CHAPTER II

FORMS THAT

ADMINISTER

THE BODY

"Forms that administer the body", analyzes the relationship between forms and bodies. It proposes to dwell on the notion of body politics, in the sense of re-administration of the meanings of the body from another perspective than that represented in the long history of art by the external eye on the (female) body. It includes the photographs of the performances that Liliana Maresca made with the objects that she herself created and that Marcos López recorded; the photographic records of the relationship that Dalila Puzzovio established with the casts, her "shells", orthopedic remains that she collected in the hospital; the replica of her face that Ananké Asseff cast in bronze; the soft forms that surrounded her mother's body, the clothes, that Milagros de la Torré recorded with photographic procedures prior to the digital age. They also involve a reflection on the declassification of administrative policies that institutions exercise over bodies. The portrait here is an excuse. It refers, more exactly, to the exploration of a liberated legal territory, that on which we do not have (or should not have) to ask for permission. 

Andrea Giunta, Rethink Everything notes.

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Liliana Maresca navigates the body and locates it in relation to objects, with her objects. In this juxtaposition, in this coexistence, she reformulates private life. Its her, her naked body, among the forms she created with objects found in the garbage. “Cirujeo” or “hobo” is the word used by María Gainza. In a 1983 photograph, amongst the montage of remains, her pubis, a breast, her buttock appears. Maresca reestablished informalism. Where there was a patriarchal gesture of uniting the fragments with bombastic gestures, nails, hammers, she explored the rupture of what was found from the dimension of her skin.

 

Andrea Giunta, Rethink Everything notes.

In 1983, Liliana Maresca is photographed by Marcos López interacting with her objects made with recycled elements, imprinting on them the imprint of her naked body, proposing readings that compromise emotions such as fragility, devotion, fear, eroticism. The objects cease to be things discarded by consumerism to become protagonists of performatic actions where the relationship between the artist's nude and those objects is put into action, challenging a provocative, creative, suggestive interpretive gaze beyond passive contemplation, where the camera manages to account for this intimate relationship, from images with documentary and even biographical value.

María Carolina Baulo, Rethink Everything notes.

Dalila Puzzovio made the "shells" in 1963, and in a performance in which the camera records the relationship between those hollow forms, which were inhabited and shaped by a body, remnants of temperature, skin and surface that she approximates to her own body . Photographed on a terrace, the scene is produced under the contrast that marks the sunlight, with the images of the buildings under construction that indicate the urban tempo. They were years in which the process of urban concentration in Buenos Aires was deepened. For the first time, in 2007, more people lived in cities than in the countryside. The hanging clothes, the pose, the structure in which the relationship between forms is activated, ignites urban times and a changing relationship between form and body.

Andrea Giunta, Rethink Everything notes.

Like territory, the Earth is a plane always extended before our eyes, a variegated expansion; so are these works with their alphabet of broken and buried human figures. In the year '62, waiting to be treated in the traumatology service of the Italian Hospital, a nurse passed by with unusual ties of orthopedic casts. These silhouettes telegraphed me a continuous speech of allegorical power that defied all the avant-gardes. Each discarded torso or leg contained secret knowledge. Through these Shells, from non-existent perspectives, but with earthly horizons and theories of proportion, I tried to achieve balances between the absent human figure and the objects of the outside world; between what can be confessed, what is transparent, what is hidden. Faced with these orthopedic casts, the viewer becomes a voyeur, he watches and does not hear the drama he senses. A continuous discourse of volume and not color, each with its provocative and enigmatic demand. Fresh sense of how dramatic the joke one indulges. These hollowed out Astral shells that we invariably leave floating are familiar talismans, where everything has been said and kept, and where no word is last..

Dalila Puzzovio

Notes about Cáscaras, 1998.

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Dalila Puzzovio's Shells make up a corpus of works where objects take on a leading role in their double sense as external things but also as things that happen to them and affect the subject. Orthopedic remains, discarded plasters obtained from the Italian Hospital in Buenos Aires, carriers of the aura of the bodies that used them, were the protagonists of a mythical exhibition in 1963 at the Lirolay gallery, where the Puzzovio installation proposes a kind of reworking of a traumatic situation, erecting a monument to pain that suggests a reflection on rupture and fractured orders.

 

María Carolina Baulo, Rethink Everything notes.

Installation views of the exhibition Cáscaras , 1963, Lirolay Gallery, Buenos Aires, Argentina.

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Only dream the unspeakable, just do it until it is. Establish your own sea, your enormity.

Ananké Asseff

A mirror, a replica, an emptiness and a cast of the shape of her own face. Ananké Asseff's mask shape places a self-centered reflection. Between the skin and the bronze, the procedure installs a transition space.

 

Andrea Giunta, Rethink Everything notes.

Dream the own sea is a piece that integrates the series An Other-Place where Ananké Asseff reformulates old standards and explores in depth the concepts of order and chaos from a perspective that questions the interpretation of these notions, to reflect on the idea of change. With simple elements and complete processes, this project represents a transition space. The artist investigates the different possibilities of identifying physical phenomena in everyday life, those that can make evident the transition between the real and sensorial imperceptible. Objectualization and action are transformed into experience, into vibrations that stimulate in an invisible way, investigating the spaces that disturb us facing the idea of a new order, of new forms, of new logics.

María Carolina Baulo, Rethink Everything notes.

Milagros de la Torre refers to absent bodies from the vestiges, the forms, the clothes intended to cover them. Stockings, shoes, dress, pass, duplicated to the negative. Remains of human contacts that are imprinted by the forms that contained them. A body that falls apart into the soft forms that contained it. We navigate this dark series, full of allusions, from potential image senses.

Andrea Giunta, Rethink Everything notes.

Extract | Raid the Icebox Now with Pablo Helguera: Inventories / Inventories, RISD Museum, New York, United States.

These works belong to a series De la Torre developed in 1992 around garments and the stories they tell. The artist depicted clothing that once belonged to her mother using photogravure, a mechanical process that etches a photographic image onto a plate. Printed in negative form on very thin paper, these ethereal, spectral-like images evoke the ways our household possessions tie us to our families and our ancestors. De la Torre’s representations make me think of a phrase by Stephen Dedalus, the main character in James Joyce’s Ulysses: “What is a ghost? Stephen said with tingling energy. One who has faded into impalpability through death, through absence, through change of manners."

Pablo Helguera, Notes Raid the Icebox Now with Pablo Helguera: Inventories / Inventories, RISD Museum, New York, United States.

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‘There are two ways of spreading the light: to be the candle or the mirror that reflects it’
 

Edith Wharton

BIOGRAPHIES | CHAPTER II

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..

Dalila Puzzovio (b. 1942). Buenos Aires, Argentina.

Born in 1942, Dalila Puzzovio, was recognized in her artistic career in Argentina for merging Pop Art, fashion and conceptual art. Between 1955 and 1962 she studied with surrealist painter Juan Batlle Planas and conceptual artist Jaime Davidovich. Her first Informalism exhibition was held in 1961 at the Lirolay Gallery in Buenos Aires; and the following year, in the conglomeration of Rafael Squirru, committed to the idea of an “aesthetic renaissance” in Argentina, she participates in the first exhibition dedicated to objects, entitled Men Before Men (1962); where she exhibits her first “plaster”, next to the first mattress of Marta Minujín, and the first tie by Rubén Santantonín, amongst others. For her second individual exhibition Cáscaras 1963, curated by Rafael Squirru, she showed objects made largely of discarded plasters and other materials. She referred to these objects as “astral shells” (astral shells) because she felt that they retained the aura of the bodies they once had and were a type of medical rehabilitation. It was during the 60s, in Argentina, where several artists created the “art of things” or pop art and Dalila Puzzovio quickly became one of its protagonists, and an inspiring muse in the artistic area of the mythical Instituto Di Tella, of Buenos Aires. Puzzovio was one of thirty artists to participate in the New Art of Argentina exhibition in 1964, organized by the Walker Art Center in Minneapolis and the Torcuato Di Tella Institute. In 1964, together with Berni, Ciordia, Cancela, Carlos “Charlie” Squirru et al., in the gallery Lirolay she is part of the installation, “Death.” Puzzovio also collaborated with her husband Charlie Squirru, in artistic actions that fused performance with daily life. In 1965, for example, the large format poster they installed at the intersection of two of the main avenues of Buenos Aires that read, Why are they so great. The message was an advertisement that they themselves carried out in an act of irony towards their trajectories. Then Puzzovio began to receive multiple awards and recognitions. First, she received the National Di Tella Prize for Dalila Self-Portrait (1966), made by commercial painters and incorporating the image of the body of a famous international model, Veruschka. A year later, in 1967, Puzzovio received the Di Tella International Prize for her work Dalila double platform, a steel object that enclosed what she called “the new divine proportion” consisting of twenty-five pairs of leather double platform shoes bright fluorescent colors (being the first artist to make use of these strident colors in her works). Until 1985, Puzzovio designed costumes for cinema and theater and worked in the fashion industry. During the 80s and 90s, she made and concreted outstanding architectural projects. Until 1990 she also collaborated in several magazines as a writer and illustrator.Puzzovio works and lives in Buenos Aires..

Ananké Asseff (b. 1971). Buenos Aires, Argentina.

Ananké Asseff is a visual artist, with a formation in scenic arts and integrates different disciplines and languages. Her work includes photography, installation, video, object and performance. Her work belongs to renowned private and institutional Collections such as Tate Modern in London, J. Paul Getty Museum in Los Angeles, Museu de Arte Moderna do Rio de Janeiro, Centro de Arte Contemporáneo Wifredo Lam from La Habana and ARTER in Istanbul. From Argentina: Museo de Arte Moderno de Buenos Aires, Fondo Nacional de las Artes, the Museo Castagnino+MACRO, FOLA Fototeca Latinoamericana, the Museo Emilio Caraffa and the Museo Nacional de Bellas Artes Argentina. She has represented Argentina in international Biennials such as La Habana (2010), Bienal de Curitiva (2017), BIENALSUR (2017-2018). Her work has been featured in numerous solo and group exhibitions in Argentina, Uruguay, Brazil, Chile, Bolivia, Peru, Mexico, Colombia, Cuba, Germany, Holland, Mexico, Paris, Spain, Switzerland, United States and China.She was nominated by the Infinity Award (USA) in Art category (2017). She has received different awards and distinctions such as Konex prize in Photography, awarded by the Fundación Konex (2012), Grant from the Fondo Nacional de las Artes in (2001, 2012,2014 and 2018), ), Premio Mamba-Fundación Telefónica Arte y Nuevas Tecnologías (2011), Premio Federico J. Klemm a las Artes Visuales (2009), scholarship from the Academy of Media Arts KHM in Germany and a residency at the Banff Centre for the Arts in Canada (2004 - 2005), Premio Leonardo a la Fotografía awarded by the Asociación Argentina de Críticos de Arte (2002), Premio Salón Banco Ciudad (2002), Premio Rioplatense de Artes Visuales (2004), subsidy from the Fondo Metropolitano de las Artes de Buenos Aires (2007), among others. Her work has been published in diverse specialized publications since 2002. In 2012 she published her book ANANKÉ ASSEFF: WORKS 2001- 2012. Ediciones Lariviere, Buenos Aires. Asseff has developed in the Performing Arts (dance and theater) between 1990 and 2005. She was in charge of the artistic direction of the Biennial Foundation Medifé Arte y Medioambiente 2016-2017. She lives and works in Buenos Aires.

MIlagros de la Torre (b. 1965). Lima, Peru / Currently based in New York, USA.

Milagros de la Torre, visual artist has been working with the photographic medium since 1991. She studied Communication Sciences, University of Lima and received B.A. (Hons) in Photographic Arts, London College of Printing. She received the Guggenheim Fellowship in Creative Arts, Photography in 2011 and the Dora Maar Fellowship from The Brown Foundation in 2014, the Rockefeller Foundation Artist Grant and was awarded with the Romeo Martinez Photography Prize and the Young Iberoamerican Creators Prize (Photography) for her series The Lost Steps. In 2003, her artist book Trouble de la Vue (Paris: Toluca Editions) was published, with text by Jose Manuel Prieto and design by Pierre Charpin. Her work has been reviewed by Art in America, The New Yorker, Wall St. Journal, The Guardian, London, TIME Magazine, Beaux Arts Magazine, Paris, Jeu de Paume Museum Magazine, Paris, ArtNexus, Arte al Dia, EXIT Magazine, Atlantica Journal, Spain among others. ‘Milagros de la Torre, Photographs 1991-2011’, an extensive monograph was recently published by RM Editorial (México/Barcelona), Toluca Editions (Paris) and Lariviére Ediciones (Argentina) with a text by Marta Gili, Director of Jeu de Paume Museum, Paris. Her work has been exhibited in institutions such as: Palais de Tokyo, Centre National de la Photographie, Paris The International Center of Photography, NY; El Museo del Barrio, NY; The Art Institute of Chicago; Museum of Fine Arts, Houston; Phoenix Art Museum; Art Museum of the Americas, Washington DC.; Fondation Cartier pour l’art contemporain, Paris; FotoFest International, Houston; Museum of Contemporary Art, San Diego; Museo Nacional Centro de Arte Reina Sofia, Madrid; Casa de America, Madrid; Fotobienal de Vigo; Fundacion la Caixa, Barcelona; Centro de la Imagen, Mexico Fotoseptiembre, Mexico; Museo de Arte Carrillo Gil, Mexico; Museum of Modern Art, Mexico; MARCO Museum, Monterrey; Museo Oscar Niemeyer, Brazil; III Mes Internacional da Fotografia, Sao Paulo; Itau Cultural, Sao Paulo; Kunstforeningen, Denmark; Centro Cultural Recoleta, Buenos Aires; II Johanesbourg Biennale, South Africa; VI Bienal de La Habana, Cuba; Institute of Contemporary Art, London; Photographers Gallery, London. Sala Alcalá 31 de la Comunidad de Madrid, Madrid; Museo de Arte de Lima, MALI, Peru. She has been featured in important leading national and international publications. Her work has been exhibited broadly and is part of permanent museum collections including: The Art Institute of Chicago;  Museum of Fine Arts, Houston; Blanton Museum of Art, Austin; Harvard Art Museums, Cambridge; Princeton University Art Museum, New Jersey; Yale University, New Haven; MIT List Visual Arts Center, Boston; El Museo del Barrio, New York; The Rhode Island School of Design Museum, Providence; Diane and Bruce Halle Collection, Phoenix; Worcester Art Museum, Massachusetts; Fonds National d’Art Contemporain, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Essex Collection of Art from Latin America, U.K.; Universidad de Salamanca, Spain; Museo de Arte Carrillo Gil, Mexico; Museo de Arte de Lima, MALI, Peru; Museo Nacional de Bellas Artes, Argentina; MALBA, Argentina.

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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AUDIOVISUAL GUIDE