Poetics in a Territory

The territory as a standard, support and theme; a starting point for various poetics.

Artista del interior (Provincial artist) (2021) by Sol QuirincichFundación Itaú Argentina

Living far from the capital of our country can be seen as an obstacle to accessing opportunities.

Sol Quirincich's work questions this assumption: an embossed copper shield as a symbol vindicates the artistic production of those who bet on strengthening other scenes.

Julieta Giammateo and Iván Chávez interfere with posters from supermarket chain display units: they move from indicating prices to communicating fragments and pages of literary works.

In this case, a private territory is transformed into trenches from where meanings can be disputed. 

Pisos de labial (Lipstick floors) (2018) by Franco MehlhoseFundación Itaú Argentina

In this polyptych, Franco Mehlhose reproduces the plan of the square in his hometown, Laprida.

He explores screen printing, using different shades of lipstick as ink.

An operation that shows that certain spaces can be public but that does not mean they stop being intimate.

Basuritas (Little trash) (2021) by Micaela GaunaFundación Itaú Argentina

Sidewalks: places of passage, territories of self-absorbed transit. For Micaela Gauna, they are territories where we can record waste, traces of abandonment, disgusting remains that become precious through the profession of painting.

In the dimension of hyper-realistic painting, what does not shine can be gold as well.

Cromatografía del Paraná (Chromatography of the Paraná River) Cromatografía del Paraná (Chromatography of the Paraná River) (2021) by Candela PietropaoloFundación Itaú Argentina

The Paraná River runs through one of the most populated and industrialized territories in South America.

Candela Pietropaolo records its colors on different days, creating a chromatography.

A catalog where space, time and color converge.

Perla del Oeste (Pearl of the west) (2021) by Ángeles AscúaFundación Itaú Argentina

Some works display trades that permit to activate the memory of affective territories.

Embroidery, a slow activity that accompanies waiting.

This is precisely the work that Ángeles Ascúa chose during the pandemic, shaping a plot that brought her closer to her hometown, Rafaela.

Genealogía de la Cesta II (Genealogy of the basket II) (2020) by Eugenia MendozaFundación Itaú Argentina

Some works unfold crafts that are part of cultural traditions in specific territories in our country. 

In the case of Genealogy of the Basket II, Eugenia Mendoza explores basket weaving, an identity work of the Paraná Delta.

As a result, she obtains clean, industrial-looking forms, far from the craft solutions typical of the region.

In this work by Roxana Ramos, sound and craft are juxtaposed. From the headphones, we can hear the testimony of Margarita Vera, a weaver from Jasimaná. On a stand, a llama wool blanket. An installation that confirms that there is no territory without will.

Mention. 12th Itaú Artes Visuales Award. 

Intento de reconstrucción de un retrato migrante (Attempt of reconstruction of a migrant’s portrait) (2020) by Juan Carlos UrrutiaFundación Itaú Argentina

Other proposals study the idea of border and belonging, 

Such is the case of Attempt to Reconstruct a Migrant Portrait by Juan Carlos Urrutia: an overlay of blurred portraits that explore the problem of deterritorialization.

Touba (2019) by Pablo ManriqueFundación Itaú Argentina

Touba, by Pablo Manrique, uses records of a Muslim ceremony celebrated by Senegalese immigrants in our country.

The territory is considered as a space where cultural identities are continually renewed.

Credits: Story

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

María Menegazzo and Magdalena Mosquera.  
Text credits, Curatorship and Coordination 12th Itaú Visual Arts Award.

Celina Marco 
Coordination 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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