TWO EXHIBITIONS, TWO WOMEN PHOTOGRAPHERS AT THE LARIVÈRE FOUNDATION

Ideas Fijas, by Cecilia Szalkowicz - from October 5

Room 2 of the foundation will feature a large piece that operates both as a sculpture and as an exhibition support for a group of photographs, that will be exhibited in an editorial format: a publication that also includes a narrative text written by the curator.

Ideas fijas is part of the program of the 19th International Architecture Biennial of Buenos Aires.

Most of them unpublished, the photographs that make up the exhibition are linked in an editing process that, as is usual in Szalkowicz's work, puts in relation images taken previously with others produced for the occasion. “My way of working with photography is as if it were a kind of writing. I do it with the logic proper to visual language: a narrative only possible with images,” Szalkowicz says.

“In its double condition of sculpture and architectural device, the unpublished form that the artist has designed for the exhibition Ideas fijas will allow us to reflect on the act of exhibiting images and on the ways of making them known. The timeless photographs that Cecilia Szalkowicz produces show us the surprise that occurs in the act of looking. There are images that remind us that from the known world we cannot retain totalities, but rather cuttings, intuitions. Cecilia Szalkowicz follows her visual presentiments like someone who spins a magnet to see what element it carries. The result is a set of images that do not fit comfortably into any photographic genre. In its edges, something stops and gives account of an action, something lasts a short time, just enough time to build an image, in it the elements are climatic, essential, corporeal,” says the curator of the exhibition.

Carrusel de melancolías, by Leonora Vicuña - from October 26th

The exhibition brings together 65 photographs and has the exhibition design of Juan Lobianco. In addition, a book with text by Felipe Tupper will be published.

“Photography itself, in the context of the era in which these photos take place, was ungraspable history: the milestones of 20th century photography were just beginning to enter museums in the early 1980s, while in Chile the universe of photographers was very poor. This then young Chilean photographer wandered, at times pressing the shutter of a Russian Смена camera, through that agitated, self-censored, ragged city, contrasting the neighborhoods to the extreme, looking for precisely those margins where time stands still. After four years of life in Spain, France, Greece, she had just returned, perhaps looking for herself in that timeless Chile, where the behavior of a booming, devastating, consumerist neoliberalism was advancing at breakneck speed, in the midst of an unbridled cultural turmoil and a split population,” writes Felipe Tupper in the catalog of the exhibition.