras were small, I still have it here and it works”.

CT: What do you want to say about your paintings?

NH: “Yes, there are very few paintings left. But I had a father who was a painter. My parents separated when I was a child and I hardly knew him. I kept what was the atmosphere of the studio, I posed for him and he painted me, we had a fairly intimate relationship with painting. I was close to painting to be close to him, and well, that’s where I started. I painted with cement and lime, with oil, and then I liked a Spanish painter named TAPIÉS who paints with a lot of materiality. I became like Tapiés and there are still some of those paintings. I exhibited several times, there was a gallery called Lirolay on Esmeralda Street at that time, I did quite a few exhibitions there and then in several places, but I wasn’t a very famous person or anything. Marta Minujin, for example, I went to Lirolay, she was very young and she also painted with that materiality, I bought a painting from her, I still have it, it was an impulse because I didn’t know how to buy paintings, I liked it a lot and it was hanging in Cochabamba. It was quite similar to that. Before all the family stuff started, I had a couple of workshops where I went to learn to paint, for example, I was there and there was a painter who at that time, in the years, I got married in 50, a painter named Urruchua, he had a studio in San Telmo, and there was another workshop, it was all quite good because it had a system that seemed good to me, the painting arrived at the workshop and they put yours in front of the class and everyone looked at it and evaluated it, that seemed like a system to me. That man became famous, he had an exhibition at the Sivori.

CT: How did you approach cinema?

NH: “One had to learn to look, until those classes were good and then I didn’t go to any academy or anything but it was what I wanted to do, after that, Romero Brest appeared on the scene, he was a prominent art critic at Di Tella, for whom I had admiration, he appeared modern and current in what he said, and faced that easel painting had died, that was no longer going somewhere, something else had to be done, so what I did at that time were the happenings”.

CT: How happenings started?

NH: “What we did with a friend of mine, we were in the street, some things we did together, some not. The most famous of that style at that time was the Marabunta, what was left of all that was a very large skeleton, that Tomas’s aunt (One of my grandsons) studied medicine and brought us the bones, we bought them in bulk, we made a skeleton and covered it with food and fruit and in the belly it had live pigeons and painted with fluorescent colors, the skull had a banana hair that fell to the ground, and there were also live parrots that came out through the mouth and it was quite monstrous, we premiered it and put it in the Coliseo cinema on the street … a very well-known place, was a theater and a cinema where the BLOW UP of Antonioni was premiered, a famous Italian film that was very in Vogue and I asked permission from the owner of that moment and it was Clemente Lococo’s son because it had as if it were today, Louis XV style all golden, a thing nothing to do with modern art, now it is very collectible, that man listened to me, to ask permission to put this sculpture and everywhere they told me no, I would like to know if I could put it on the sidewalk here, because I was on the street”. He answered:

“Madam, in Argentina you never ask for permission”

“I never asked in Argentina for permission again after that. That’s what I did and it went quite well for me, and it wasn’t easy because we were in the middle of a military dictatorship. They would catch you and kill you.”

‘We did the Marabunta in the Coliseum and it was filmed by the boys, I found out that one of them was a montonero, a guy who made political cinema, there was a branch of political cinema, there was a branch of political cinema at that time and you will have heard of it, I was friends with the owner of the ALEX laboratories. it was a film laboratory that developed films and copied them, I developed most of my films, but the average of that boy, you who know filmmakers, I need someone to film the Marabunta event, the montonero, with whom we dictated the film at his house, there was a strange atmosphere, a very oppressive climate, there I started editing, I liked editing a lot, I found editing very fantastic.

CT: Did you were filming at that time? How was the process? Did you make decisions before filming?

NH: “I had a 16mm sound MOVIOLA, this is a device where you put the film and you go cutting, I had never done that, I saw how it was done and it seemed very fascinating to me, from the marabunta, I started filming. I never did a formal cinema like the one you learn in film schools, I never wrote a script, or made a dialogue, I filmed like when one painted, I started with a 16 mm small camera those that are easy to maneuver, the BOLEX was very famous, it has to do with cinema, they went through the BOLEX, went through all those who had to do with cinema. I imagined things, it was spontaneous, it was not with actors, or professional people. We filmed a lot.

CT: You had your archive or did you film shortcuts?

NH: “It depends on situations of what I was filming, but in general, I filmed spontaneously and I was filming what I saw, and if not one night I thought:

Tomorrow I would like to film the mountain range with rain, for example, and then I filmed that. I had a traveling companion who was Horacio Maira. He was studying to be a professional, and he did a lot of camera work. When I filmed at the beginning, he made the first movie. Then he was a photographer in the cinema scene, he did a lot of camera, when I filmed at the beginning, in the first longer film that I did called «Portraits”, he was in charge of buying the negatives that had to be bought, he was more technical he had more knowledge than me. With him we filmed Patagonia, we left Buenos Aires by car, and we were filming as we advanced”.

CT: Did you keep all your cameras?

“No, most of them were ruined, disappeared, but I kept the 16mm one and those cameras could put a 120-meter chassis, I no longer had to make a small chassis, but large and I could film longer things, that lasted a while, then came the super 8 and there are photos, photos of filming with the super 8. It was very easy, it was very cheap, you bought it in a photography store, it had a cassette, and you took it to those stores and the next day they were developed and that was it. It was very cheap and very easy and very comfortable to have a super 8 camera.

We walked, and a small group was formed of 6 or 7 people and we met to show our films and we helped each other to show what had to be done. We saw each other quite a bit and it was a completely heterogeneous group that had nothing to do with each other, and we met and the GOETHE institute, Maria Luisa ALEMAN, a German friend like me, she worked at the GOETHE institute and traveled with German films around the country and talked about German filmmakers, and German cinema of that time.

Those characters that emerged at that time, and there appeared a woman at the GOETHE institute who was in charge of cinema and theater who was interested in ours, and worked for the institute and proposed to us to do a cycle in the same institute and present our films and spoke about what we were seeing. It had quite a bit, it was not a very big disclosure, it was something different that happened there, a lot was talked about the GOETHE group and we were, that was in the 70s”.

CT: In New York was it already the time?

‘Yes, it happened because it was mostly between the 60s and 70s, both in NY and in Buenos Aires, here also things happened, there were happenings, Marta Minuijin did her thing. She was the most famous but there were others, there was a climate of effervescence, NY was impressive, going down the street was delirious, all the people very drugged to start with, the beginning of the marijuana era, of the psychedelics, of LSD, all that, had its consequences, did not resist, or committed suicide or simply died, there was Andy Warhol, I went to visit his factory where he worked, they introduced me to him there. Those were the characters that animated the scene, they were famous characters and known all over the world.

New York was the time to go everywhere, the galleries, it was a moment of effervescence, confrontation, it is not like now that everything is tolerated and everything is applauded no matter what you do, before you were from one side or you were from another, you could not be a lady who liked traditional painting, or you were from the new or you were from the old, it was difficult to pigeonhole me, there was a lot of discussion, a lot of vehemence in the same discussions, a lot of fighting, it happened in the houses, in the galleries, in the ditella, in the end it had to close because it was being attacked a lot, there were the military, it was not a small thing, state terrorism at that time, many people died and not for art, but for politics. That politics was present in everyday life, there were men with chains, and the police came and took them away just for being dressed differently.

CT: You were filming with super 8? How was your relationship with these filming at that time?

“Super 8 of course, what we did was not seen anywhere. There was no cinema for this type of films but there was a place where conventional films were projected, the filmmakers who went to that place, since they did not have money to make a larger, more commercial film, they filmed in super 8, instead of being something else, another expression, something more poetic and abstract, it was less good. There was no way to do it otherwise, that had no value, but one managed to show the films in someone’s workshop and then came the GOETHE institute but there was little, little discussion of all that. The super 8 died physically and then came the video and that was another way of filming, another technique, completely different, the one who had a super 8 camera, now had video, and there I was homeless for a while, and I started filming again in 16mm I made some films in 16, the ALEPH is super 8. Because I didn’t film anything for the ALEPH, I used the archive discard, the film had to last a minute and I used the discard, it’s all super 8, I filmed some things in 16, roomie is a film, a poet who came from Asia, near the antiquity of PERSIA, it was very interesting and I invented a life, roomie, a character, it was the 16 and it was a movie, more professional. I looked for actors, and I made a movie called “Ana Where are you?”It was about a girl who was a professional actress and I enrolled in the institute and I did everything according to the law. The whole process that you have to do when working with the film institute was not for me, there were many rules and formalities, it was mostly for them to finance the film which did not happen to me, it was very complicated, it was a very complicated process, that was not. I returned to my format which at that time was the video, I met a girl who made video, studying cinema. And instead of working for me at that time, with her I learned about video, and she worked as my assistant, she was always there. We continue working together, she was there when the pandemic started, video movies, not with them but, she was the one who edited the video, you have to know that, then she edited and then Daniela moved to Mar del Plata and I invited her in Buenos Aires and with her I was making a movie and the pandemic came, and I came here. And I didn’t know anyone who edited, it was left half done.

CT: What are your plans now? How you see the future?

NH: “I think we are all without knowing what will happen in the future but I am doing other things like the film library, for experimental cinema, that does not exist in Buenos Aires, it does not exist. I have a small apartment in Barracas, and I donated it to make the film library, with Daniela and Tomás, my grandson who makes videos. We are in the middle of the process, of the film library, for the reality is that when someone comes from inside or outside, whatever it is and wants to see something from the super 8 material and wants to see something, they can see it, project it and see it, not only from mine, but from the films of that group. Films of those people, who could study that if they were interested, many kids who are studying cinema, or visual arts who have to write something about that, and there are not many places where you can.

Now I have an active archivist, who is in Buenos Aires in my house, who reviews everything about the films, because they also die, they get serious, vinegary, they start to ripple, you have to review them every so often. The temperature is an issue, it has to be exact and air conditioning, you have to have a special temperature, and special material. The metal films have to be plastic, the contact and it rusts and there is a fairly large issue, it is very important and you have to know it.

Everything has to be well stored, if not the films have to be thrown away. You have to have a professional for that. In the biennials, there was not like now that there is a festival on every corner, there were the big festivals in Venice, etc., but more than that there was not. Now there are festivals in El Bolsón, well they ask me for the material and Daniela takes care of that, she takes care of it because it has to be a special format, there has to be a copy because the original you cannot send it because it is all very fragile”.

CT: What moment are you in? What moment of your work are you in? What are you putting together?

NH: “2021 I am in contact with the people who are in charge of the film library, thinking about how we can do it. I am more distant from doing, I have a vision of the global, what happens with the festivals and with my cinema, how it is seen, how it reacts to all that, the stars and the black holes.

If I was with the matter, now in astronomy the dark matter, it seems that it is the novelty that we have in the universe, Patagonia is a good place to see the sky, but it is not that what interests me but the concept of the universe, but that of which we are part, which we actually do not know, we know a lot but the more we know, we realize that we know nothing. But the universe that we know in its time, a turtle on the back that carried the world, and now that has changed and there is the absence of many resources and possibilities, and that makes you see how little we know and the mysterious, what the universe is as such. Every so often an article appears with the physics that will completely change and what we consider as known, is no longer useful and then there is a lot of agitation. I like the concept of the universe and the mystery of the universe, I have a movie made that now they just asked me for in the USA, which is a “Chick spider”, which walks through different places, and my voice that says «The universe is a chick spider» and that is now walking through Oregon on the screen. I’m finding it. I have a French filmmaker friend, I met him in El Bolsón, he lives in France, we became very good friends and we decided with another friend who lives and is a teacher in Rio Negro, to make the 3 of us some movies, we made like 2 or 3 movies together, then came the pandemic and it was more difficult to travel, from France to here, because of the pandemic and we did not make more movies together.

This one was seen in different festivals and it appears every so often, it is easier to show movies in the festivals that are all virtual now, you send a link and that’s it, that has relieved and lightened the process a lot, you can know much more, by having everywhere, there are specialties, festivals that are about climbing mountains, festivals in general are with shorts with movies that are not”.

The fair that the art ecosystem needed, ESTE ARTE Cultural Summit & Art Fair

14/01/202414/01/2024 por Hoornik Art

ESTE ARTE Cultural Summit & Art Fair

The fair that the art ecosystem needed

Founded by the agile researcher and entrepreneur formed in electronic arts Laura Bardier

Laura Bardier, a committed Uruguayan to the art of her country, is currently based in New York, where she serves as the director of the James Howell Foundation. Ten years ago, Laura, while working under the curator, philanthropist, and collector Estrellita Brodsky, was inspired by Brodsky’s dedication to funding the Latin American department at MoMA. This inspiration drove Laura to make contributions to Uruguay and South America. While attending art fairs such as ArtBo in Bogotá and Torino in Italy, she felt compelled to bring to life the artistic space she had envisioned. Laura perceives these fairs as distinctive due to their unique conception in synergy with the city.

«They unite the entire ecosystem; you manage to have access to galleries, museums, universities, and the entire art system in the city.»

«ESTE ARTE is designed for this place, José Ignacio, Uruguay,» Laura emphasizes the importance of how art spaces are conceived for the place referring to the “in situ” concept.

«To value what we have in dialogue with the outside, with the foreign, blending craftsmanship and art, highlighting the conceptual aspects of art and the world of ideas, intellectual and cultural development, emotions. There are artists for whom this is their only opportunity to sell in the year.»

Committed to female artists, she managed to make her fair the only one in the world with the condition of having at least one woman within each gallery to participate: «In the last 5 editions, we achieved a 50-50 %, we also democratized for non-hegemonic artists, giving them space when previously only established, male, deceased artists were bought, and only at auctions. Today, we have created a fair that provides options and supports living artists, those who are starting and will be more valuable in the years to come.»

Laura led the incorporation of the James Howell Foundation, an institution dedicated to research, as the artist dedicated 40 years to studying light. Now, it is focused on promoting research projects within its area of interest. She studied electronic arts in Linz, Austria. This is aligned and incorporated into her vision for the fair.

«I wanted to have an excuse to come back every summer here. In Florence, I studied art history and design. Later, I studied new media curation in Austria at Linz, and my background is in software art, and electronic art’.

In the 10th edition of ESTE ARTE, she tells us how last year she brought Cecilia Alemani, who curated the last edition of the Venice Biennale, and Barbara London, curator of the MOMA in New York for more than 30 years:

«This year, I went against the current, and invited people from the art world. I aimed to look at other places, including Hoor al Qasimi, president of the Sharjah Art Foundation, Sharon Lerner, who is doing excellent work as the director of the Museo MALI in Lima, Halona Norton-Westbrook director of the Honolulu Art Museum from Hawaii, and Candice Hopkins, director of Forge Projects, who emphasize the idea of the local and the international with local roots, which is an important point for our fair.»

Trinidad Metz Brea

11/12/2023 por Hoornik Art

Trinidad Metz Brea

Participó en Pinta Miami 2023, luego de inaugurar su muestra FERALES en Buenos Aires

Durante la semana de Art Basel Miami 2023, Trinidad Metz Brea participió por primera vez en Pinta Miami, feria en la que el arte latinoamericano es protagonista:

“Valeries participó de la sección NEXT de Pinta, curada por Giuliana Vidart. La propuesta consistía en emparentar y generar un diálogo entre dos galerías de distintas regiones, en nuestro caso compartimos el stand con un proyecto de Perú”.

Su obra escultórica es trabajada como un campo expandido, a través de herramientas digitales, nuevas tecnologías confluyen con métodos manuales, generan un diálogo entre lo mundano, terrenal, ecológico, biológico y lo mutante, los bestiarios, los juegos en línea, un universo extraño mito de origen de seres fantásticos con reminiscencias humanas, animales, vegetales, y de fantasía. Cuerpos e identidades híbridas con la potencia de las nuevas tecnologías, la antropofagia cultural, la Internet, el apocalipsis y las disidencias.

Se diluye a través de la porosidad que representa un sujeto moderno multirelacional, y logra constituir subjetividades post humanas. Esta encarnación moderna incorporada en el universo 3D de trinidad, connota y demuestra, la superabundancia en la creación de una mitología con naturaleza propia.

“Trabajo en la intersección de lo natural y lo artificial, lo cotidiano y lo extraño, lo autóctono y lo alienígena, así como la naturaleza cíclica del tiempo. Son fábulas y crónicas fantásticas contemporáneas que encarnan el sentimiento actual de incertidumbre, misterio e inestabilidad, provocada por la tecnología, la crisis ecológica y económica y el cambio de paradigma. Asi como posibilidades de nexos y modos de supervivencia alternativos”.

El proceso continúa y se reproduce de manera constitutiva. El germen instaurado por la búsqueda de nuevas técnicas digitales y oficios mixtos, genera un diálogo que la artista descubre en el proceso de entender su cualidad humana (o sobrehumana). Logra integrarse a la naturaleza como sujeto moderno y se posiciona contra el perspectivismo, incorpora las utopías e ideologías y las transforma en una interacción que venera y crea su realidad suprema en escenas de muerte, maternidad y evolución de un cuerpo más allá de lo humano.

Encontramos la vivencia de una biología híbrida, afectada por la digitalización expansiva, la hiperconectividad, y la destrucción representada en una identidad posthumanista, fin de una era antropocentrista.

La mutabilidad coexiste entre el archivo, el soporte y la presencialidad: Los bestiarios medievales, la zoología, el quiebre normativo, la sexualidad. Entre el paraíso y el mundo subyacente: La creación y la destrucción.

Trinidad Metz Brea logra en Ferales, su nuevo SOLO SHOW en Aura Fábrica, descomponerse a sí misma para integrarse a un ecosistema que se adueña de la infraestructura humana, al generar entidades desconocidas y una nueva percepción vincular, en esta oportunidad, atravesada por la identidad genética que connota lo propio y ajeno.

Podemos relacionar su obra a la idea de “Presencia de abolición” en referencia a Souleymane Bachir Diagne “In the Den of the Alchemist”, donde la ciencia no es sobre la certeza, sino la precariedad de lo que consideramos el mundo exterior, fuera de nosotros, y por lo que la mecánica cuántica nos ha enseñado, las estructuras mentales y las categorías por las que entendemos el mundo, el mensaje probablemente sea: “En el laboratorio, la ciencia transmuta en poesía” y es ahí donde la obra de Trinidad se refleja en esta contra-super-exposición ante el mundo exterior.

Entrevista Desgrabación:

C: Lo que estoy viendo es una imagen que tiene una construcción pero si uno se las imagina y las piensa, luego no las vuelvo a recuperar, es como si fuera un “flash” de imaginación, la sensación de reconstruir un sueño, hay una mística. También me gustaría sumar la pregunta: ¿Qué fue te pasó cuando expusiste desde el principio, se puede comprender desde tu obra si la conocés pero si no, más allá de las expos, de los premios, como es vivir eso desde cero, como fue ese recorrido, desde que pintas… al presente.

T: Creo que empecé a estar más visiblemente activa en el mundo del arte en el 2018. Tuve la oportunidad de tener mi primera muestra individual en el 2019. Esta es mi tercera muestra individual. Creo que esta buenísimo, mandar a premios, todo lo que conlleva eso.. aprender a quedar y no quedar. Exponer, conocer personas que admiras, trabajar con ellxs.

C: ¿Pensás que en el 2020, o antes, en el boom tecnológico, todos tuvimos que adaptar a depender de la tecnología, pensabas que tu obra ya tenía estos rasgos de videojuego y tecnología desde antes?

T: Yo creo que hay algo de sci-fi… entre utópicos, post-humanos y apocalípticos. A través del modelado y la impresión 3D encontré la forma de canalizar este tipo de imaginarios y se fusiona a la vez con otras técnicas, la impresión 3D. En el mural que es bastante netamente digital en su creación y las otras piezas que tienen trabajo manual, confluyen muchas influencias, universos y metodologías de trabajo.

C: Me contaste que tomaste la comunión.

T: Yo creo que hay algo de referencia bíblica, pero no directamente bíblica, un poco atraviesa la obra que está en la trastienda. En esta, es referente al candelabro, la fé, la peregrinación de la iglesia. Directa o indirectamente puedo ver esta referencia de la historia del arte, también: “Se puede parar el ave fénix ahí arriba y cambia todo”.

C:Desde que empezaste el modelado 3D, empeaste a usar mucho más tu cuerpo, y debes haber reflexionado desde la corporeidad de la obra, se me ocurre, tu forma de percibirte y volcar tu individualidad a eso. ¿Qué se te ocurre de ese pasaje de la pintura a lo 3D, lo viviste en relación a ese contacto y cómo fue?

T: Es una carnalidad, las formas y las corporeidades siempre me interesaron en el trabajo previo y en esto también. Identidades más fluidas e híbridas, quiméricas, romper con conceptos binarios y cuestiones normativas del cuerpo y demás. Corporalidades distintas y no convencionales. La monstruosidad es una vía para explorar eso también.

C: ¿Viste el corto monstruo dios? Es de Agustina San Martin. Te debería mostrar, porque me encanta esta idea de la monstruosidad que genera este dios aparte, ¿Dónde vamos, que generamos? Y esta buenísimo.

T: Yo creo que surgen potenciales deidades, potenciales corporalidades, es todo potencialidad. Imaginar un futuro distinto, vinculaciones distintas, crear nuevas realidades que sean un reflejo de experiencias subjetivas y colectivas.

C: Veo esta idea planteada en el texto, porque lo leí, pero si soy una persona que visita la muestra, no es lo primero que pienso, si está lo de la naturaleza, lo humano y la monstruosidad, pero después pienso, en lo propio y lo ajeno que está entre la subjetividad y lo colectivo, y lo individual y el entendimiento comunitario de una verdad…

T: No sé si en ese sentido sería el entendimiento comunitario de una verdad, porque siento que las verdades son un montón y son super particulares y hay tantas verdades como puntos de vista. Pero si en el tipo de imágenes, situaciones que son muy sensibles o vinculares, por ejemplo el “Beso de las babosas”, que en realidad sale de una referencia biológica, que son las Babosas Leopardo, que a mi me encantan, y tienen genitales externos, lenguas, etc. Fue un punto de partida visual y la mutación de estas criaturas, el recurso de humanizar ciertas formas de vida, lo hace más empatizable en algún punto.

Es un momento íntimo y sensible, y táctil entre dos criaturas y después tienes un montón de situaciones que son más como el mural que engloba otras.

C: Lo de las babosas lo veo como parte de un contacto en un ciclo en el que es inevitable, ese contacto. Lo demás en tu obra, lo entiendo como una construcción, no como ese contacto íntimo que no se puede controlar, porque es parte de existir, sino una forma de observar todo lo que ocurre aunque no controlás nada.

T: Sí, hay momentos en los que se afectan y no se afectan, se pisan y son no conscientes de lo que está sucediendo ahí, y esta esta idea de que el humano es este ser en sí mismo y funciona alejado de los demás, pero se entiende cada vez más en todos los campos: Ciencia, biología, ecologia y es que está todo muy interconectado y todos son desencadenantes ligados y en cadena. Que si a una especie atraviesa un desbalance, consecuentemente afecta a otra que a su vez repercute en otras…y así.

El sobrevivir es colectivo en este planeta, es intraespecie, el modo y la estrategia es en forma de red y vincular, y no como individuos, está la idea del humanismo y modernismo, el hombre como punta de la piramide, ser evolucionado y en realidad no, hay muchas inteligencias, las plantas las tienen, es un poco canalizar estos otros universos y condensarlos.

Y en cuanto a la construcción, a veces uno recurre a uno mismo para atrás (con ideas o escritos pasados) y dialoga con eso, asi como con el curador. Con Sofi Dourron fue una idea de desarrollar la muestra, las piezas, esa construcción fue muy trabajada y pensada. Fue expandir el diálogo, dejar entrar otras voces, que te hagan preguntas, y tomar eso.

C: Yo estoy agarrando lo ya hecho.

T: El texto de sofi es fantastico, me sacó chispeando. Es interesante y rico cuando se integran otras voces, como la pista que hizo Lila para la muestra, que condensa este universo de los sonidos de la naturaleza, agua, critters. Criaturas revolucionadas, distintos planos de expansión y de generación de universo. El mito de origen, las fábulas, estas estructuras narrativas que dan sentido a distintas realidades y maneras de percibir el mundo.

Después del fin del mundo

Está ese fin del mundo alimentado por las teorías no future del capitalismo extractivo contemporáneo, la especulación apocalíptico-financiera y los agentes del colapso. Ese que ante la crisis climática y social, las guerras físicas y culturales y las economías neocoloniales que estrujan y desplazan cuerpos humanxs y no humanxs, nos sugieren que agonicemos en la parálisis de un presentismo eterno. Ese fin del mundo que a fuerza de pensamiento moderno-occidental empuja a multitudes a replegarse sobre sí mismas, refugiándose en el universo del sujeto autodeterminado e individualista que se afirma a sí mismo contra cualquier voluntad social que represente una diferencia.

Allí, la agencia solo es posible gracias a la separación del individuo respecto de sus entornos naturales y construidos. Pero, en un futuro incierto y sin datar, existe también un fin del mundo otro, un paisaje todavía en llamas, donde la vida, a pesar de todo, continúa. Ahí se encuentra Ferales, un territorio fugitivo construido de yuxtaposiciones fantásticas entre el pasado y el presente, lo cercano y lo lejano, lo grande y lo pequeño, el peligro y la distopía, que emerge del potencial de aquello que subsiste/resiste: una planta, una babosa, una semilla, una topadora. De estos encuentros materiales brotan nuevos cuerpos y una poética de transición para un mundo azotado por el clima, una especie de umbral donde confluyen catástrofe y libertad para avivar la imaginación ecológica y política. Sumergida en esta ficción climática, Trinidad explora los mundos ecológicos que emergen cuando entidades no humanas se enmarañan con proyectos de infraestructura humana y el sujeto occidental-kantiano deviene sujetx multirelacional desdibujando la diferencia, haciendo de ella una interacción porosa y babeante entre el adentro y el afuera.

Mundos en los que los organismos se reproducen de manera constitutiva. Sus escenas de cópula, muerte y maternidad más-que-humana insinúan un recurso para la esperanza enraizada en una posible evolución humana que se dirige hacia un cuerpo y unas subjetividades posthumanas. Ferales engendra así unas vidas desenfrenadas, que en su multiplicidad y monstruosidad no pueden ser fácilmente reducidas, divididas o conquistadas.

En ese territorio cenagoso de producción y reproducción se dibuja finalmente la figura de una agencia posthumana (o la más humana de todas) que emerge del cultivo de formas vitales de reconocimiento y respuesta a los urgentes desafíos del presente. Una agencia que desborda la realización de algún yo esencialista, para dar lugar a unas subjetividades tentaculares y a unos devenires metamórficos.

x Sofía Dourron

arteba 2023, la feria de arte más importante de Latinoamérica en el contexto de la semana del arte en Buenos Aires

03/09/2023 por Hoornik Art

arteba 2023

La Feria de Arte Contemporáneo más importante de Latino América en el contexto de la semana del arte en Buenos Aires

En Buenos Aires, en este clima caldeado del 2023 previo a las elecciones presidenciales, y ante una inminente crisis, arteba presenta su edición número 32 de la feria en Costa Salguero, Buenos Aires del 1 al 3 de Septiembre. Se reunieron más de 58 galerías y proyectos artísticos de la región. Larisa Andreani, Presidenta de la Fundación, invocó a los visitantes a vivir su experiencia, y resaltó la tendencia generada durante la pandemia, en la que inevitablemente comenzamos a vivir más nuestros espacios comunes, pensar en nuestra vivencia dentro de las rutinas simples, la llamada del arte a lo cotidiano.

Ante este contexto de incertidumbre, nos sorprende la repercusión de ventas en la feria, antes de abrir, rompió records, hubieron galerías que lograron vender todas sus obras en el día anterior a la apertura, dedicado a los invitados especiales, las galerías de artistas jóvenes no se quedaron atrás, y la escena de la feria dió lugar a muchas más ferias de venta de obras alrededor de la misma, eventos de arte, subastas, etc. comparado con años anteriores. La tendencia en el contexto de la semana del arte a nivel global es el mismo, y Buenos Aires no se queda afuera, esta vez, hubieron 3 ferias circundantes a la edición tradicional y protagonista, de la feria de arte más importante de Latinoamérica, entre ellas: Affair, La Bienal de Arte Contemporáneo Sur, BADA y BAphoto. Diferentes propuestas que logran unir a la ciudad bajo un mismo motivo, la celebración de la creatividad y el arte.

La feria contó de una sección principal, de galerías establecidas con trayectoria, en representación de artistas que lideran el mercado del arte en nuestro país, y sectores circundantes como “Utopía”, representada por artistas emergentes y vanguardistas. Hubo también programación artística y arte digital encabezado por los artistas y colectivos de NFTS más precursores de nuestro país, con amplio reconocimiento a nivel virtual/global o espacios de arte digital como el de Artlab.

Los premios de esta edición reconocieron en primer lugar a Eduardo Constantini, fundador y presidente del MALBA (Museo de Arte Latinoaméricano de Buenos Aires) como coleccionista comprometido, quien cuenta emocionado en alguna nota de Infobae, como adquirió sus primeras dos obras de arte de Leopoldo Presas y Luis Barragán, en cuotas, luego de sorprenderse ante una obra de Berni, y no tener el presupuesto necesario para adquirirla, para él, así comenzó su recorrido, de manera “espontánea” ya que nadie en su familia coleccionaba arte en ese entonces.

Hoy en día las ferias de arte contemporáneo a nivel internacional, premian a quienes coleccionan en distintas escalas, en este caso Eduardo, se llevó el premio galardón. Cada una de las ferias tiene a sus coleccionistas estrella de trayectoria que representan las colecciones más importantes, mientras que por otro lado se entregan los premios de adquisición ó reconocimiento a las entidades u organizaciones que adquieren obra para sus colecciones público/privadas, es el caso de Macro Rosario, El museo de arte contemporáneo de Salta, el MALI de Lima, el MACBA, MALBA, Museo Municipal “Basilio Donato” de Sunchales, Lugdwig Museum, y otras entidades que se llevaron obras de artistas emblemáticos como Romulo Macciò, Marta Minujín, Gyula Kosice, fotografías de la galería Vasari por Annemarie Heinrich, y el Premio Obra, que busca destacar la creatividad vanguardista de los artistas emergentes, espacio creado por Juan Cambiaso. Este premio aporta económicamente al artista elegido y no adquiere la obra en si para ninguna colección particular. También hubieron 6 proyectos dentro de esta sección que fueron seleccionados para Beca MICA Utopia, un programa inaugurado por la Fundación arteba y el Ministerio de Cultura de la Nación a través del MICA (Mercado de Industrias Culturales Argentinas).

Chaile

05/06/202322/05/2023 por Hoornik Art

Gabriel Chaile. Ingeniería de la necesidad

Por Victoria Verlichak

Gabriel Chaile (Tucumán, 1985) es un escultor que tiene algo de antropólogo y arqueólogo. Desarrolla una sentida obra que incluso refleja su identidad; posee ascendencia afro-árabe, española e indígena de la comunidad La Candelaria. Sus grandes y notables piezas condensan saberes ancestrales y preocupaciones sociales. Con rasgos antropomorfos o biomórficos, mayormente, se inspiran en artefactos de diferentes antiguas culturas prehispánicas y de su propia historia; traen al presente ciertas expresiones visuales de los pueblos que se desarrollaron en el Noroeste argentino. Las piezas, como los hornos de barro, suelen conjugar lo simbólico con lo utilitario. En este sentido, éstos recuerdan a la obra Construcción de un horno popular para hacer pan que Víctor Grippo, con Jorge Gamarra y un artesano llamado Rossi, realizó en 1972 en la Plaza Roberto Arlt para la muestra Arte e Ideología, CAYC. Tiempos de dictadura militar (1966-1973), la exhibición duró un solo día y el horno fue destruido entonces por la censura. ¿Por qué invitaba juntarse y compartir “el ritual comunitario de la alimentación”?Precisamente, un horno funcional de Chaile acaba de ser vendido por la galería berlinesa CherLüdde por 60 mil euros, a un coleccionista europeo en la feria ARCO Madrid. Pero no es la única escultura del artista que se halla en la vieja Europa. Es que el artista no solo vive entre Lisboa y Buenos Aires sino que es uno de los impulsores -junto a otros artistas- del proyecto colectivo NVS, “plataforma estratégica” y galería europea, que representa a artistas latinoamericanos en la capital portuguesa y que tiene a Chaile como director artístico. Multipremiado, Chaile estudió artes plásticas en la Universidad Nacional de Tucumán. Fue invitado a varias residencias y programas de artistas como el de la Universidad Torcuato Di Tella. Tuvo su primera exposición individual en 2008. Además de las esculturas, que son exhibidas en museos y bienales de aquí y del exterior, su trabajo suma foto performance, dibujo, pintura y performances. Piensa su proceso de creación, principalmente a partir de dos conceptos: la “ingeniería de la necesidad -lo que tengo y lo que me falta”-, consistente en “desde el arte, crear objetos y estructuras que colaboren en mejorar las condiciones de una situación límite determinada, y la genealogía de la forma, que implica asumir que cada objeto, en su repetición histórica, trae consigo una historia que contar”, que muchas veces es la del propio artista.

Obras monumentales

En los últimos años su nombre aparece una y otra vez en la prensa, no menos porque muchas de sus espléndidas y penetrantes piezas son instaladas en el espacio público o en concurridas bienales. Convocado por la curadora italiana Cecilia Alemani, para la realización de un proyecto en la edición de Art Basel Cities en Buenos Aires, 2018, presentó la escultura Diego (Retrato de Diego Núñez), que recordaba a una joven víctima de la violencia policial. La estructura de metal, ladrillo, adobe y huevos, de casi 3 metros de alto, llamó la atención cuando fue erigida junto al Riachuelo, cerca del Puente Transbordador Nicolás Avellaneda, porque era un horno similar al que utilizaban sus padres para fabricar pan; el artista y los familiares de la víctima cocinaron pan, empanadas, pizza. La pieza pertenece ahora a un comedor popular de La Boca cercano al antiguo taller del artista.

En 2019 fue invitado por la curadora Zoe Lukov a instalar The last supper (La última cena), seis piezas con citas al arte precolombino en el Faena Festival (Miami Beach). Las esculturas -algunos hornos de barro funcionales- fueron desplegadas en los jardines del Hotel Faena en paralelo a la feria Art Basel, donde su obra fue mostrada por la galería Barro. Impagable vidriera internacional: el artista mismo cocinó los panes, que fueron repartidos entre un glamoroso público que deambulaba por el hotel. Uno de los concurrentes que vio su obra entonces fue el desarrollador inmobiliario y coleccionista Jorge Pérez, gran donante del Pérez Art Museum, PAMM, de Miami y creador del Espacio Twenty Three, que alberga su colección privada y que incluye obras de Chaile. Meses antes de esa acción en el estado de Florida, Chaile desplegó en galería Barro de La Boca la muestra Genealogía de la forma, una “proto panadería” con obras que -nuevamente- combinaban huellas del pasado con las características y complejidades del arte contemporáneo, siempre abierto a múltiples interpretaciones. ¿Evoca solamente a sus antepasados, visibiliza la contribución de los pueblos originarios en la construcción del país, denuncia las condiciones precarias en la que ahora que viven muchas comunidades indígenas? ¿Cuándo enciende el horno y reparte pan, recuerda a sus padres, ofrece abrigo o también señala el hambre que muchos padecen?Artefactos y hornos a manera de “retratos” -como el de su madre y hermanas, Irene, Patricia, Sonia, realizados en 2016, 2017, 2018, respectivamente- incluso comenzaron a trazar una genealogía familiar. La gran escultura Mamá Luchona -homenaje a las madres, también a la propia- es la primera obra de Chaile instalada de forma permanente en el espacio público de la Argentina. Presentada en la última Trienal del New Museum de Nueva York en 2022, fue adquirida entonces por el empresario, pianista y coleccionista Andrés Buhar, para el frente del edificio de Fundación ArtHaus, que creó y dirige. Ahora esta imponente estructura de hierro y adobe de más de cuatro metros de alto recibe y mira a los transeúntes de Bartolomé Mitre 434, en el microcentro porteño. “Mamá Luchona es la madre de todas las esculturas que he hecho”, dijo el artista en la presentación de la pieza. “Me emociona que tantas personas que pasan por el microcentro porteño puedan acercarse a mi obra”.

También en 2022 Chaile fue invitado por la citada Alemani a la 59ª Exposición Internacional de Arte de la Bienal de Venecia Su lema fue The Milk of Dreams (La leche de los sueños), inspirado en el libro Leche del sueño de la artista surrealista británica-mexicana Leonora Carrington (1917-2011). Chaile fue el único argentino entre los 213 artistas participantes de la muestra central, desplegada en los Giardini di Castello y en el Arsenale (grandes galpones navales y jardines adyacentes). Allí mostró cinco esculturas monumentales, que adquirió para su colección personal el empresario Eduardo Costantini, fundador y presidente honorario del Museo de Arte Latinoamericano de Buenos Aires (Malba).

Bs.As. Argentina

[email protected]

La Biennale di Venezia

14/05/202304/05/2023 por Hoornik Art

Go Inside The 58th Venice Biennale DuJour

La Biennale di Venezia

La Biennale di Venezia18th . International Architecture Exhibition. The Laboratory of the Future

Venice, 21 February 2023 – The 18^th International Architecture Exhibition, titled The Laboratory of the Future, will be open to the public from Saturday May 20 to Sunday November 26, 2023 at the Giardini and the Arsenale, and at Forte Marghera; it will be curated by Lesley Lokko and organised by La Biennale di Venezia. The pre-opening will take place on May 18 and 19, the awards ceremony and inauguration will be held on Saturday 20 May 2023.

LA BIENNALE DI VENEZIA’S COMMITMENT TO CLIMATE ACTION

La Biennale di Venezia is working concretely towards the crucial goal of fighting climate change, by promoting a more sustainable model for the design, installation and operation of all its events. In 2022 La Biennale obtained this certification for all the events it held that year. This was made possible by carefully collecting the data on the causes of CO2 emissions generated by the events themselves, and on the adoption of consequent measures. The entire process for achieving carbon neutrality, conducted in compliance with the international standard PAS2060, was certified by RINA. For all the events, the most important component of the overall carbon footprint involves the mobility of the visitors. In this sense, La Biennale will engage again in 2023 in a communication campaign to raise the awareness of the participating public, starting with the 18^th International Architecture Exhibition, which will be the first major exhibition in this discipline to test in the field the process to achieve carbon neutrality, while furthermore reflecting upon the themes of decolonisation and decarbonisation. – (Press release attached)

THE INTERNATIONAL EXHIBITION AS AGENT OF CHANGE

“What does it mean to be ‘an agent of change’? (…) Over the past nine months, in hundreds of conversations, text messages, Zoom calls and meetings – stated Lesley Lokko – the question of whether exhibitions of this scale — both in terms of carbon and cost — are justified, has surfaced time and again. In May last year, I referred to the exhibition several times as ‘a story’, a narrative unfolding in space. Today, my understanding has changed. An architecture exhibition is both a moment and a process. It borrows its structure and format from art exhibitions, but it differs from art in critical ways which often go unnoticed. Aside from the desire to tell a story, questions of production, resources and representation are central to the way an architecture exhibition comes into the world, yet are rarely acknowledged or discussed. From the outset, it was clear that the essential gesture of The Laboratory of the Future would be ‘change’.” “(…) For the first time ever, the spotlight has fallen on Africa and the African Diaspora, that fluid and enmeshed culture of people of African descent that now straddles the globe. What do we wish to say? How will what we say change anything? And, perhaps most importantly of all, how will what we say interact with and infuse what ‘others’ say, so that the exhibition is not a single story, but multiple stories that reflect the vexing, gorgeous kaleidoscope of ideas, contexts, aspirations, and meanings that is every voice responding to the issues of its time?”

“It is often said that culture is the sum total of the stories we tell ourselves, about ourselves. Whilst it is true, what is missing in the statement is any acknowledgement of who the ‘we’ in question is. In architecture particularly, the dominant voice has historically been a singular, exclusive voice, whose reach and power ignores huge swathes of humanity — financially, creatively, conceptually — as though we have been listening and speaking in one tongue only. The ‘story’ of architecture is therefore incomplete. Not wrong, but incomplete. It is in this context particularly that exhibitions matter.” – (Lesley Lokko Statement attached)

EXHIBITION STRUCTURE

“The Laboratory of the Future is an exhibition in six parts. It includes 89 participants, over half of whom are from Africa or the African Diaspora. The gender balance is 50/50, and the average age of all participants is 43, dropping to 37 in the Curator’s Special Projects, where the youngest is 24. 46% of participants count education as a form of practice, and, for the first time ever, nearly half of participants are from sole or individual practices of five people or less. Across all the parts of The Laboratory of the Future, over 70% of exhibits are by practices run by an individual or a very small team. (…)” “Central to all the projects is the primacy and potency of one tool: the imagination – Lokko said. It is impossible to build a better world if one cannot first imagine it. The Laboratory of the Future begins in the Central Pavilion in the Giardini, where 16 practices who represent a distilled force majeure of African and Diasporic architectural production have been gathered. It moves to the Arsenale complex, where participants in the Dangerous Liaisons section – also represented in Forte Marghera in Mestre – rub shoulders with the Curator’s Special Projects, for the first time a category that is as large as the others. Threaded through and amongst the works in both venues are young African and Diasporan practitioners, our Guests from the Future, whose work engages directly with the twin themes of this exhibition, decolonisation and decarbonisation, providing a snapshot, a glimpse of future practices and ways of seeing and being in the world. (…) We have deliberately chosen to frame participants as ‘practitioners’ – the Curator stated – and not ‘architects’ and/or ‘urbanists’, ‘designers’, ‘landscape architects’, ‘engineers’ or ‘academics’ because it is our contention that the rich, complex conditions of both Africa and a rapidly hybridising world call for a different and broader understanding of the term ‘architect’. – (Lesley Lokko Statement attached)

PRESIDENT’S STATEMENT ON THE EXHIBITION AND THE COLLEGE ARCHITETTURA

“A laboratory of the future must necessarily begin from a specific starting point, from one or more hypotheses seeking confirmation – Roberto Cicutto, President of La Biennale di Venezia, stated. Lokko starts with her continent of origin, Africa, to talk about its historical, economic, climate and political criticalities and to let us all know «that much of what is happening to the rest of the world has already happened to us. Let’s work together to understand where we have gone wrong so far and how we must face the future». This is a starting point that seeks to heed those segments of humanity that have been left out of the debate and opens to a multiplicity of voices that have been silenced for so long by the one that considered itself to be rightfully dominant in a vital and unavoidable contest.” “I believe that this is La Biennale di Venezia’s true task as an institution, and not only for Architecture. We must start here to seize the opportunity that will allow us to raise the bar in the way we approach all the other disciplines as well.” – (Roberto Cicutto Statement attached) “For the first time ever, Biennale Architettura will include the Biennale College Architettura, which will run from 25 June to 22 July 2023. Fifteen renowned international tutors – Samia Henni, Marina Otero, Nana Biamah-Ofosu, Thireshen Govender, Lorenzo Romito, Jacopo Galli, Philippa Tumubweinee, Ngillan Gbadebo Faal, Rahesh Ram, Guillermo Fernández-Abascal, Urtzi Grau, Samir Pandya, Alice Clancy, Sarah de Villiers and Manijeh Verghese – will work with fifty students, early career practitioners and academics from around the world, selected by Lesley Lokko through an Open Call process over the four weeks of the teaching programme. At the conclusion of the Call on February 17^th, 986 applications had been received. A documentary of the educational experience will be filmed by Ángel Borrego Cubero and released in October this year. An international cast of critics will join the College in July.” – (Biennale College Architettura press release attached)

CARNIVAL

The Laboratory of the Future programme is enriched by Carnival, a six-month-long cycle of events, lectures, panel discussions, films, and performances, that explore the themes of the Biennale Architettura 2023. “Conceived as a space of liberation rather than a spectacle or entertainment, Carnival offers a space for communication in which words, views, perspectives, and opinions are traded, heard, analysed, and remembered – Lokko said. Politicians, policymakers, poets, filmmakers, documentary makers, writers, activists, community organisers and public intellectuals will share the stage with architects, academics, and students. This public event programme is increasingly a form of architectural practice that attempts to bridge the gulf between architects and the public.” Carnival is supported by Rolex, Exclusive Partner and Official Timepiece of the Exhibition.

NATIONAL PARTICIPATIONS

64 National Participations will organize their exhibitions in the historic Pavilions at the Giardini (27), at the Arsenale (22) and in the city centre of Venice (14). Niger participates for the first time at the Biennale Architettura; Panama participates for the first time with its own pavilion and has already participated in previous editions as part of the I.I.L.A. (Italo-Latin American International Organization).The Holy See returns to the Biennale Architettura, participating with its own Pavilion on the Island of San Giorgio Maggiore (it participated in the Biennale Architettura for the first time in 2018). The Italian Pavilion at the Tese delle Vergini in the Arsenale, sponsored and promoted by the Directorate-General for Contemporary Creativity of the Ministry of Culture, is curated by the Fosbury Architecture collective, consisting of Giacomo Ardesio, Alessandro Bonizzoni, Nicola Campri, Veronica Caprino, Claudia Mainardi. The title of the exhibition is SPAZIALE: Everyone Belongs to Everyone Else.

VENICE PAVILION

The exhibition of the Venice Pavilion, located in the Giardini di Sant’Elena, is organized by the Municipality of Venice. Details of the project will be announced soon.

COLLATERAL EVENTS

The Collateral Events, which are admitted by the Curator and promoted by non–profit national and international bodies and institutions, will be announced in the coming weeks. Organized in several locations around the city of Venice, they offer a wide range of contributions and participations that enrich the diversity of voices that characterizes the Exhibition.

APPLIED ARTS PAVILION

La Biennale di Venezia and the Victoria and Albert Museum, London present for the seventh consecutive year the Applied Arts Pavilion Special Project (Arsenale, Sale d’Armi A) titled Tropical Modernism: Architecture and Power in West Africa, curated by Christopher Turner (V&A) with Nana Biamah-Ofosu and Bushra Mohamed (AA). The presentation is organised in collaboration with the Architectural Association (AA), London and the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. – (Press release attached)

BIENNALE SESSIONS, THE PROJECT FOR UNIVERSITIES

La Biennale dedicates the Biennale Sessions project to Universities, Academies of Fine Arts, and other Institutes of Higher Learning. The aim is to facilitate three-day self-organized visits by groups of at least 50 students and teachers, offering assistance in the organization of travel and accommodations and the possibility of organizing seminars in exhibition venues free of charge. – (Document attached)

EDUCATIONAL

For the past decade, La Biennale di Venezia has been devoting increased attention to learning activities and has developed a growing commitment to educational initiatives addressed to the audience of its Exhibitions, to universities, young people, and children, from schools at all levels. In the past two years, Biennale Architettura 2021 and Biennale Arte 2022 counted 111,164 participants in Education activities, of which 52,392 were young people. A broad Educational programme will be offered in 2023 as well, addressed to individuals and groups of students, children, adults, families, professionals, companies, and universities. All these initiatives aim to actively involve participants. They are conducted by professional operators, carefully trained by La Biennale, and they fall under the following categories: Guided Itineraries and Workshop Activities and Interactive Initiatives. – (Document attached)

EDITORIAL PROJECT AND GRAPHIC IDENTITY

The official catalogue, titled The Laboratory of the Future, consists of two volumes.

Volume I is divided into different sections dedicated to the events of Carnival and to the Curator’s Special Projects. Two sections are dedicated to the International Exhibition curated by Lesley Lokko, respectively titled Force Majeure and Dangerous Liaisons. Each project on display in the Exhibition is accompanied by a critical text and a rich iconography that completes the Participants’ work. A further section is dedicated to the first edition of the Biennale College Architettura. Embedded throughout are a series of essays developing the themes of the Exhibition and a detailed record of the works on display.

Volume II presents the National Participations and the Collateral Events. It includes a series of illustrated texts that delve deeper into the projects on exhibit in the Pavilions and the Collateral Events at the Giardini, at the Arsenale and in various locations across Venice. The graphic identity of the Biennale Architettura 2023 and the design of the publications are the work of Die Ateljee – Fred Swart. The volumes are published by Edizioni La Biennale di Venezia. – (Document attached)

PARTNERS AND SPONSORS

Biennale Architettura 2023 has been made possible by the support of Rolex, Partner and Official Timepiece of the event. We would like to thank the Sponsors of Biennale Architettura 2023:

Bloomberg Philanthropies with Bloomberg Connects and Vela-Venezia Unica.

We would also like to thank Cleary Gottlieb Steen & Hamilton LLP.

ACKNOWLEDGEMENTS

We would like to thank the Ministry of Culture, the local institutions that support La Biennale in various ways, the City of Venice, the Veneto Region, the Soprintendenza Archeologia, Belle Arti e Paesaggio per il Comune di Venezia e Laguna, and the Italian Navy. We thank the important international Donors, organisations and institutions who have contributed to the success of the Biennale Arte 2023. Our warmest thanks go to Lesley Lokko and her entire team. Finally, we would also like thank everyone at La Biennale for the great professionalism and dedication they have demonstrated in the realisation and administration of the Exhibition.

The official website of the Biennale Architettura 2023: www.labiennale.org

Official hashtags: #BiennaleArchitettura2023 #TheLaboratoryOfTheFuture

Facebook: La Biennale di Venezia

Twitter: la_Biennale

Instagram: labiennale

Youtube: BiennaleChannel

IMAGES of the 18^th International Architecture Exhibition may be downloaded at the following link:

https://cloud.labiennale.org/url/biennale2023

Password: biennale2023

Bs.As. Argentina

[email protected]

W – Galería

04/05/202328/04/2023 por Hoornik Art

W galería

Incorporación de Federico Curutchet como Co-Director de la galería W (Buenos Aires, ARG) / walden naturae (Pueblo Garzón, URU).

Estamos muy contentos de anunciar la incorporación de Federico Curutchet como co-director de la galería W (Buenos Aires, ARG) / walden naturae (Pueblo Garzón, URU). Con más de diez años de carrera trabajando en el mundo del arte contemporáneo Federico ha sabido distinguirse en sus trabajos curatoriales, escriturales y galerísticos acompañando la carrera de artistas de diferentes generaciones y colaborando con sus crecimientos profesionales tanto a nivel local como a nivel internacional. Estamos felices de darle la bienvenida a nuestro equipo y convencidos que su incorporación nos permitirá seguir creciendo como galería.

Federico se formó en Peritaje y Valuación de Obras de Arte (UMSA), Lic. en Filosofía (UBA) y Crítica de Artes (UNA). Durante los últimos diez años desarrolló su carrera profesional en el sistema del arte contemporáneo latinoamericano a nivel global. Trabajó como Coordinador General de la galería Aldo de Sousa (2013-2015) y de la galería Rolf (2015-2017) y dirigió la galería Barro (2017-2021) en la Ciudad de Buenos Aires. Realizó trabajos curatoriales en diferentes instituciones públicas y privadas, reseñas críticas para medios, producción de exposiciones y propuestas feriales locales e internacionales y asesorías para distintos clientes y colecciones de arte contemporáneo.

Bs.As. Argentina

[email protected]

COLECCIÓN SOLO “Protection no longer asssured”

27/10/202324/04/2023 por Hoornik Art

COLECCIÓN SOLO “Protection no longer asssured”

La integración sutil de la creación contemporánea hiperrealista y atómica, se definen teñidos por un monstruoso romanticismo

Esta exposición combina obras de inteligencia artificial, pinturas, esculturas de diversos materiales, e instalaciones que reflexionan sobre la inmensidad: Los movimientos opuestos del terror al romanticismo, engloban la incertidumbre que abarcamos en la contemporaneidad. Las obras dialogan entre distintas cuestiones que representan nuestra aproximación a la realidad, desde el deterioro y la ansiedad, el estado de la hipperrealidad atómica, la virtualidad, y la propuesta placentera del romanticismo. La conexión del mundo a través de la destrucción y el nuevo poder de creación hoy manipulado por la tecnología.

Heshka Ryan es quien con su obra “Protection no longer assured” engloba la nueva exposición de Colección Solo. Autor de “Chicas Malas” comic de 2015, admirador de las mujeres, quienes para él, buscan constantemente cambiar las cosas que siguen sin funcionar en la actualidad. El artista presentó sus ilustraciones en varias revistas, como Vanity Fair, Playboy o en el New York Times.

Repetidas veces redefinimos “sublime” ó “sútil” en un estado de posmodernidad absoluto, vanguardista con aires retro, sigue el movimiento de cine asiático “kaiju” que denomina “bestia”, o “moustruo”. Su origen fue dado con la película de animación “Gozilla”, estas criaturas atacan o protegen al mundo o la humanidad en el género “tokusatsu”.

Esta combinación también vista en la obra de Heshka Ryan con super héroes retro, y hongos explosivos, bombas nucleares realizados con inteligencia artificial, completan la colección y me llevan a pensar en el concepto del posmodernismo “cíclos híbridos” de García Canclini, donde unimos nuevas concepciones para crear en este caso “el romanticismo del terror»: Una nueva realidad que nos lleva a obras figurativas de artistas como Erik White, fantasías de criaturas disociadas y abrumadas pero felices, sedadas en el estado de placer y explosión de dopamina de Grip Face, una enorme interpretación de la receptividad pintada en mujer, por Sandra Vasquez de la Horra, dónde la mujer expone sus centros energéticos de conectividad hacia la tierra y se ve desfigurada por lo que ocurre. Sigo el recorrido, y me encuentro con otro simbolismo receptivo, analógico, que completa la transición de una sala a la otra. Antes de entrar a sumergime en las obras de Paco Pommet, la obra espejo por Ampparito: “Objeto luminoso que se hace sombra con su propia luz”, otro simbolismo de integración, que responde a si mismo, sin parámetros complejos, sobre la dualidad luz/oscuridad.

Esta colección es sublime en cuanto a su aspecto terrorífico y armónico de integración de los opuestos, vivencia que se ve reflejada en la representación atómica de la guerra las bombas de Dagoberto Rodriguez, las cuales normalizan las armas de guerra frente a un mural urbano y simpático sin maldad, de Diaz Faes. Y anteriormente, en una sala con un dedo que gira sobre si mismo, transgrediendo tiempo y espacio obra de Mika Rottenberg Finger.
Se encuentra también el hombre-perro, hecho de plastilina y piedras de Agatha por David Altmejd, la obra más llamativa del espacio contiene la vivencia post apocalíptica en su espalda y extremidades, hace referencia a la condición sometida del hombre a existir en un mundo creado simbólicamente por la capacidad creadora de su espíritu. La escultura, se encuentra en el estado de despertar de una vida típica de oficina, con un cigarrillo en la mano, se diluye entre la anomalía animal-humana. Y enfrente, la ilusionada obra de la naturaleza despierta un paraíso en contraste, el oasis de ensueños por Jorge Rios “This was the first color” y “This was the first gloom” en referencia al origen del todo, un arcoiris al final de una cascada.

Por último, la obra de Studio Smack, “Black Friday” la cual hace referencia a las conductas masivas, ya sean de consumismo, o el simple “copy paste” de coacción que representa a las masas. Es una obra digital que muestra distintas criaturas, también moustruosas, en la lucha para llegar a la parte más alta de la torre humana que la compone. El algoritmo no permite sino de manera aleatoria, adivinar quien será la próxima en aplastar a todas las demás y alcanzar la cima.
Esta exposición en Colección Solo, es una espeluznante radiografía de la barbarie contemporánea, humanizada y modernizada en el romanticismo que atraviesa nuestra sociedad respecto a lo concebido como sublime en la actual revolución tecnológica.

Autor: Camila Tapia San Martin

Semana del arte en Madrid 2023, Feria Arco y UVNT

12/03/2023 por Hoornik Art

Semana del arte en Madrid

Feria Arco y UVNT- Urvanity Art Fair

Como siempre, llegar a la semana del arte es un desafío, entender todo lo que ocurre en sincrónico es en gran parte, ir de un lugar a otro, sin dejarse absorber, sino estar abierta a conectar con esas obras que naturalmente van con mi visión, artistas que reconozco y generan un diálogo diferente, atractivo, por algún motivo, en cada una de las ferias o recorridos en los que doy con sus obras.

Profundizo en lo que siento que tiene una escencia conectada con algo más, a veces es mi simple asociación con momentos y obras anteriores de artistas, los televisores usados, utilizados, nos muestran de forma analógica el paso del tiempo y su conectividad al presente. Una obra de arte contemporáneo es también, un valor simbólico que ciertos artistas comparten, en distintas escenas ó contextos, el tiempo que les representa el soporte en el que se apoyan para mostrarse.

Me resulta curioso, cuando las galerías que llaman mi atención son Alemanas, o de Europa del Norte, incluso más que las galerías que convocan artistas orientales, creo que me sorprendo cuando la curaduría de una galería como Nicolai Wallner de Dinamarca, apela a artistas con obras abstractas, lúgubres, esculturas en formato 3d en una gama de colores en cromática en constraste.
Este año en ARCO Madrid, las artistas mujeres no lograron vender más que en otros años. Se realizó un camino para abordar la temática feminista, desde una re lectura de la historia del arte, por ejemplo, Maria Acha-Kurscher, artista peruana, recibió un premio por su obra “La rabbia di Proserpina”, por su obra de distintos retratos bíblicos, de estilo renacentista y barroco, donde las mujeres son sorprendidas en actos violentos. Vendida por un precio de 1200 euros y 7000 total.
La Fundación ARCO celebró su 27ª edición en Madrid y ha ampliado los fondos de su Colección con nueve obras adquiridas en ARCOmadrid 2023. Durante los cinco días de feria, participaron 211 galerías de 36 países y más de 450 coleccionistas internacionales y 200 profesionales invitados, y alrededor de 95,000 visitantes. La Fundación ARCO ha entregado los Premios “A” al Coleccionismo, que reconocen a tres colecciones: Juan Vergez y Patricia Pearson de Vergez (Premio “A” a la Colección Privada Latinoamericana); collegium.art: Lorena Pérez-Jacome y Javier Lumbreras (Premio “A” a la Difusión e Investigación del Arte Contemporáneo desde el Coleccionismo), y Alejandro Lázaro y Alejandra González (Premio “A” a la Colección Joven Privada Nacional). La cena de la Fundación ARCO ha recaudado fondos para la adquisición de obras en ARCOmadrid 2023 para su colección. Además, el Museo Reina Sofía ha comprado 26 obras de 18 artistas procedentes de galerías participantes en la feria.

Arco adquirió obras de los siguientes artistas gracias a la recaudación de fondos por un total de 400 mil euros:

Las obras corresponden a Diego Bianchi (Galería Jocelyn wolff), Nilbar Güresà (Martín Janda), Eftihis Patsourakis (Galería Rodeo), Solange Pessoa (Galería Mendes Wood), Jenna Sutela (Galería Sociètè) y a Joan Prats (Galería Tadáskía). A éstas se suman una obra de Momu & No Es (Galería House Of Chappaz) y de Juan Silió (Galería Nora Aurrekoetxea), obtenidas por el Consejo Internacional de la Fundación ARCO. Además, gracias a la donación de Frèdèric Malle se incorpora a la Colección una obra de Laìs Amaral, de la galería HOA.

Muchas otras fundaciones como: Fundacion Aldo Rubino, Fundación Helga de Alvear, el museo Thyssen, la fundación Maria Jose Jove, la fundación Maria Masuveu Peterson, y Colección SOLO. Han adquirido obras de la feria para sus colecciones, incluido el ayuntamiento de Madrid.

Este año fuimos invitados a recorrer el stand ABC cultural, conocimos la obra del artista tinerfeño Cristóbal Tabáres. Su pieza consiste en una aglomeración de cisnes que ha ido recopilando a lo largo de su vida. Una montaña de pájaros de porcelana, de diferentes colores y tamaños que representan toda la cultura “kitsch” que él admira.

Una de las obras que resaltó fue “Capilla ardiente” de Eugenio Merino, en el stand de la galería ADN de Barcelona, quien “volvió a matar a Picasso”. Al acercarse a la obra podías sentir esta vibración de los visitantes en honor al artista, la contemplación masiva de la obra y el acontecimiento inminente de la “muerte” figurada presente, lo que resultó emblemático en la feria y su repercusión.

El recorrido por la Feria Arco, este año, tuvo una importante escena de artistas latinoamericanos. Las galerías argentinas que participaron fueron: Ruth Benzacar, Rolf art, Pasto Galería, Herlitzka & Co, y W galería.

En la feria UVNT ART, descubrí a Miju Lee, y sus esculturas graciosas, peludas y macizas de caricaturas sonrientes sin cara. La figuración abstracta y surrealista de Helena Toraño, galerías como Kells Art collection, La Bibi art gallery, Trinta, The artist pool, Ineditad, Pictorium Gallery, Galeria Victor Lopez.

Feria Otro Arte Uruguay

11/02/202318/01/2023 por Hoornik Art

Feria Otro Arte

Punta del Este, Uruguay

La feria Otro Arte surge de la ausencia de un espacio de venta abierto para artistas independientes, sin galería. Tenemos un objetivo, creemos que es importante, dentro del circuito de la semana del arte en Punta del Este, proveer a los artistas de un espacio en el que se puedan representar a ellos mismos.
La iniciativa comenzó gracias a Ivan Martinez Autin, fundador de @lagalerilla, galería de arte itinerante, Micaela Gregores, gestora y productora cultural, Gustavo Perrier, artista y director de arquitectura promocional, encargado de la estructura y el montaje de la feria.
La grilla de artistas está integrada por María Valdés, Inés Gaggero, Florencia de Palleja, Pedro Peralta Duarte, Soledad Da Rosa, Gustavo Perrier, Daniel Supervielle, Maki Oaks, Natalia Namaka, Agustín Martínez, Manuelle Chelle Brandt, Michel Castillo, Camila Lacroze, Emiliana Rat, Pablo Aloy, Mor Vener.

@otroarte.uy