About Fundación Itaú Argentina
Its mission is to contribute to the educational, social, cultural and entrepreneurial transformation in our country. To achieve that, it carries out actions that improve the quality and inclusion of the educational system, stimulates the artistic expression as a fundamental tool for the transformation of society, and enhances the entrepreneurial culture and financial knowledge of people, by giving them means to reach their professional and personal goals and encouraging the corporate volunteering development through the promotion of activities with social and educational impact in the most vulnerable spaces.
“Itaú Cultural Award: Creating a collection”.
A peasant family perfectly immortalized on clay… the flat sculpture of a jaguar… A girl kneeling next to her father’s shirt… And the subtle image of a furniture store on Avenida Belgrano…
These are some of the images that take part of the Itaú Contemporary Art Collection that started in 2009. The love for art and its preservation penetrated the veins of the local branch and we planned a Visual Arts Award.
It is a modest collection so far, though it includes a list of great Argentine talents, from which some are not so emerging. Artists committed to their profession, their career and their artwork.
Two family cups turned into musical instruments… A graphite landscape upside down… “A Christ for two pesos”… And a grenadier with a cardboard vest standing by the Tucumán House door…
The subjects approached, as well as the languages, are diverse, and speak of the rich artistic production in our country, mostly represented through these artists.
This collection was proudly presented for the first time in May 2017 in the Palais de Glace halls and we wish to continue showing this heritage that we will not cease to enlarge.
The capture of a Pampas night… Escalators and their infinite reflections… “An inherited landscape”… And the deconstructions of splendorous works… An antagonistic bronze sculpture…
Anabella Ciana. Fundación Itaú Argentina
Facebook: FundacionItauAr / Instagram: @fundacionitauargentina / Twitter: @FundacionItauAr
Challenges in the 11th edition of Premio Itaú a las Artes Visuales.
To organize an art prize has many moments. Phases that we plan as a whole and have an expected continuity and a defined schedule. In this occasion, the itinerary was abruptly interrupted by a pandemic that disrupted our existences. The preservation of health required strict sanitary measures, cancelling every cultural and social event that implied the contact with others. Therefore, an exhibition in halls became impossible.
After the surprise and the initial concern, we took some decisions regarding the 11th edition of the Premio Itaú: the prize jury would not perform in the presence of the artworks, but remotely, like the selection jury did before. We should remember that since its beginning eleven years ago, this competition has implemented online platforms for the registration of artists and artworks, which guarantees one of its main goals, which is to ensure the participation of creators from the provinces and give it a true federal identity. The selection jury also uses this resource, so it can be integrated by specialists from different areas of the country, diversifying the approaches and contributing with regional perspectives.
The next step was to determine that the exhibition would be postponed and virtual. Shortly after thinking how this exhibition could be materialized with digital media, the limitations started to be evaluated. The call and registration of works was made long before the beginning of the pandemic and all its restrictions.
Many of the 64 artworks that would integrate the exhibition on the first floor of Casa Nacional del Bicentenario, just like in the previous editions, are installations that require some kind of participation of the spectators. Different interactive situations, such as drawing on a small table with a relief, as in the Esteban Álvarez’s piece; to contemplate some sort of rosary while we hear a litany recited by Rosalba Mirabella and her sisters; to manipulate a group of objects to make them move, like Sergio Lamanna’s proposal; to submerge into the strong blinking lights of Bruno Del Giúdice’s fence; to open and close Rosana Schoijett’s or Rocío Fernández Charro’s altarpieces in order to see all their images. Not to mention the robotic artworks -a technologic discipline chosen this year for that special section- whose scale and action have a different presence in front of the public. In the same way, we could talk about the textures that are essential for the understanding of paintings, drawings, sculptures, textiles, embroideries, industrial plastic objects, wicker, ceramic or vegetal fiber pieces.
We should also mention the decisions taken concerning the time of shooting, editing, copying and even intervening and mixing with other media, such as a photograph, or a video, and its possible combination and variants like video installation -among which Gabriela Golder’s first prize should be highlighted-, video performance -like the second prize received by the Tucuman artist Adrián Sosa- or video animation, in which the chosen formats and devices for their presentation also play an aesthetic role. These manifestations of visual arts also have a haptic dimension that defines them from a perceptual point of view and contributes to the construction of meanings.
It has been a great challenge to imagine, from a curatorial perspective, to overcome the lacks that a virtual exhibition imposes to works that have been conceived for an on-site experience, but for that purpose, we counted on the invaluable creative capacity of the artists, with which we exchanged ideas until we found the adaptations that we found more suitable. We are truly grateful to all of them.
We also realized that in the form of existence of this edition, the prize would gravitate like never before within the catalogue, of which, since 2018, we took care of the curatorship in order to upgrade it. Therefore, we decided to add the biographies of each artist, an enormous effort carried out by Eugenia Garay Basualdo -coordinator of the competition.
The other decision is that the selected works would be structured according to theme groups including a broad range, from the contents to which they allude to technical and material determinationa. This formulation of the curatorial script that was perceptible in the exhibition display, here requires an explicit enunciation through the grouping of works and the texts that attempt to justify them. Thus, we pretend to replace this spatial tour with a conceptual one that formulates some concerns, aesthetic lines and recurrences that seem to run through the contemporary art scene in a significant way.
Adriana Lauria. Curator