IN DIALOGUE: ROSARIO ZORRAQUIN, NOEMÍ GERSTEIN AND CECILIA MARCOVICH
ISLA FLOTANTE presented the exhibition Ronda, the second artists' dialogue of its program with masters: Rosario Zorraquin will dialogue with works by Noemí Gerstein and Cecilia Marcovich.
In this exhibition the arrows go in all directions: a front march can also be a counter-march, a counter-march can be something formal, just lines .... or many counter-marches at once, all superimposed on each other. This is formally the Glossary that Rosario began in a publication in 2014, and which rehearsed a kind of communication by noise, a communication by pinches. That language, in the key of the writings of Mirtha Dermisache and others, is now recomposed in layered drawings and touch appears, and a variation with a purpose: to be able to read the stories of torture and counter-marches in the history of (...) The exhibition is also a meeting point for the staging of this language taken to relief, a round of reading between Noemí, Cecilia and Rosario, and there the room is transformed into a cave.
The exercise, because it is, of bringing together works by three artists, does not fail to highlight an "I", which is Rosario's... Susana Thénon speaks of "I am I and my Peripherals". The Peripherals are the ones you still have the option to choose, but that doesn't mean that they occupy a lesser place. Intensity always happens in the periphery and goes towards the centre. Cecilia Marcovich founded a school, through which María Moreno quickly passed, and on that edge something of her crooked standing was built. Cecilia's school was a pioneer of what we know today as a work clinic, not only an alternative to the channels of official education, but also a centre of experimentation that crossed generations and personalities, where work was done not only from technique, but also from conversation and words.
Marcovich didn't stay still, when she was in Brazil it was for the physiognomy of the body, another era, when she was here, she came to portray something of those spontaneous crowds in the street, in a circle or all looking forward. She did women-only marches, in colour and in black and white... and she opted for the round. Noemi Gerstein is the other peripheral, who, according to Claudio Iglesias, "the gothic in her is like a somewhat submerged organ ready to emit low and high-pitched sounds that will travel through the air with their blue and violet tones". Almost in an oceanic feeling, his sculptures, which preferred iron, could range from maternity to war, from metaphysical figuration to the commonplaces of love. But above all he constructed a language supported by forms and arriving at what Osvaldo Svanancini called a "silent symbolism". Rosario's drawings superimpose images of lines, which are not memories, which are not visions either. They are at the perfect affective distance: that which is alien to the exquisite corpse, the meditatively autobiographical. They are lines to be followed more with the fingers than with the eyes: or with the eyes that are at the tip of each of the fingers, as Diana Aisenberg repeats.
There is no idea of referents, even less an intention of rescue, or a rescue in reverse: they rescue us, as Diana Bellesi would say: "As if I were bitten by a viper, I jump and say: they rescue me. In reality, they have constructed me, otherwise there would be no emotional identification possible, and the language of the poem would be a dead language".
–Santiago Villanueva, creator of the project.
RONDA, in dialogue with works by Noemí Gerstein and Cecilia Marcovich.
Until the end of April, 2024.
ISLA FLOTANTE Gallery. Viamonte 776, Buenos Aires, Argentina.
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Cosmogony Nativa (Native Cosmogony) is Lucila Gradín's exhibition at the Museo Marco. It is curated by Eva Grinstein.
Presente Continuo is a two-year training program for artists, thinkers, curators, researchers in the exact sciences, social sciences and humanities, scientists and technologists from all over Argentina. Application deadline: March 17, 2024.
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Argentine multidisciplinary artist Adriana Bustos presents her site-specific project entitled Genealogy of a Collection conceived for Viceversa, an exhibition project celebrating the 60th anniversary of the Museo de Arte Moderno de Bogotá (MAMBO).
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THE FIAVOVICH-GOLDBERG DUO AT THE MUSEO MODERNO
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Paisajes políticos (Political Landscapes) is an exhibition on the work of Carlos Trilnick. Curated by Marcela Römer, PROA presents a small group of photographs and video installations made between 1989 and 2019 that introduce the universe of this artist, curator, disseminator and teacher considered a pioneer of video art in Argentina and Latin America.
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Until this April 2024, one of the recent galleries of the Pinacoteca Contemporânea - the new annex of the traditional and active Pinacoteca do Estado de São Paulo, which opened in 2023 - has become a special locus, where past and future, tradition and modernity, nostalgia and dazzle, fortress and ruin, among other poetic axes, present themselves to a visitor who is between perplexity and fascination. The author of this suspension of time is the Chinese artist Cao Fei (Guanghzou, 1978), one of the key artists of the contemporary world, who has her first solo show in South America, after (more discreet) appearances at the 29th São Paulo Biennial (2010) and the 9th Mercosul Biennial (2013), in Porto Alegre, in the south of the country.
Cosmogony Nativa (Native Cosmogony) is Lucila Gradín's exhibition at the Museo Marco. It is curated by Eva Grinstein.
LUCILA GRADÍN AT THE MARCO MUSEUM: NATIVE COSMOGONY
Cosmogony Nativa (Native Cosmogony) is Lucila Gradín's exhibition at the Museo Marco. It is curated by Eva Grinstein.
Presente Continuo is a two-year training program for artists, thinkers, curators, researchers in the exact sciences, social sciences and humanities, scientists and technologists from all over Argentina. Application deadline: March 17, 2024.
PRESENTE CONTINUO: CALL FOR APPLICATIONS 2024 FOR THE ART, SCIENCE AND TECHNOLOGY TRAINING PROGRAM
Presente Continuo is a two-year training program for artists, thinkers, curators, researchers in the exact sciences, social sciences and humanities, scientists and technologists from all over Argentina. Application deadline: March 17, 2024.
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Otumpa is the first exhibition of the artists Guillermo Faivovich and Nicolás Goldberg at the Museo Moderno in Buenos Aires, Argentina. Curated by Javier Villa.
THE FIAVOVICH-GOLDBERG DUO AT THE MUSEO MODERNO
Otumpa is the first exhibition of the artists Guillermo Faivovich and Nicolás Goldberg at the Museo Moderno in Buenos Aires, Argentina. Curated by Javier Villa.
Paisajes políticos (Political Landscapes) is an exhibition on the work of Carlos Trilnick. Curated by Marcela Römer, PROA presents a small group of photographs and video installations made between 1989 and 2019 that introduce the universe of this artist, curator, disseminator and teacher considered a pioneer of video art in Argentina and Latin America.
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Banco Macro presented the works of Argentine artists Cynthia Cohen and Pabli Stein in the exhibition Esplendor (Splendor) at Torre Macro, curated by Patricia Rizzo. This exhibition is a commitment by Banco Macro to share the legacy and culture of national artists.
CYNTHIA COHEN AND PABLI STEIN: TOTAL SPLENDOR
Banco Macro presented the works of Argentine artists Cynthia Cohen and Pabli Stein in the exhibition Esplendor (Splendor) at Torre Macro, curated by Patricia Rizzo. This exhibition is a commitment by Banco Macro to share the legacy and culture of national artists.
Tiempo real (Real Time) is an installation by artist Vivian Galban now on view at Fundación Larrivière Fotografía Latinoamericana, curated by Raúl Flores and in association with the Buenos Aires Performance Biennale. It was previously exhibited at Rolf Art (2019), BAphoto (2019) and Paris Photo (2023).
360º OF PHOTOGRAPHY: VIVAN GALBAN'S INSTALLATION
Tiempo real (Real Time) is an installation by artist Vivian Galban now on view at Fundación Larrivière Fotografía Latinoamericana, curated by Raúl Flores and in association with the Buenos Aires Performance Biennale. It was previously exhibited at Rolf Art (2019), BAphoto (2019) and Paris Photo (2023).
Until this April 2024, one of the recent galleries of the Pinacoteca Contemporânea - the new annex of the traditional and active Pinacoteca do Estado de São Paulo, which opened in 2023 - has become a special locus, where past and future, tradition and modernity, nostalgia and dazzle, fortress and ruin, among other poetic axes, present themselves to a visitor who is between perplexity and fascination. The author of this suspension of time is the Chinese artist Cao Fei (Guanghzou, 1978), one of the key artists of the contemporary world, who has her first solo show in South America, after (more discreet) appearances at the 29th São Paulo Biennial (2010) and the 9th Mercosul Biennial (2013), in Porto Alegre, in the south of the country.
BETWEEN RETROTOPIAS, DRIFTS AND STILL LIFES – CAO FEI – THE FUTURE IS NOT A DREAM
Until this April 2024, one of the recent galleries of the Pinacoteca Contemporânea - the new annex of the traditional and active Pinacoteca do Estado de São Paulo, which opened in 2023 - has become a special locus, where past and future, tradition and modernity, nostalgia and dazzle, fortress and ruin, among other poetic axes, present themselves to a visitor who is between perplexity and fascination. The author of this suspension of time is the Chinese artist Cao Fei (Guanghzou, 1978), one of the key artists of the contemporary world, who has her first solo show in South America, after (more discreet) appearances at the 29th São Paulo Biennial (2010) and the 9th Mercosul Biennial (2013), in Porto Alegre, in the south of the country.
