During the last decades, the gender issue has been discussed by many art expressions with several approaches, from reclaiming to militant, and attempting to recover and revalue the production of artists that, from patriarchal and heteronormative perspectives, had been invisibilized or unvalued.
La sociedad de beneficencia by Lolo and Lauti quotes the film Eva Perón. The vigorous speech from the original film is transferred to the body of La Leandra, a transgender performer, thus displaying on the scene a typical expression of the gay culture: “The Charity Society is dissolved!” to say that a discussion is won and over. This operation attempts to queerify Evita, a personality that rebelled against the establishment and acted from divergence.
Cosas de Mujeres [Women’s stuff] (2020) by Javier PlanoFundación Itaú Argentina
Cosas de mujeres takes fragments from films by mythic directors in which we see first shots of remarkable female protagonists –Vitti, Nortier, Casares and Falconetti–, in intensely emotional attitudes. Javier Plano attempts to point out some sexist clichés that also affect film history. Women will mainly be performers who sometimes will reach the possessive category of “pet actress”.
El deseo de Leonor o la iglesia se expande en la ciudad [Leonor’s desire or the church expands in the city] (2019) by Mariana RoblesFundación Itaú Argentina
The recognition of women in history that reviews the narratives of use seems to influence the work that Mariana Robles dedicates to Leonor de Tejeda, founder of the Santa Catalina Monastery in the city of Córdoba.
El deseo de Leonor o la iglesia se expande en la ciudad reviews her case from the representation of the assets that she donated to the Church in order to achieve this spiritual and vital refuge and retreat to the monastic life, literally paying a high price to act according to His “holly will”.
In this manner, she managed to avoid and transcend the destinies of marriage and maternity imposed by the customs of time. The artist uses the format of pailas –shiny and richly decorated textiles for religious ornaments– to point out these aspects of the character that reveal the complexities of being a woman.
Mujeres [Women] (2020) by Majo ArrigoniFundación Itaú Argentina
Mujeres is the title of the group of twelve portraits made by Majo Arrigoni that take as models contemporary artists from her city –they are all from Córdoba–, with the purpose of adhering to the fight to show the value of their presence and work in art institutions.
The artist uses the consecrated resource of portraiture, which is to paint the face of a colleague. This procedure gives testimony of a group that is representative of the current creative activity and a double gesture that vindicates both the gender and the region.
Pequeño repertorio de artistas argentinas [Small repertoire of women artists] Pequeño repertorio de artistas argentinas [Small repertoire of women artists] (2019) by Laura BettiniFundación Itaú Argentina
Laura Bettini develops Pequeño repertorio de artistas argentinas based on the image of twenty Argentine female artists.
They represent different generations and aesthetic approaches, focusing on active figures from modernity to the present. The drawings are embroidered on paper, mixing visual art and homemade handcraft, vindicated by many feminists who, as they take it out from the private environment, consecrate it as a technique with a gender identity.
Recuerdos de Cindy. Variaciones sobre montaje para una mujer articulada [Memories of Cindy. Variations on montage for an articulated woman] Recuerdos de Cindy. Variaciones sobre montaje para una mujer articulada [Memories of Cindy. Variations on montage for an articulated woman] (2019) by Sergio LamannaFundación Itaú Argentina
In Recuerdos de Cindy, variaciones para una mujer articulada, Sergio Lamanna presents another installation integrated by mobile pieces and transformable through its manipulation.
Recuerdos de Cindy. Variaciones sobre montaje para una mujer articulada [Memories of Cindy. Variations on montage for an articulated woman] Recuerdos de Cindy. Variaciones sobre montaje para una mujer articulada [Memories of Cindy. Variations on montage for an articulated woman] (2019) by Sergio LamannaFundación Itaú Argentina
The installation creates a show that explores different instances of life.
In them, the meditation on gender, its confrontations, differences and connection points, stereotypes and exceptions is repeated, and everything is resolved in a theatrical game in which we are invited to participate.
Amor de internet [Internet love] (2019) by Natalia PetriFundación Itaú Argentina
Dealing with the aspects related to sex and its practices in social networks, Natalia Peri in Amor de Internet shows a photo performance that could easily be part of an online sex dating site profile.
In it, she mediates her genitality through the mobile screen, without reducing at all the awkward and provocative explicitness of that image, which strategically contrasts with a surrounding of pink clothing and atmosphere
Aunque nunca más te vuelva a ver [Although I’ll never see you again] (2018) by Daniel JuárezFundación Itaú Argentina
In a related line, Daniel Juárez, with his polyptych Aunque nunca más te vuelva a ver, exposes and exhorts to the free practices of a male sexuality that fights for its exercise unattached from any stable relationships or social impositions.
Based on internet images, he elaborates a gallery of poses, situations and diverse erotic encounters.
These are resolved through manipulated photographs that show a frontal lubricity.
Fundación Itaú Argentina
José Pagés
Clarice Bentolila
Anabella Ciana
Alejandra Saldías
Nancy Chappe
María Florencia Trotta
Mariana Coluccio
Mariano Pastore
Adriana Lauria
Curadora
Eugenia Garay Basualdo
Coordinadora
Celina Marco
Coordinadora Google Arts & Culture
Valentina Bonelli
Traducciones
