One of the areas in which feminism has investigated is directly linked to nature. The policy of care, which in the current state of the world has taken a new centrality, extends urgently to the care of nature, to a relationship with it in which the human does not make use of its sources of reproduction and survival to plunder them, to exhaust them, but instead to develop his life from a coexistence that allows the continuity of life. The record of the performance in which Maria Teresa Hincapié introduced a tree in a Church, Jackie Parisier's photographs, Elba Bairon's drawings, Nicola Costantino's sculptures, Florencia Levy's photograph in China, they summon, from the images , critical thinking about such a state of the world. The friction between that dead lake in China and the turbulent nature within a sacred space, actívate the question: what do we do in the current state of an exhausted world?

Andrea Giunta, Rethink Everything notes.

  The gesture of propping up a tree within a Church, one of María Teresa Hincapié's last works, introduces the record of a performance impregnated with the sacred environment in which it happened. The monumentality of the erect tree in a context that is strange –the reverberation produced by the foliage in that space surrounded by altarpieces and sacred ornaments–intensifies the urgency that this exhibition presents: the evidence of the need to rethink everything.

Andrea Giunta, Rethink Everything notes.


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Jackie Parisier activates an archiving and editing process that multiplies and dilutes the contours of the body in relation to nature. The device is simple. The image is activated by a procedure of exposure of the image and of contrast with a natural context in which it is replicated and diluted. That misty area in which the body merges and distinguishes itself is of interest. A body that seems to be erased in its contact with nature, and which at the same time sets the limit of the human. In this reflection, the expanded contour of a relationship that is questioned in its zones of friction and interrelation is visible. A contemporary theme.

Andrea Giunta, Rethink Everything notes.

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Elba Bairon's drawings in the 1990s cross human bodies and animal life. An exalted sexuality crosses these extensions of sexed life, intensely feminine, which expands the drawing in bodies, snails and joyous excrescences.

Andrea Giunta, Rethink Everything notes.

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In Chanchobola, Nicola Costantino compresses an animal shape into a spherical shape. A biopolitical approach to the ways of arranging bodies. In its distributions you can feel the animal skin that is replicated in a mimetic way. In a photo Nicola arranged its forms in the landscape, on the green grass, equidistant. You can feel the human intervention that is what also controls and exploits nature. We can bring to the analysis the debate on the anthropocene, on the human impact on the planet. When I saw it, the image replicated to me the preception Lucio Fontana's Naturas in the sculptural park of the Hirshhorn Museum in Washington. I saw them there two days before the attack on the twin towers. Many other echoes of representations of art, of experiences of time, resonate in an image.

Andrea Giunta, Rethink Everything notes.

The visual arts would make visible forces that are not. I think there is a kind of key. Behind our consumption there are monstrous forces of animal annihilation and processing. These forces are invisible, and they acquire a visibility in Nicola's work that they usually do not have and that one would hope they never had.

There is a logic, which is what allows us to organize everything based on your identity as a whole. There is something that escapes, to that logic, something that is there for the first and last time. A pig is not something that one can reduce to an identity, it is something that one sees for the first time and possibly for the last time where it is found. The possibility of achieving success, an art that is produced despite the culture of liking and despite the culture of invisibility, hopefully constitutes a form of legacy.

Florencio Noceti. Los Visuales: Nicola Costantino. Canal Encuentro.

07b-j-Nicola Costantino Black and White

The relations between body and nature reach a liminal record in the photograph that Florencia Levy took in China, during a residency, in which she traveled to the north of this country, photographed an artificial lake with radioactive waste, and was arrested by the police, who accused her of being a spy. The work, made up of the only photograph she managed to preserve and the unstable images of the police interrogation, which did not believe she was an artist, brings us closer to high-surveillance societies and areas of extreme contamination on the planet.

Andrea Giunta, Rethink Everything notes.

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Captura de pantalla 2020-06-22 a la(s) 1

(...) Baotou means in Mongolian "Land of deer" but it is almost impossible to imagine a group of deer jumping around in that landscape. People from the area who used to be farmers still can remember the watermelons fields, eggplants and tomatoes that used to grow where the toxic lake stands now.

Florence Levy


Jackie Parisier (b. 1968). Buenos Aires, Argentina.

She studied painting with Victor Chab, Ahuva Schlimovich and Ernesto Bertani. She lived in New York (1988/94) where she has received the Bachelor of Fine Arts, Major in Communication Design, Minor in Photography (cum laude, 1990). Completed additional courses at Cooper Union and School of Visual Arts, NY (1988/1992). She experimented with various photographic techniques: Cianotype, Liquid Light and Polaroid Transfers. Revealed in Black and White. She has been doing photographic work since 1990. She worked as Art Director and Designer in the United States at Martha Stewart Living Magazine and Addison Design Company (1991/94). She has been selected in the following awards: American Institute of Graphic Artists Award (1992) and International Center of Typography Award (1993). She has curated Henry Wolf’s retrospective exhibition at the National Museum of Fine Arts in Buenos Aires, brought entirely from New York (1995). She worked as professor of Design 1 and Workshop 6 at the University of Palermo in Buenos Aires (1996/98). Conducts Workshop with Fabiana Barreda (2009/10). It is formed in an individual clinic with the artist Gabriel Valansi (2011). Travel to Santa Fe Photographic Workshops in New Mexico, doing “Lighting Portraits on Location” by Alan Thornton and “Natural Eye” with Eddie Soloway. She made her first solo show “Rapture” at Bisagra Arte Contemporáneo Gallery, Buenos Aires (2011) of Photographs and Video Objects. Her second solo show “Days Old” opened in August 2016 at the Rolf Art Gallery, Buenos Aires. Her participation in group shows include: Lima PARC (Peru) April 2018 and 2017 at the Rolf Art Gallery, Itaú Visual Arts Award 2018; Art x Art Award (2017) Buenos Aires, ArteBA (2016) Rolf Art Gallery, Buenos Aires; ArteBA (2011) Bisagra Arte Contemporaneo Gallery, Buenos Aires; Jardin de Ficciones Galeria Laura Haber (2009); Buenos Aires Photo, Laura Haber Gallery, Palais de Glace, Buenos Aires (2008). Finalist Artist in Itaú Visual Arts Award 2017/18, First Prize for Photography in MACsur Visual Arts Award 2018, Selected Artist in Arte x Arte Award (2017), Selected Artist Foto em Pauta (2017) Photography Festival in Tiradentes (Brazil) and winner of the best Portfolio award. Attended the University Torcuato Di Tella (2011) The Presence of the Artist, Alan Pauls; Bruce Altshuler’s Exhibition History (2014). Organizes a workshop and conference at the Museum of Latin American Art in Buenos Aires (MALBA) by the American artist Eddie Soloway together with Central de Proyectos (2012). Lives and works in Buenos Aires.

Elba Bairon (b. 1947). La Paz, Bolivia. Lives in Buenos Aires since 1967.

She is considered one of the main artists of her generation working in sculpture in Argentina. She has been exhibiting her works since the Eighties. She has participated in shows at Centro Cultural Rojas, Fundación Telefónica, Centro Cultural Recoleta, Museo de Arte de Bahía Blanca, Argentina; Instituto Italo Latinoamericano Rome, Italy, Centro Cultural Cándido Mendes, Rio de Janeiro, Brazil, Art Basel, ARCO Madrid, Art Frankfurt. En 2015 presented a seminal solo exhibition at MALBA, Museo de Arte Latinoamericano de Buenos Aires. She has been awarded the Fisrt Prize from Klemm Fouindation and the Grand Prize at Salón Nacional Nuevos Soportes. Her works integrate the collections of all major museums in Argentina and in numerous private collections. 

Nicola Costantino (b. 1964). Rosario, Argentina.

In twenty years of production her work has evolved from sculpture, clothing, mechanical objects and installations to photography and videoinstallation. The body is the constant focus of her field of investigation, and the artist refers to the violent treatment it receives at the hands of consumption and fashion. Over the last decade, Costantino includes herself autoreferentially in her photographic and video art production. She portrays scenes of art history and paradigmatic female characters, constructing the subject of the image on the basis of performance and acting in careful scenographies. The manufacture of her objects and the images capture an acute sense of beauty, provoking at the same time a certain atmosphere of discomfort that is hard to resolve. Some of her most recent projects include Rapsodia Inconclusa (Colección de Arte Amalia Lacroze de Fortabat, 2015), Eva–Argentina. Una metáfora Contemporánea (55th Venice Biennale, 2013), Alteridad (Centro Cultural Santa Cruz, Rio Gallegos; Museo Provincial Rosa Galisteo, Santa Fe; Museo Provincial de Bellas Artes Dr. Pedro E. Martínez, Paraná; ECU, Rosario; Nave Cultural, Mendoza; Centro Cultural J.A. Conte Grand, San Juan, 2012-13) and Exposición Monográfica (Daros Latinoamérica, 2011).

Florence Levy (b. 1979). Buenos Aires, Argentina.

She Studied at Central Saint Martin College of Arts & Design, London and Visual Arts at the National University Institute of Arts (IUNA) Buenos Aires , guidance in Painting. Her work exists in a wide variety of media including video, photography, painting, Site specific installation and collaborative projects. In 2004 she attends workshops with Pablo Siquier and was invited to participate in the ones given by artist Pablo Vargas Lugo at Malba. In 2005 was awarded with the E-com Scholarship given by the Foundation of Puerto Rico which included meetings and workshops under the guidance of Diana Aisenberg. Also joins the analysis workshop coordinated by Ernesto Ballesteros. In 2007 is awarded with the scholarship program INTERCAMPOS III, Telefónica Foundation. Her work has been exhibited internationally and she has received numerous prizes, grants and awards including Fellowships for International Artist in Residency Program in USA, Taiwan, The Netherlands, Cuba, South Korea and Japan. .

María Teresa Hincapié (b. 1956 - 2008). Bogota Colombia.

María Teresa Hincapié 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.

Rodrigo Orrantia (b. 1975). Colombia / UK.

He is an art historian and curator. He has a degree in Fine Arts from the University of Los Andes (Colombia) and Goldsmiths (London). He has a master’s degree in History of Art and Architecture from the National University of Colombia, and a master’s degree in historical and contemporary photography from the Sotheby’s Institute of Art in London. He lives in London, where he currently works as a photography curator and consultant for Lucid-ly, where he advises artists, private collectors and public institutions in the development of photographic projects, exhibitions and publications. Lately her practice has focused on commissioning and producing print and online content around artistic photography practices in Latin America and the UK.

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