lo que habito [What I inhabit] Work detailFundación Itaú Argentina
The body is the first border that separates and joins us to the world. It is our means to perceive and relate with others and our surroundings.
In times of an increasing digital life, the physical experience of reality dilutes. This dimension is approached by Victoria Lozano through careful resources.
The feeling of lightness of this work evokes a presence that vanishes.
Bodies that dematerialize, become abstract.
Sin título, de la serie Derrame [Untitled, from the series Spill]Fundación Itaú Argentina
Two forms coexist. What kind of bond do they have? Through an impeccable synthesis of form, volume and color, Mónica Sartori’s work suggests a reflection on the ways of being with others.
Juxtaposed daily elements: metaphor-objects of what the bonds materialize.
La piel de las culebras negra como las nubes [The snakes’ skin, black as the clouds]Fundación Itaú Argentina
En esta instalación, Rocío Sibecas trabaja con materiales que activan desde su artificio ideas opuestas:
light and dark, stiffness and softness.
This complementarity is at the same time an explicit device of fantasy.
Para vivir un gran amor [To live a great love] (2020) by Julia LevsteinFundación Itaú Argentina
In this case, it is about the encounter of noble and daily items. A table and a book which cover says “para viver um grande amor”.
Julia Levstein’s work brings, from a simple operation, some questions:
Which is the place of poetry? What are its chances to fix us?
Perfect spooning de la serie Amantes Invisibles [Perfect spooning, from the series Invisible lovers] (2022) by Gaba de DiosFundación Itaú Argentina
In Perfect spooning, by Gaba de Dios, the contention of the soft is revealed from the literality of the image.
A positional, coherent manifestation, from a materiality from which a certain classicism and tenderness emerge.
Other works allow us to think of bonds beyond human.
Convivencia [Coexistence] (2021) by Clara PonceFundación Itaú Argentina
Clara Ponce’s videoperformance invites us to rethink about the forms in which we live with otherness. The artwork delves into that hierarchized relation that we have with objects and non-human from a sequence of unthought actions.
Caricia ígnea [Fire caress]Fundación Itaú Argentina
In Fire caress by Julia Padilla, the elements are gathered in an arbitrary way, building a sophisticated and fragile totem.
Hybrid relations explored from the versatility of unused materials.
Audición fatal [Fatal audition] (2021) by Dana FerrariFundación Itaú Argentina
Dana Ferrari searches on the possible affective bonds between dolls and spectators. These beings come to life as soft and painted sculptures. In this work, two of these creatures wait by a piano.
Their exorbitated eyes meet ours.
They are the public of an audition apparently unavoidable.
El Pacto [The pact] (2021) by Silvina SícoliFundación Itaú Argentina
In this painting by Silvina Sícoli, semi-anthropomorfic animals or almost animal-like humans, establish a dialogue.
A sequence of ceramic fragments lies on a stretcher: relics or souvenirs that, although marginal, are part of the pact in question.
In the following works, the bonds -presented until now from duality- become more complex.
Retratos de familia [Family portraits] (2020) by Patricio EscobedoFundación Itaú Argentina
Family is our first social rehearsal. Patricio Escobedo works on his own lineage from graphic design.
The typographies that compose the name of each member of his family are printed overlapped, resulting in twenty portraits.
In the act of naming and being named, a horizon that enhances multiple identities opens.
MONUMENTALES [MONUMENTAL]Fundación Itaú Argentina
With an extreme narrative will, Andrea Moccio details and expands the issue of football fans from experimental graphic procedures.
The lightness of the support evokes the fluctuation of a flag or a festive wave. In the crowd, the individual fades, giving space to the collective.
Fundación Itaú Argentina
Premio Itaú 13 edición en Google Arts & Culture:
Curaduría: María Menegazzo Cané
Coordinación: Celina Marco
Asistencia en textos: Magdalena Mosquera
Asistencia en producción: Cecilia Vecchi
Traducciones: Valentina Bonelli