CHAPTER I

BODY POLICIES

"Policies of the body", addresses the relationship of the body with space thought as a form of knowledge. The body on the public scene in the mouths that Graciela Sacco pasted on the streets in the nineties, as a way of replicating the title that gave these interventions, “Bocanada”, mouth-nothing, a reference from an image, if you dystopian wants (who wants that mouth?) on the neoliberal policies of Menemism. Also on the public scene were the posters of the collective We Propose for the campaign to legalize abortion, an urgent policy for the bodies. And body politics in the redefinition of his own body proposed by the performances of Silvia Rivas, María José Arjona and Joiri Miraya ”.

Andrea Giunta, Rethink Everything notes.

The mouths (fragments of bodies) that Graciela Sacco printed in blueprints and pasted in the streets of Rosario, Buenos Aires, during the Menemism years, refer to the social differences that in Argentina were intensified by the neoliberal experiment that led to the crisis of 2001. She photographed, projected, printed on emulsified paper and fixed the image with the sun. She placed her mouths in the urban space. The sign was as confrontational as it was enigmatic.

Andrea Giunta, Rethink Everything notes.

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Making of América Latina 1960-2013, Fondation Cartier pour l' art contemporain, Paris, Francia.

On November 5 th, 2017, when Graciela Sacco died, the commitment to feminist practices in art was signed and the Nosotras Proponemos collective was formed. By making patriarchal behaviors visible, this activism proposed a review of the practices of institutions and actors in the art world. The posters intervene the streets with the agenda of feminism in art and in contemporary life.

 

Andrea Giunta, Rethink Everything notes.

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In 1993 Liliana Maresca undresses on top of mounted images of those who led the neoliberal project, the dictatorial project, the international politics between the 1970s and 1990s in Argentina and in the world.

Andrea Giunta, Rethink Everything notes.

(...) because on the one hand I felt that my corruption was parallel to the country's corruption and, on the other hand, somewhere, I realized that ... I had preserved myself in some way, at high prices I I had preserved ... But that also ... the temptation was always ... harassing me ... and that I did not know for how long I was going to be able to escape that corruption ... Now I think I will never fall, that I am innocent .

 

Liliana Maresca

Liliana Maresca and León Ferrari at Fondo azul

Interview with Liliana Maresca, Buenos Aires, June 27, 1993

Video translation, unpublished, Adriana Miranda Archive

... there are things that affect me from reality that I cannot escape from seeing and that bother me, and then I try to find an answer and I get involved ... in body and soul, and I get naked. I think I undressed to show that I was also involved in all that ... that disgusting thing that I detest about society but that is also constantly asking me to define positions ... I realize that it drags me as something that grabs me by the hair and rolls me over and says "you are also a prostitute" ... but at least I am experiencing it, at least I say: I am a prostitute and I find myself wallowed in that mud. And I try to get out somehow ... telling others that this is bullshit .... I think I'm going to die thinking that this has to be changed ... and I dedicate all my energy to that.

Liliana Maresca

Liliana Maresca and León Ferrari at Fondo azul

Interview with Liliana Maresca, Buenos Aires, June 27, 1993

Video translation, unpublished, Adriana Miranda Archive

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The action culminated with Liliana dressed, installing the images-banners in the ecological reserve of Buenos Aires. Where the rubble of the highways built by the civic-military dictatorship was dumped; there nature responded with wetlands, forests, birds, coypu, lizards. New ecosystems vibrated, reminding, as in the present, that when human beings move aside, nature responds with biodiversity. The destruction of natural barriers between ecosystems created conditions for the pandemic to occur. But all this had not happened in the nineties with the fullness that is confirmed today. In those years, the remains of the ecological reserve preserved the brutality of thegarbage dump. There, Liliana Maresca took her collages and installed them as banners that interrogated those mutant signs between destruction and the rise of life.

Andrea Giunta, Rethink Everything notes.

Video made in the Ecological Reserve, Costanera Sur, Buenos Aires, Public Image- High spheres , 1993.

Excerpted from Frenesí , 1994, video-catalog shows Liliana Maresca retrospective.

Production Adriana Miranda, production Liliana Maresca and Adriana Miranda.

Body policies. The video and photographs of the performance Intempestivas shows María Teresa Hincapié in a form of extreme ritual ceremony that summons references to violence in Colombia in which mythical quotes intersect. The redefinition of the body that folds and activates from the form involves a performance that explores the limits of space

Andrea Giunta, Rethink everything notes.

We did Intempestivas in 1992. I was more interested in violence and political violence. There are some hints of what the mythical and mystical connections might be that I didn´t see quite clear yet, but there was also something about micropolitics. We made a scene about marital violence. They were very experimental works, not always finished or fully accomplished, but that was their condition, that was their experimental status. And when I found the cubic stage, a number of projects and accomplishments that we did with María Teresa at that time were immediately fired that were very important to me and revealing of the possibilities between the language and the plastic living arts.


José Alejandro Restrepo about Intempestivas, Interview with the magazine Cambio 16, Bogotá, Colombia, 2006.

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The series Full of Hope (2001 - 2003) by Silvia Rivas, made in 2001 puts together several isolated images that allude to the internal perception of the present, surrounded by the density of the past, the resistance of the future and the inevitability of circumstances. These are years of economic, social and institutional crisis in Argentina. Formed in times of repression, with cautious silence and sidestepped violence, hope takes the form of resistance as a way of supporting itself despite and against all evidence. Someone is held as the only pillar, someone is held to avoid falling, and someone is fighting a losing battle.

 

Carolina Baulo, Rethink Everything notes.

María José Arjona searches for the expressive power of a political investigation of the body. Returning to the body as a support for the imagination of forms of resistance and permanence that Silvia Rivas also evokes with her movements.

Andrea Giunta, Rethink Everything notes.

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The beauty of 4 legged animals arises from a residence that María Jose Arjona does in the Artist Residency Program of the Watermill Center. The work presents a procedural relationship of the body that extends to the object and then unfolds in space, while reviewing the documentary notion that video has had in the history of performance. The artist traces a series of connections with dance in which a series of choreographic elements and the chair - as a regulating space for movement - are again choreographed through the edition of the document. From words play where the extremities of the human body become the legs of the chair -and vice versa-, the bond between design and nature established, highlighting the importance of the body within the creative process of objects which endure in time, in dialogue with the performance practices whose roots are ephemeral.

María Carolina Baulo, Rethink Everything notes.

Biopolitics, ways of reproducing life, of rethinking the body. This is the drive that transmits the video Satisfied by Joiri Minaya. While dipping soft forms of stuffed cloth into coffee and sugar, the artist introduces them into her mouth, until it is extremely occupied. Coffee and sugar refer to the colonial condition that is replicated in the way of forcing the limits of the body. It is a woman. In her work, Joiri investigates how gender and race stereotypes are articulated in the view over the female body of a Caribbean woman, approached as an exotic subject.

Andrea Giunta, Rethink Everything notes.

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BIOGRAPHYS | CHAPTER I

Graciela Sacco (b. 1956-2017). Santa Fe, Argentina.

Graciela Sacco graduated in 1987 with a thesis dedicated to the Argentine avant-gardes of the 1960s. The artistic expressions of that decade had established strong ties between artistic experimentalism and social commitment, culminating in Rosario, her hometown, with “Tucumán Arde ”, An internationally recognized experience as a milestone of political Conceptualism. That generation of artists had been harshly repressed by the military dictatorship that took over the country from 1976 to 1983. Their works are related to light and graphics. From her beginnings and throughout her trajectory, her productions invite you to reflect on political and social violence. The use of different photosensitive processes have allowed her to materialize ideas and concepts in a particular way that has made her work carry a strong artistic identity. The transits, the exiles, the migrations, the nuclei of social conflict are present in episodes of different epochal distances. In her work, quotations come and go and acquire a circular sense, until she finds herself in a timeless instance that also prevails in the present. Her work occupies a prominent position today on the world contemporary art scene. She has represented Argentina in various international biennials including Shanghai (2004), Venice (2001), Havana (1997 and 2000), Mercosur (1997) and San Pablo (1996), among others. She has been awarded numerous prizes and recognitions, such as the Artist of the Year, by the Argentine Critics Association (2001) and the Konex Prize (2002-2012), among others. She has published numerous books such as “Nothing is where is believed” (2015), “M2 Volume I” (2009), “Shadows of the South and the North” (2004), “Images in turbulence: Migrations, bodies and memory” ( 2000), “Solar Scriptures” (1994). Her works and her career have been cataloged in important national and international leading publications such as America’s Society Magazine, Bomb, Art Nexus, Art News, Art in Americas and the New York Times. She has held numerous solo and group exhibitions in Argentina, England, Germany, France, Switzerland, Israel, the United States, Mexico, Brazil, Cuba and Peru. Today, her work is part of national and international collections, both public and private, such as MAMBA - Museum of Modern Art of Buenos Aires, Argentina; MACRO - Museum of Contemporary Art of Rosario, Argentina; Bronx Museum in New York, USA; MFAH - Museum of Fine Arts, Houston, USA; Fort Lauderdale Museum of Art, USA; Microsoft Collection, Washington, USA; Policultural Capitol, Porto Alegre, Brazil; Essex University, Colchester, England; among other.

 

Nosotras Proponemos [We Propose] (Collective association created in 2017) Buenos Aires,  Argentina.

Nosotras Proponemos [We Propose] (Collective association created in 2017) Buenos Aires, Argentina. It is Declaration of Commitment to Feminist Practices in Art. A Permanent Assembly of Women Art Workers. Given increased awareness of forms of sexual harassment in the art world, we—artists, curators, researchers, writers, gallerists, art workers—state our commitment to feminist practices. This document, which we invite you to sign, is intended to create awareness of patriarchal practices that shape the exercise of power in the art world. The open letter «We Are Not Surprised» issued a «call upon art institutions, boards, and peers to consider their role in the perpetuation of different levels of sexual inequity and abuse, and how they plan to handle these issues in the future.” In this statement of commitment to feminist practices, we attempt to expand awareness of the patriarchal and sexist behavior pervasive in the art world, behavior that regulates how we position ourselves. While this statement addresses, first, the historical exclusion and devaluation of women artists, its proposals can be embraced by women, men, or those with non-normative identities. It sets out to act as a suggested guide to personal and institutional practices.

Liliana Maresca (Avellaneda, Buenos Aires, 1951 - † Buenos Aires, 1994)

Liliana Maresca was a key figure who participated in the artistic scene since the early 80’s, starring the enthusiastic young bohemian that detonated Buenos Aires from the early years of democracy rapidly becoming an inflection figure, who initiated and developed many of the avant-garde that characterized the art of 90’s. Her body of works include painting, objects, sculptures, installations, performances and photoperformances. Her artworks reflected the neo-dada spirit, the minimalist models and the conceptual strategies that dominated the art scene in the second half of the century in Argentina, crisscrossed with the iconographic repertoire of alchemy and the spiritual quests overall, braving herself by the technological resources that the era offered her, without ever forgetting the necessary poetic elaboration. In Maresca’s work exists the will to place herself outside the conventions and also the desire to point the limit to certain territories. These principles that had placed her in a resistance plane, are the ones that have provided her work with an unique substance. Her works today are part of renowned collections such as: MALBA, Museum of Latin American Art of Buenos Aires, Argentina; MAMBA, Museum of Modern Art of Buenos Aires, Argentina, MNBA, Museum of Fine Arts of Buenos Aires, Argentina; MACRO, Museum of Contemporary Art of Rosario, Argentina; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; TATE Modern, London, England, among others.

María Teresa Hincapié (b. 1956 - 2008). Bogotá, Colombia.

María Teresa Hincapié (1956-2008) was a Colombian pioneer of performance in her country and, without a doubt, one of the most influential in Latin America. She began her artistic career involved with theater and was part of the group “Acto Latino” from which she developed her own dance-theater-ritual inspired by oriental techniques. After traveling through Mexico, Europe and Asia, Hincapié returned to Colombia and began a search for alternative spaces for her artistic expressions. At that time, she was linked with artists such as Doris Salcedo, José Alejandro Restrepo, and Álvaro Restrepo. Her version of Desde la huerta de los mudos (1986), a tribute to Federico García Lorca that she made in collaboration with Álvaro Restrepo, marked the beginning of the fusion between theater and visual arts that the artist developed throughout her work . A year later, a work by the artist José Alejandro Restrepo was introduced in the field of performance based on Parquedades (1987), which completely removed it from the theatrical forms and from the conventional notion of ‘spectacle’.The Colombian artist won the first prize at the XXXIII National Salon of Artists of Colombia in 1990 with the work Una cosa es una cosa, a plastic action that took her 12 hours and which placed her in the annals of Colombian art. And for the second time in 1996 for the work Divine proportion. She has also participated in international exhibitions and fairs such as I Bienal de Valencia - The Body of Art Biennial of Valencia (2001), 51 International Art Exhibition - Always a little further, La Biennale di Venecia (2005), and 27th Bienal de São Paulo (2006), among others.

José Alejandro Restrepo (b. 1959). Bogotá, Colombia.

José Alejandro Restrepo is a renowned video-artist born in Paris, France, but he has lived and worked in Colombia since 1980. Restrepo is a central figure in Latin American contemporary art with more than thirty years of production that forms part of the history panorama of the electronic arts in our continent. His training and interests are varied and range from visual and scenic arts, installation, photography, performance and editorial production, constituting as a model of contemporary artist that operates from hybridity. Also, his work dialogues with the documentary image through a work exhibited under diverse formats and devices, focused on the critique of the relationships between art, history, media, religion and politics.His work is regularly exhibited in Europe, Latin America and the United States. Among his individual exhibitions we can mention Teofanías (2008, Museo de Antioquia, Medellín); Transhistory: myth and memory in the work of José Alejandro Restrepo (2001, Luis Ángel Arango Library, Bogotá), Musa paradisíaca (1997, Museum of Modern Art, Bogotá), Anaconda (1993, Aphone in Geneva, Switzerland) and Terebra (1988 , Museum of the National University of Bogotá). He also made group exhibitions such as Botánica política (2004, Fundación la Caixa, Barcelona) and Cantos / cuentos colombianos (2004, Contemporary Colombian Art in the Daros- Latinoamerica, Zurich), Tempo (2002, Museum of Modern Art -MoMA-, New York) ), Art and Violence in Colombia (1999, Museum of Modern Art, Bogotá), The Sense of Place (1998, Reina Sofía Art Center, Madrid). He participated, among others, in the 52nd Venice Biennial (2007), Mercosul Biennial (Porto Alegre, 2011), Lyon Biennial (2011), Quai Branly Museum (2013) and The Museum of Fine Arts (Houston, 2015) .

Silvia Rivas (b. 1957). Buenos Aires, Argentina.

Undoubtedly Silvia Rivas is a pioneer of video art, video installation and delegated performance in Argentina and Latin America. She was the first audiovisual Argentine artist to have received the Guggenheim fellowship and other awards such as, the Konex Award for Merit Diploma in Mixed Media 1997-2001; and in 2002, the Leonardo Prize of the National Museum of Fine Arts and the Visual Arts Award from the Argentinean Art Critics Association (2002), among others. Silvia has made numerous individual exhibitions, in which it is important to higlight, she was the first artist to present the first major video installation shown in the country, at the honorific Cronopios salon at the Recoleta Cultural Center; as well as to note her individual exhibition in MALBA, an outstanding immersive video installation entitled “Zumbido”. Her work has been exhibited in Chile, Venezuela, Brazil, Cuba, Colombia, Mexico, United States, Spain, France, Germany and Switzerland, and has represented Argentina in several international biennials, including Mercosur (Portoalegre in 2000 and 2005) La Habana (2003), BienalSur (2016) amongst others. Silvia Rivas works belong to several prestigious national & international collections and recognized institutional collections including: Museum of Latin American Art of Buenos Aires, MALBA - Costantini Foundation, Argentin; Museum of Modern Art of Buenos Aires - MAMBA, Argentina; Municipal Museum of Fine Arts “Juan. B. Castagnino ”, Rosario, Santa Fe, Argentina; Museum of the National University of Tres de Febrero - MUNTREF, Buenos Aires, Argentina; Amalia Lacroze Collection of Fortabat, Buenos Aires, Argentina; Center of Contemporary Art of Santiago de Compostela, Xunta de Galicia, Spain; Reina Sofia Museum Collection, Madrid, Spain, among others.-

María José Arjona ( b.1973) Bogotá, Colombia.

María Jose Arjona (1973) is one of the most important contemporary visual artists and performers in Colombia and Latin America, recognized at a international level. At the end of the nineties, she moved from contemporary dance to the visual arts, creating a multifaceted and penetrating body of work. Her practice is based on long lasting performances which main focus is the concept of time, with an evident influence of her predecessor, María Teresa Hincapié. Graduated from the Superior Academy of Arts in Bogotá, Arjona has shown her work in several museums, collections and international events, such as the Third Triennial of Guangzhou (China, 2008), “In-Transit”, Haus der Kulturen der Welt (Germany, 2009), the Croatia Quadrilateral Biennial (2011), Irregular Hexagon (Israel, 2012), the Morocco Biennale (2012), the 43rd National Artists Hall (Colombia, 2014), La Caixa Forum (Spain, 2015) and Kunsthalle Osnabrück (Germany, 2016), among others. She also participated as a re-performer for the Marina Abramovic retrospective at MoMA (New York, 2010). She was in residence at Flora ars + natura in 2016 where she developed her renowned work Avistamiento. Currently her work is part of several public and private collections in Colombia, in the United States, Europe and Asia. Recently, at the beginning of 2018, the Museum of Modern art of Bogota - MAMBO - presented an antológica solo show featruing her works produced in the last 20 years. Earlier this year she received the La Tertulia Museum Award, 2020 in its first edition, recognizing her career.

Joiri Minaya (b. 1990) Estados Unidos - República Dominicana.

Joiri Minaya (1990) is a Dominican-United Statesian multi-disciplinary artist whose work investigating the female body within constructions of identity, multi-cultural social spaces and hierarchies. Born in New York, U.S, she grew up in the Dominican Republic. She graduated from the Escuela Nacional de Artes Visuales of Santo Domingo in the Dominican Republic (2009), the Altos de Chavón School of Design (2011) and Parsons the New School for Design (2013). She has participated in residencies like Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon, BronxArtSpace, Bronx Museum’s AIM Program, the NYFA Mentoring Program for Immigrant Artists, Transmedia Lab at MA Scène Nationale, Red Bull House of Art Detroit, Lower East Side Printshop Keyholder Artist, Socrates Sculpture Park, Art Omi and Vermont Studio Center. Minaya has exhibited internationally across the Caribbean and the U.S. She is a grantee from the Nancy Graves Foundation, the Rema Hort Mann Foundation (Emerging Artist Grant), the Joan Mitchell Foundation (Emerging Artist and Painters and Sculptors Grants), the Great prize and the Audience Award XXV Concurso de Arte Eduardo León Jimenes, the Exhibition Prize Centro de la Imagen (D.R.), and the Great Prize of the XXVII Biennial at the Museo de Arte Moderno (D.R).

See other chapters ....

CHAPTER I

BODY POLICIES

CHAPTER III

AFFECTS

 

CHAPTER IV

PRESENT MEMORIES

 

CHAPTER V

URBAN SIGNS

 

CHAPTER VI

BODIES AND NATURE

RETHINK EVERYTHING 

Andrea Giunta

Curator

Writer, curator and professor at the University of Buenos Aires, where she obtained her doctorate. She is main investigator of CONICET, Argentina and visiting researcher at the University of Texas, Austin, United States. Among the prizes with which she was awarded, the Guggenheim, Rockefeller, Getty, Harrington and Tinker scholarships stand out, and on three occasions she received the Konex award. She is the author of several books on Latin American art, including Vanguard, internationalism and politics. Argentine art in the sixties (2001), Postcrisis. Argentine art after 2001 (2009), Picasso’s Guernica: the power of representation. Europe, United States and Latin America (2009), Mutant objects. On contemporary art (2010), Writing the images. Essays on Argentine and Latin American Art (2011), When did contemporary art begin? (2014), Feminism and Latin American Art. Stories of artists who emancipated the body (2018), Contra el canon. Contemporary art in a world without a center (2020). She was curator of the León Ferrari retrospective, CCR (2004), co-curator of Immigration, MUAC (2012), Verboamérica, Malba (2016), Radical Women. Latin American Art, 1960–1985 (2017–2018, Hammer Museum, in Los Angeles, Brooklyn Museum, New York, and Pinacoteca de São Paulo), curator of Biennial 12, Mercosur, Porto Alegre (2020). 

María Carolina Baulo

Collaborator

Bachelor of Arts from the University of Buenos Aires (Honor Diploma), independent Curator since 2009 with more than thirty exhibitions developed together with prominent visual artists in important argentine art galleries, museums and cultural centers. She works as a writer-critic for several national and international media specialized in contemporary art: Sculpture Magazine (U.S.A), Diario Clarín-Cultura (Argentina), Revista Ñ (Argentina), Revista de Semiótica Ad Versus (Argentina), Hoornik Collection Art Magazine (Argentina) among others. Invited by the University Del Salvador as a Postgraduate Professor since 2013, she also works as an adviser to artists, collectors and art spaces. With studies in the field of Cinema, Theater and Photography, among other activities she coordinates groups of study and reflection on aesthetics and contemporary art. Member of the Argentine Association of Art Critics (Asociación Argentina de Críticos de Arte-AACA).

Julieta Tarraubella 

Web design & Visual Identity

Audiovisual Artist. Image and Sound Designer, BA Degree at the University of Buenos Aires. In 2014 she was awarded with the ESCALA AUGM Scholarship to study Visual Arts and Medialogy at UNICAMP, Brazil. In 2015, was selected for the Internship program at the Peggy Guggenheim Collection, Italy. During 2017, she was a student at the Cinema Program at University Torcuato Di Tella. Her main professors and tutors were/are Gabriel Valansi, Nicola Costantino, Gabriel Rud and Andrés Di Tella. She was awarded at the 2019 Buenos Aires Biennial of Young Art with a residency at Pivô. Her work has been exhibited in several institutions in Argentina. From 2011 to 2018, she stood out as project producer and assistant of several institutions and visual artists. Since 2018, she works as Artistic Director in Rolf Art gallery. She lives and works in Buenos Aires, Argentina.

Florencia Giordana Braun

Web design & Visual Identity

Florencia Giordana Braun has a BA in Public and Institutional Relations, with a postgraduate degree in International Cultural Management and Art Bussiness. In 2009 she founded Rolf Art, the only gallery specialized in photography in Argentina in order to contribute to the production and appreciation of contemporary art and push the limits of the visual arts. Since then devoted to the gallery, she has managed to position the work of Latin American artists on the national and international scene, developing an important program of exhibitions and training in the gallery, carrying out a sustained participation in the most important fairs in the world such as Paris Photo, AIPAD , Photo London, SP-Arte, Zona Maco, Lima Photo, arteBA among others, managing the incorporation of works in renowned institutions such as TATE (London, England); MoMA and MET (NYC, USA); MFAH (Houston, USA), Reina Sofía (Madrid, Spain), MALI (Lima, Peru), Banco de la República de Colombia (Bogotá, Colombia); MUAC, Mexico; MNBA, MAMBA and MALBA (Buenos Aires, Argentina) among others, in addition to multiple private collections; legitimizing the visual expressions of our region in the world.

ROLF ART

Florencia Giordana Braun

Director


Camila Knowles

Co-Director


Julieta Tarraubella

Artistic director


Florence Rugiero

Producer


Pedro Salusso

Programmer & Web Design

 

Thanks

Amapola Alderete

Sebastian Alderete

Rob Verf
Andres Garcia la Rota 
Adriana Miranda 

Sergio Quattrini

Jean Luis Larivière
Adriana Lauria
Agustín Sacanell

Agustina Scuderi 

Oso Marsan

Nora Fisch 

Barro Arte Contemporáneo

Henrique Faria Fine Art NYC
Herlitzka + Faria BA

Fondation Cartier pour l' art contemporain

Risd Museum

Pablo Helguera

Fernando Davis

Archivo Marta Minujin

Revista LUR

Mane Adaro

Ediciones Larivière

Florencio Noceti

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PRESS

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VIDEO CONFERENCES

& CONVERSATORIES

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