Lea Lublin

RECUPERACIÓN DE ARCHIVO

Ponemos a disposición un Fanzine de descarga libre y gratuita, que recopila los principales textos de Lea Lublin (Polonia, 1929 – Francia, 1999) compilados por el curador Marcelo Gutman. 

Lea Lublin como artista mujer pionera, que vive la mayor parte de su vida en Argentina y despliega una producción vanguardista, que desde 1965 se amplia hacia el campo de las acciones, las ambientaciones, los videos y las instalaciones, es una figura principal en la Bienal BIT, en la sección “Recuperación de archivo”, que intenta traer su voz al tiempo contemporáneo y poner en valor su producción, desde un enfoque multidisciplinario.

Lea Lublin

RECUPERACIÓN DE ARCHIVO

Ponemos a disposición un Fanzine de descarga libre y gratuita, que recopila los principales textos de Lea Lublin (Polonia, 1929 – Francia, 1999) compilados por el curador Marcelo Gutman. 

Lea Lublin como artista mujer pionera, que vive la mayor parte de su vida en Argentina y despliega una producción vanguardista, que desde 1965 se amplia hacia el campo de las acciones, las ambientaciones, los videos y las instalaciones, es una figura principal en la Bienal BIT, en la sección “Recuperación de archivo”, que intenta traer su voz al tiempo contemporáneo y poner en valor su producción, desde un enfoque multidisciplinario.

Roxana Herz

Título: #Amor89

(…) El arte pertenece al terreno de la fantasía y la fantasía no es otra cosa que arbitrio, permite combinaciones y variaciones que resultan imposibles en la realidad.

El arte nos libera de la dictadura de la realidad.

—Boris Groys.

En estos últimos años, mi trabajo artístico se ha enfocado especialmente en aspectos puntuales de mi historia personal. Así, he desarrollado mis obras a partir de algunas de esas experiencias —especialmente las que siento que fueron más reveladoras— y de los artistas a quienes considero referentes, tanto por su influencia en mi trayectoria profesional como por su profundo impacto en nuestra cultura.

En el contexto contemporáneo, donde muchos creen que la historia no tiene relevancia, me encuentro en un regreso continuo hacia aquellos aspectos que, desde mi punto de vista, muchas veces quedan ocultos. Así, desde los más diversos soportes en los que se puede expresar el arte, creo que el ambiente y la situación de trabajo impactan directamente en la forma en que construimos la relación entre la obra y el espectador.

Uno de los temas que emerge con más frecuencia tiene que ver con el vacío. De ahí que mis producciones adopten varias formas y modalidades, destinadas todas a atraer a las audiencias y, al mismo tiempo, orientadas a hacia un consumo activo; a propiciar una mirada que es, a la vez, de testigo y de coautor. Precisamente, es a través de esa interacción que se generan nuevos sentidos; ciclos nuevos e impredecibles de pensamientos y de asociaciones significantes. Una oportunidad experimental para desafiar las percepciones, las perspectivas y las suposiciones de cada individuo.

Así, mi proyecto #Amor89 es una historia de capas múltiples, orientada a interpelarnos acerca del amor. En sí, la idea original nace en forma lúdica, al quitarle a un texto de amor las letras que forman el vocablo “amor”. Una danza cadenciosa de palabras cuyos significados quedan ocultos al espectador; ése es el disparador para captar la atención del mismo y, de ese modo, proponer el comienzo a un viaje por los distintos lenguajes que dialogan en la pieza artística. Amor, deseo, pasión, ilusión, sufrimiento, placer, goce, desilusión; todos están implícitos en la obra a través de un diálogo entre occidente y oriente. La lógica binaria versus el I Ching. Y finalmente, se presenta a la fragmentación de los hexagramas como una pregunta, o como una forma de simbolizar el quiebre que nos lleva hacia aquel vacío: ¿qué nos queda cuando desaparece el amor?

Roxana Herz.

 

Paisajes (Campos de polietileno) [Alejandro López]

 

FICHA TÉCNICA

Title: Landscapes (Polyethylene fields)

Autor: Alejandro López

Técnica: Fotografía intervenida

Dimensiones: Tríptico de 50 x 70 cm cada parte.

Año: 2020

MEMORIA CONCEPTUAL

Polyethylene is produced from ethylene, derived from petroleum or natural gas. It is one of the most common plastics due to its low price and simplicity in its manufacture, which generates a production of approximately 80 million tons per year worldwide. This product promoted by science and technology is used to make plastic bags that mostly end up becoming waste and large pollutants for the ecosystem and natural environment.

Starting from taking photographs of polyethylene bags, I intervene them with artificial intelligence systems and software functions, to finally transform them into landscapes or polyethylene fields.

I was born and resided in Jujuy since 1983. My works are built and developed taking the particularities of the context and the landscape in the territory where I live, northwestern Argentina. From there and with the different life experiences, I am interested in addressing and reflecting on various problems that concern the natural (mainly), the social, the cultural and the human condition related to science and other discourses. 

During 2018-2019 I attended workshops and work clinic meetings dictated by Tulio De Sagastizabal. Currently I do the virtual TEF, photographic aesthetics workshops by Eduardo Gil. During the last years I have carried out contemporary art clinics and residencies in Jujuy, Tucumán and Catamarca.

I was recently selected for the Itinerant Photography Exhibition (MIF) of the Argentine Northwest, organized by the CFI, 2020 and in 2015 and 2017 I was awarded a scholarship by the National Fund for the Arts. 

I participated in different editions of visual arts classrooms, I won awards and mentions. I made individual and collective exhibitions in different provinces of Argentina.

https://www.instagram.com/alejandrolopezarte/

https://alejandrolopezarte.com

NEURALINK, un romance de inteligencia artificial [Daniel Balderramo]

 

NEURALINK, an artificial intelligence romance.

What if Vincent had had that promising wireless connection of modern science? Another perhaps would have been singing and that cut ear would carry a technological microchip towards the achievement of his most hidden desires. We cannot affirm that the futuristic methodology of solving problems through this scientific path will be one of ascension to the celestial light. Yet the drive is heroic. Just imagining the alternative that Vincent had achieved his romance, even if not thanks to a Matrix, generates the expectation of achieving it.

Academic titles:

Construction Technician UNSJ 1985

Professor of Plastic Arts UNSJ 1995

Shows and Exhibitions:

Exhibition of San Juan painters Directorate of Culture. Year 2001

Third Prize for Murals Municipality of the

Capital of San Juan. Year 2001

Installation "The arrival of the Railroad to San Juan". Year 2005

Exhibitor in Plastic Arts Municipality of Rawson. Year 2012.

Mention Painting Salon "Fundación de San Juan" Year 2012, 2013, 2014 and 2015.

Mural of the Professional Council of Winemakers. Year 2014.

Participate in the selection process of the artist to the National Salon of 2012.

He exhibited in the exhibition My Best Work, in the auditorium of San Juan, edition 2017 and 2018.

Mention Cordillerano Hall, San Juan year 2017.

Mural: "Love protects us", Difunta Correa area, National Sun Festival 2018.

Exhibitor at the National Sun Festival 2013, 2014, 2015 and 2018. Author of the sculpture “Los desires del vino” and “The fig tree of book leaves”.

He participated in the Encounter of landscape painters in Goya, Corrientes in August 2018.

Participant in the Meeting of Landscape Painters in Potrero de los Funes, San Luis in March 2019.

Exhibits in a group show "My Best Work" 2019 edition, Juan Victoria Auditorium, San Juan.

Awarded at the Impulsarte San Juan 2019 Hall, Municipality of the City of San Juan.

Redes:

https://www.facebook.com/danielbalderramo66

Instrucciones para levantar una piedra [Maia Vargas]

 


Instructions for lifting a stone (chapters 1 and 2)

This "Instructions to lift a stone" part 1 and 2 work with historical archives as raw material, especially geological ones to compose two experimental video-essays that think about the relationships between nature, science and beauty from an ecological perspective.

The tone of the work is similar to the treatment of my last work “Taxonomy of excess” where I play with the limits of the historical archive, accentuating its fictional and poetic side, and addressing the idea of ​​"simulacrum" in the scientific field.

Maia Gattás Vargas is a visual artist and researcher on contemporary art (CONICET doctoral scholarship). She works on the relationship between nature, science and aesthetics, emphasizing the representation of the landscape of Argentine Patagonia. In 2019 I was a fellow of the Film Program with Andrés Di Tella (UTDT). It is part of the Isla Victoria Laboratory group that, since 2017, has been running the Isla Victoria Residence in Lake Nahuel Huapi, Bariloche. She participates in the Palestinian Monamur artistic-political rap and visual arts collective and the Delta Project, a video-art collective on island identity.

Redes:
Facebook: Maia Gattás Vargas
Instagram: Maia Gattás Vargas
https://cargocollective.com/maiagattasvargas

Avatares [Rodrigo Nicolas Albornoz]

 

Title of the Work: Avatars

Hologram technique. Use a video monitor and a computer.

Today, due to Covid19, people have had to confine themselves to their homes, limiting themselves to interacting via the Internet with their friends and loved ones. We are tending towards a virtual and digital world; where personal contact will be reduced to the bare minimum and where our social interactions will be through 'Alter-egos' or 'Virtual Avatar'.

Therefore, my idea is based on a previous prototype that I have tested in Europe (see photos). For this Biennial it is about creating a new unpublished piece of this interactive hologram, which consists of cloning each person who enters the Exhibition (see sketches) and making their Avatar. For this, each person will be invited, in the first instance, to perform a scan of their upper torso and head to generate a digital copy that will later be translated into an Avatar projected as a hologram. This Avatar, which will take on a life of its own, will be projected in a 3D Holographic System that I am going to design and which consists of an inverted transparent acrylic prism in a glass box on a wooden pedestal. On top of the glass box, an inverted video screen is presented that projects a 3D image of the person's torso onto the acrylic prism, thus generating a hologram of the person.

This holographic pedestal will show a sequence of 'avatars' coming from the people who have visited the exhibition, and which will also be asked questions that they will have to answer in the initial scan.

This work can also be understood as the digitization of our society through the protection measures dictated by governments in the Pandemic. 

This work is unpublished and will be built at the Biennial site. To assemble this structure, a pedestal made of MD wood and painted black is required. An inverted prism shaped acrylic is placed on a flat screen TV. The computer PC or Hardware is included within this structure. Finally the box that includes the holography is closed in a glass cube placed in the upper part of the pedestal (see sketches). Two large MD plates are required, clear acrylic and glass; tools for woodworking and cutting and gluing acrylics and glass; also and have in those days a flat screen TV monitor and some small speakers. The rest is all technology and digital software made by myself.

Argentina 1977, Visual Artist and Social Art Researcher with current headquarters in central Barcelona. Bachelor of Fine Arts from the Gerrit Rietveld Academy in Amsterdam, Holland and a Master of Fine Arts and Art Installation from the University of Arts and Design 'Konstfack' in Stockholm.

 Currently Decolonial Art Researcher at the 'KKH' Royal Institute of Art in Stockholm, Sweden and member of Arttextum network of cultural agents inspired by Latin America.

 El principal interés de su trabajo incluye preguntas relacionadas a la vida de las sociedades marginales y aquellas comunidades más afectadas por la modernidad de la cultura Occidental.

 Inspired by his personal experience of displacement from Argentina to Europe several years ago, the artist critically approaches social injustices as an emergency act that requires a collective conscience for future change.

 The main methodology of his artistic work is related to creating situations that decontextualize and bring political reality to the field of contemporary art.

 His latest works include: ‘Deambulando’ (2020) Mobile Sculptures for Public Spaces -awarded and selected by the XXI International Biennial of Santa Cruz, Bolivia- referring to street vendors displaced and mistreated by the future of modernity; and the installation ‘Purification Laboratory’ in Stockholm (2019) work that represents a cocaine laboratory in the Amazon Rainforest and that addresses social injustices in the illegal use of forced labor for the production of narcotics in South America.

rodrigo-albornoz@outlook.com

https://instagram.com/Rodrigo_n_albornoz

https://www.rodrigoalbornoz.nl

https://www.linkedin.com/in/rodrigo-n-albornoz

Δ [Agustina G. Wetzel]

 

Title of the Work: Δ

 The Delta Δ project arises from the need to think and do from isolation. The mandatory quarantine led us to produce in other ways, to relate virtually, to think about the dynamics of surviving isolation and to change our perspective on the everyday and on the space we inhabit.

We take this situation as a starting point and we set out to make a video archive, as if it were an archipelago or a delta, videos that revolve around the question of island identity. We design a triad of videos around "being an island" that seek to be triggers for productions, each one in relation to a concept: 1) Origin, 2) Spaces and 3) Beyond.

1) The possibility of being an island, by Maia Gattás Vargas, explores the relationships between volcanoes and the formation of marine islands.

2) Wild Life, by Agustina Wetzel, works with the constructions of tower buildings to think about urban conglomerates and gentrification.

3) Rubble Moon (third movement) by Rodrigo Alcón Quintanilha thinks the space race led by commercial logos.

Explanatory note: This application is from Agustina Wetzel on behalf of the Delta Project made up of Maia Gattás Vargas, Rodrigo Alcon Quintanilha and Agustina Wetzel. 

 She was born in Corrientes Capital in 1988. She currently lives in Buenos Aires. She is an artist, curator and CONICET doctoral fellow. In 2019 he obtained a full scholarship to participate in the Artists Program of the Torcuato Di Tella University. This year he is studying the Cinema Program of the Torcuato Di Tella University in its 2020 edition. Her work uses formal techniques of expanded and experimental cinema, as well as installations and sound design, these supports allow me to deal with issues related to biopolitics, gentrification and posthumanism. Her video-essay works were selected in different National Awards and Video Festivals (Play, Projector), the most recent: Vida Salvaje (2019) on display at the Fuga de Santa Fe gallery (Argentina), El lengua de losmoda (2019) was selected in the UNNE National Prize for Visual Arts to be exhibited at the CCU of the UNNE; Ruina Vertical (2019) was selected as a finalist in the Prize of the Félix Amador Hall of the Municipality of Vicente López and The Language of Modes (2019) was exhibited at the Ruth Benzacar Contemporary Art Gallery. She is a doctoral candidate in Gender Studies from the Center for Advanced Studies of the National University of Córdoba and a CONICET fellow with the research project “Inhabiting the monstrosity. About the epistemic intelligibility of the human ”.

https://agustinagw.wixsite.com/sipsipnop
https://instagram.com/agustinawtzl

El estado de las especies [Maria Daud Álvarez]

Title of the Work: The state of the species

 

 In 2014 I carried out a performance action in the center of my city, consisting of offering the public the pure and natural drink "Aguas Dulces" with 100% water from the Dulce River, in order to make people reflect on a critical situation: the contamination of the Dulce river to high degrees of ecological damage.

https://www.facebook.com/Aguas-Dulces-369453616561100

 Based on this theme that I made at that time, I now present an interactive and generative work, in which an organic form is constantly drawn whose structure is always random, it is never the same. In turn, the work reacts to the movements and noises of the viewer. We as human beings who influence our environment. This organic structure that is being formed arose from the study of forms in nature and how they prevail.

 In a next phase I will install the program on a web page for better access and interact with the work.

 

 

Professor of Visual Arts from the Juan Yaparí Superior Institute of Fine Arts and Computer Engineer from the Catholic University of Sgo del Estero. I continue my studies with a Bachelor of Art and Technology at the University of Quilmes, Buenos Aires.

I conducted clinics and workshops with: Diana Aisenberg, Verónica Gómez, Andrés Labaké, Cintia Clara Romero and Maxi Peralta. UNA's Performing Arts Laboratory with Lucila Andreozzi. Híbrida Laboratorio expanded video workshop with Violeta González Santos and Mercedes Lozano.

2020

.Selected in the call for MIF Itinerant Photography Exhibition of the CFI and North Culture Council.

.Selected within the call "Confinement" of Kiosko Galería de Santa Cruz, Bolivia.

2019

. 3rd federal prize of the CFI Federal Painting Biennial.

2018

Grant to carry out the Artistic Projects Analysis Workshop at CURADORA RESIDENCIA, Santa Fé.

Selected by the Santiago del Estero Undersecretariat of Culture to carry out a clinic for artistic projects with Andrés Labaké.

. Scholarship for Training of the National Endowment for the Arts

2017

.Selected to be part of "In Frequency" Program of Visual Arts of the North Regional Council for Culture.

.Special Mention at the UNNE Prize for Visual Arts, Universidad Nacional del NordEste.

2015

. Selected in the XLIV Salón de Tucumán Pintura for the national scope.

I exhibited collectively at the Cultural Center of the Bicentennial of Sgo del Estero, Federal Rooms of the CFI Bs As, MAC Museum of Contemporary Art of Salta, Provincial Museum of Fine Arts Timoteo E. Navarro of Tucumán, University Cultural Center of Corrientes and Cultural Center Northeast of Resistencia.

Redes:
https://instagram.com/maria_daud_