A selection of finalist works for the Itaú Visual Arts Award, 14th edition, from the cyclical perspective of the days of the week.

Untitled (2022) by Viviana BlancoFundación Itaú Argentina

It is widely known that there is an explicit relationship between the different phases of the Moon and the tides. During the waxing and waning phases, tides are smaller and are called neap tides.

It is widely known that there is an explicit relationship between the different phases of the Moon and the tides. During the waxing and waning phases, tides are smaller and are called neap tides.

On the other hand, during the new or full moon, when the Sun, Moon, and Earth align, the tides are larger, and they are called spring tides.

This drawing by Viviana Blanco is the result of an intense interaction with the ocean and a series of concerns related to the landscape and its connection to memory and the unknown.

Riverbeings (2021) by Natalia MartínezFundación Itaú Argentina

It is believed that animal life originated in the water and that it determines its vital rhythm. This happened approximately 3.7 billion years ago when the first forms of life appeared in the aquatic environment.

These weren't oceans or seas, but a primordial broth.

In “Seresdelrío”, Natalia Martínez summons fantastic beings emerging from the waters to hack the known world and expand access through the power of colored pencils.

Skin Pink Skin Pink (2022) by Hada Rosa. Ayelén Villalba (Mendoza, 1985) y Juan Castillo (Mendoza, 1979).Fundación Itaú Argentina

In "Rosa Piel," the Hada Rosa collective imitates a human skin on a life-size scale.

Skin PinkFundación Itaú Argentina

In doing so, they reclaim the concept of vulnerability and transience through a precious tissue that is as close to being a subject of study as an exceedingly exquisite relic.

The moon contributes significantly to the maturation of plants and the growth of animals through its influence. In fact, there is a clear connection between the lunar cycle and the physiological cycle of women.

In “Syntocinon”, María Emilia Castañeda induces a labor that questions the fragility of memory and its impact on the biological body.

Buenos Aires does not existFundación Itaú Argentina

The satellite is considered a guide to the hidden side of nature, a dimension that once again links it to water, as an entity that flows, filters, and manifests itself accidentally and symbolically.

Clara Nerone investigates the first channeling of streams in the city of Buenos Aires to reflect, through liquid images, on the city's unconscious and the way it tensions the upper and lower realms. Link to see details.

Aura MagenfotFundación Itaú Argentina

Another significant aspect of the moon is its close association with the night. The pallid tone it emits illuminates partially and at the same time veils the objects.

Jorge Opazo intervenes with oil on found photographs, playing with what is veiled and revealed in a landscape that becomes lunar in its paleness.

Objects with a passive and reflective character, such as a mirror, may be considered lunar objects.

From the False Color seriesFundación Itaú Argentina

In this suitcase, Leandro Zanetti encapsulates and duplicates the forest to reflect on how we see it in a mediated and never naked and total way.

Mirror ash mirror (2021) by Cynthia KampelmacherFundación Itaú Argentina

The appearance of the moon is elusive; its shape constantly changes. In “Espejo ceniza espejo”, Cynthia Kampelmacher begins her drawings from photographs of tangled jungles.

Two possible representations of a landscape that is a volatile face.

The Song of the ForestFundación Itaú Argentina

There is a clear proximity of the Moon to the biological, to the law of change. Increase and decrease.

With this “Canción del bosque” (Song of the Forest), Rita Simoni aims to alleviate the trauma of the systematic devastation we inflict upon our sacred, mutant, demonically alive environment.

There is a belief that the stage of the moon's invisibility corresponds to that of death, hence the idea that the deceased go to the new moon.

KunumichaFundación Itaú Argentina

“Kunumicha”, by Josefina Madariaga, conjures what is present but hidden.

It is both a representation of innocent childhood

and a memento mori

Moiré effect/ Ghosts always go back to the same place (2022) by Antonella AndreolettiFundación Itaú Argentina

In “Los fantasmas siempre vuelven al mismo lugar”, Antonella Andreoletti draws with white pencil on a black background, pondering the distance between being and representing, or between being and not being.

Thus, she prefigures urgent forms before they fade away.

Credits: Story

Itaú Award 14th Edition on Google Arts & Culture:
Curators: María Menegazzo and Magdalena Mosquera
Coordination: Celina Marco
Translations: Valentina Bonelli
Fundación Itaú Argentina
José Pagés
Clarice Bentolila
Anabella Ciana
Alejandra Saldías
Nancy Chappe
Mariana Coluccio
Melina Cools
Mariano Pastore

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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