BIENALSUR 2023 International Biennial of Contemporary Art of the South – second part

2023-07-13 00:47:57

We continue reviewing the most interesting of this BIENALSUR 2023, the International Biennial of Contemporary Art of the South organized by the Argentine National University of Tres de Febrero UNTREFwhich brings us closer to contemporary art proposals, distributing its exhibitions in a dozen countries throughout South America and Europe.

how to escape planet earth

Dionisi Palace Provincial Museum of Photography. Cordoba Argentina

Until 03/09/2023

It is not news that the planet is on fire. The consequences of climate change, capitalism and the Anthropocene are making this place an increasingly inhospitable space. The question of how to continue inhabiting an Earth devastated by extractivism and inequality still does not find accurate answers. Meanwhile, How to escape from planet Earth proposes a way out from above: looking at the sky as a space for imagination and escape.

This exhibition brings together a set of works that investigate the relationship between humans and airspace. Celeste Rojas Mugica proposes a playful approach to the sky based on the resignification of the act of raising kites, a movement guided by desire and the freedom of the wind. A similar gesture is taken up by Graciela Sacco when she mounts sack-shaped kites in her famous urban interferences. Juan Reos appeals to the clouds as elements of distraction and makes of them monumental and ephemeral sculptures that seem to presage something indecipherable. Yo-Yo Gonthier also uses these as protagonists in a video where a large giant cloud is moved by a group of people, in an attempt to reflect on the idea of ​​migration and return. For her part, Gabriela Golder films the sky from her house during the days of confinement and makes use of artificial intelligence to invent a place beyond confinement. How to Escape Planet Earth is an invitation to look up and imagine new worlds. Heaven as a place for the possible, heaven as a place for poetry.

Francis Medal – Curatorship

Artists:

Graciela Sacco (ARG) Gabriela Golder (ARG) Celeste Rojas Mugica (ARG-CHL) Yo-Yo Gonthier (FRA) Juan Reos (ARG)

Naturoculture. Artistic practices on human relations with nature

Provincial Museum of Fine Arts Emilio Caraffa. Cordoba Argentina

Until 03/09/2023

The climate crisis confronts us with a rethinking of the human relationship with nature. Technological-organic, nature-urbanity, are some of the many pairs that today are already ineffective when it comes to accounting for the hybrid reality between the natural and the artificial. Rather than going in search of a hegemonic canon, today’s reality presents itself as a multifaceted rough diamond of meanings, almost to an elusive extreme with no horizon of possibility for genuine synthesis.

Naturocultura underlines some evidence of this neohybridization, in which the biotic that underlies all techno-human action suffers a symmetrical inversion: now it is also the techno-cultural that inevitably underlies the heart of nature. Laurent Mulot, in a game of mirroring, confronts us with the disturbing hybrid form that European urban life has acquired, in which the domestic coexists with the scientific underground – more specifically, the relationship between the city of Geneva and the particle accelerator. from CERN. For its part, the work of Rodrigo Zeferino presents us with the transformative power of the light impact of large cities, altering the imperceptible forms of life of photosensitive insects as an evolutionary drive, through a poetic-historical arc from Darwin’s observations to the contemporaneity. The project by Felipe Castelblanco and Lydia Zimmermann, on the other hand, inverts the accelerating gaze of urbanity with its concomitant depredation and goes to meet the ancestral in the heart of the immaculate jungles of South America, through a bridge of textile nets and digital.

Art, without judging or demonstrating, enabling the senses in their multiple powers, tends to create new symbolic values ​​linked between human living and its environment. The senses do not deceive, but perhaps in any case reason does.

paul la padula – Curatorship

Artists:

Felipe Castelblanco (COL) Collective of Indigenous Medias Ñambi Rimai (COL) Laurent Mulot (FRA) Rodrigo Zeferino (BRA) Lydia Zimmermann (ESP)

public life

Art Center of the University of La Plata. La Plata – Argentina

Until 09/30/2023

Public life, understood as the area in which common and shared social activities take place and are carried out, includes not only work or leisure spaces, but also other discursive and ideological spaces. If the public is more a system of regulations and controls where regimes of actions, behaviors and speeches are settled and less a space of freedom and equality, the women’s movements of the last decade have advanced on public life, understanding it as a territory to be turned. The most evident space is that of the streets, through the marches and mobilizations that integrate common slogans among many countries. The images and records of these movements are an entry point to a set of works in which the public resonates as a symbol of the collective and where the control mechanisms and statements of authority that are exercised are indicated.

The exhibition Vida pública echoes these forms of action and tries to look through some of the peepholes in which the spaces that have historically been assigned to women are stressed. The works gathered here, conceived by artists from different geographies, have in common that they are built from an image of the collective, group nature and affective ties. In this symbolic network from which the works emerge, the bodies write, rewrite and discuss the ways of moving through public life. Demonstrations and actions that take place in the streets fit here and that in recent years have built spaces for meeting and organization. But the works are also projected towards other less obvious places such as the canons of beauty that structure statements on clothing, the forms of care as a precarious work space wrapped in affectivity but also sadness, the medical-scientific system that builds an objectification and bureaucratization about bodies, leisure and privacy from the practice of portraiture as an affective genre and also the history of art as an ideological text that has built value directives on images.

Clarisa Appendino – Curatorship

Artists:

Caroline Magnin (ARG) Maria Maria Acha-Kutscher (PER-ESP) Pauline Fondevila (ARG-FRA) Valentina Liernur (ARG) Agnes Szigety (ARG) Paula Toto Blake (ARG) Micaela Trucco (ARG) Sebastian Freire (ARG) Cecilia Leonardon (ARG) Come My Nguyen (VNM-DEU)

interwoven

MUNT – Museum of the National University of Tucumán. San Miguel de Tucuman – Argentina

Until 09/15/2023

The exhibition takes as its starting point the production of MUMORA, the Mobile Museum of La Randa, a singular museology project that is established outside the canonical formats of the history of culture and that presents a museum genealogy as a portable device, ephemeral and mobile. This project is installed from community production, it takes up the past from practices of the present and thinks about the idea of ​​a museum as a mobile, open and changing device. With the intention of expanding textile work to other audiences and geographies, Randeras from El Cercado in Tucumán are linked to other textile practices of wefts, yarns and weaves extended in divergent perspectives. With industrial and artisan materials, mechanical and manual procedures, object and process resolutions, the set of works amplifies the modes of knowledge transfer between the past and the present, between different languages ​​and territories, in which knots and ties are formed. between worlds and distant times.

Clarisa Appendino – Curatorship

Artists:

Ángeles Jacobi (ARG) Maria Lai (ITA) Randeras de El Cercado (ARG) Jimena Travaglio (ARG)

IN THE WOOL

The Fenced. Monteros – Argentina

Opening Thursday, July 13, 2:30 p.m.

My body is the common texture of all objects and is, at least with respect to the perceived world, the general instrument of my “understanding” (Merleau-Ponty, 1957).

Through this translucent, open and permeable needle lace, Randa ties bodies of multiple times. Their networks testify to a way of being and being in the world, giving a particular presence to the community that keeps it alive. To be a Randera is to participate in this symbolic plot, which she has entered since childhood at the hands of mothers and grandmothers.

Each of these pieces is born from the encounter with one’s own corporality -as an experienced limit- but is built in dialogue with that of the others. The desire put into play here refers to the affective experience of gestures, postures and movements that become significant in this scenario of common subjectivity.

Alejandra Mizrahi, Lucila Galindez – Curatorship

Artist:

Rangers of El Cercado (ARG)