PIAV 2019-2020. Materials, Procedures, and Simulations

The experimentation with forms and materials triggered unseen practices and theme reductions that ended up in the diverse varieties of abstraction. The art trade frequently takes delight in textures and tones that come from the daily life, just as the cubist artists did with the collage. The incorporation of the most varied elements has attempted to approach the phenomenal contemporaneity of each time, multiplying and mixing methods and styles.

Manipulating the properties of photography, Arturo Aguiar has been registering his light performances, in which his body never appears, though the light source used to show the images immersed in a mysterious chiaroscuro atmosphere, does. And this is an essentialist method to approach the photographic technique, because, what is this discipline but the writing of light?

Dos fuelles con codo 90 grados [Two bellows with 90° elbow] (2019) by Eugenia MendozaFundación Itaú Argentina

Eugenia Mendoza simulates, very skillfully and showing a great technique, flexible pipes and their junction piece with wicker.

The artwork fixes the attention in those installations involved in our daily dynamics that remain ignored while they don’t require technical support, and here they gain a double intensity of oddness due to their monumental dimension –a natural procedure in art tradition– and the materials that compose it, which are closer to the handcrafts universe.

These displacements of meaning imbricate with their presentation, in which they seem to emerge from the wall and sink into the floor, composing a connection through which some unheard fluid might flow.

Captura o antes del borde [Capture or before the edge] (2019) by Valeria LópezFundación Itaú Argentina

Representing fragments and materials involved in the creative processes of other artists –identified by the inclusion of their names in each painting–, Valeria López appropriates those elements.

Thus she reveals an instant of the elaboration process of an artwork, unveiling in its residues the backstage of a shared trade that uses a realistic language that attempts to give an image to these remainders

that stand as palpable vestiges of appropriations and influences that inspire her own compositions.

Plisado [Pleated] (2019) by Ricas (Dana Ferrari y Clara Campagnola)Fundación Itaú Argentina

In the case of RICAS, the spectacularity of their presentations and the emphasis on the materials –taken from the most common consumption industry– aim to surprise.

They build objects and installations in which they evidence the possibilities of simulation in grandiloquent and artificial tones. Thus they adhere to a neo-baroque aesthetic in which a vast theatricality unsettles and seduces with its vast polysemy.

Such is the case of Plisado negro, made with polyethylene from garbage bags transfigured into a luxurious and sinister ornament.

Sin título [Untitled] (2019) by Julieta BarderiFundación Itaú Argentina

With her group of paintings Sin título, Julieta Barderi reveals once more the love of artists for experimentation with the technique and the unexpected possibilities that its inadequacy may present

as it stimulates the look to surprise with a reaction that provokes a new texture or another result from manipulating materials and instruments, but always with the intention to communicate and express oneself, represent and self-represent.

Ilusiontale Ilusiontale (2019/2020) by Luciana RondoliniFundación Itaú Argentina

Mix between jewels, talismans and ceremonial ornaments, the objects that are part of Ilusiontale by Luciana Rondolini give us the unsettling feeling of oddness increased by the aspects of familiarity.

Ilusiontale Work detailFundación Itaú Argentina

Made with a careful aesthetic, they have a luxurious appearance

Ilusiontale Work detailFundación Itaú Argentina

though their ambivalence turns them unsettling, while some of their components lead them to the borders of the ominous.

Atelier (2019) by Santiago ParedesFundación Itaú Argentina

In a different pursuit, Santiago Paredes uses in Atelier computer images to print fabrics, a velvety plush in this case.

The transfer from digital introduces a haptic dimension, bumpy and warm, in this combination of textile and painting. An elliptic procedure to delve into the atelier work of hypothetic artists.

Celebrando la confusión [Celebrating confusion] (2019) by Arturo AguiarFundación Itaú Argentina

In the series to which Celebrando la confusion belongs, this is taken to its maximum plainness. Disregarding the documentation of the referent, he lets the light exist in dazzling shapes and colors that may compare to abstract paintings, although here they emerge from the dialogue between shades and shining, from the work of chromatic levels and exposure times.

Construcción n1. Antisinfonía [Construction N1. Antisymphony] (2019) by Paula PinedoFundación Itaú Argentina

With the frailty of the paper, Paula Pinedo presents a set of white cubes on a table, “decorated” bodies with copper threads arranged in schemes according to the predominant geometry of the group.

Construcción n1. Antisinfonía [Construction N1. Antisymphony] (2019) by Paula PinedoFundación Itaú Argentina

But these drawings, besides integrating a coherent composition, constitute circuits involved in the sound system that completes the art piece. Design, structure and a mechanism that is triggered through the sensors that detect the presence of the spectator, create an authentic audiovisual work, in a visual-electronic sense.

Sucederás, lo sé [You’ll happen, I know] (2019) by María MaggioriFundación Itaú Argentina

With a traditional technique, María Maggiori explores in Sucederás, lo sé the typologies of the line, its modulations, directions, its concentration in weaves, accumulations and graphic versatility.

With these resources, she finds the way to express through drawing the dynamism, fluence and vertigo of the shapes that seem to come to life.

AIC0008 Sin título [AIC0008 Untitled] (2019) by Marcolina DipierroFundación Itaú Argentina

In AIC0008 Sin título, Marcolina Dipierro combines two materials that imply opposite textures and consistencies: the rigidness of steel and the malleability of rubber, with which she gets a lineal, fluid and versatile form, due to its possible transformations.

Thus she reviews with contemporary eyes the formal pursuits and the sense with which modern constructivism stirred art and design up.

Umbrales amarillos [Yellow verges] (2018) by Eugenia BranconyFundación Itaú Argentina

In an adjacent line, María Eugenia Bracony explores in Umbrales amarillos the possible conformations of weaves that join modular pieces.

The artist engages in a formal exercise that presents like a barrier, some sort of fence that shows the strength of a limit in its configuration, yet at the same time looks fragile in its irregularities and cracked textures obtained from the ceramic treatment.

Fachada [Façade] Fachada [Façade] (2019) by Marino BalbuenaFundación Itaú Argentina

Marino Balbuena rehearses an alternative way of abstract art in Fachada.

Based on a work of schematization of facades in Buenos Aires photographed by himself, he translates to textile shapes and colors that compose a jumbled geometry, keeping the sensation of baroque artifice that he found in those fronts.

Credits: Story

Fundación Itaú Argentina
José Pagés
Clarice Bentolila
Anabella Ciana
Alejandra Saldías
Nancy Chappe
María Florencia Trotta
Mariana Coluccio
Mariano Pastore

Adriana Lauria

Eugenia Garay Basualdo

Celina Marco
Coordinadora Google Arts & Culture

Valentina Bonelli

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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