FUERA DE CUADRO Out of frame
Galería Pasaje 17, Buenos Aires 2015
Curator: Kekena Corvalán.
Artists: Azul Blaseotto, Grupo ETC..., Pao Lunch, Graciela Ieger
In 1905 the Argentine sculptor Rogelio Yrurtia design an as original as disturbing version of justice. In contrast to the classical representation, where Justice is blindfolded and holding a sword in one hand and in the other a balance, Yrurtia conceived his piece with open eyes, without attributes, with arms extended forward and the palms of its hands down.
The oral history tells that due this innovation the Argentine State, principal of the work, would not paid it and so the sculpture did not reach its intended destination, the Court Palace. A case of artistic originality versus conservatism at the beginning of the construction of the Nation and its main public buildings.
The republican conception in which the state is based establishes the division of powers for his government. On Sunday May 30, 2015, the journalist Horacio Verbitsky noticed from the daily Página12 the original but wrong version that gave the current President of the Supreme Court on the power of the judiciary. Dr. Ricardo Lorenzetti said that "we, judges, put limits to the governments". Any child educated in the public school knows that exclusively the legislative power makes the laws, that authority is granted by the popular will that choose it, and that the judiciary is responsible for the administration of justice, exclusively.
The blindness of justice was always explained as an allegory of impartiality for to pass its judgments and as a guarantee of equality of all citizens before the law. For some reason the artist considered it important that justice had the ability to work with visual evidence.
Such "out of frame" of the President of the Court should be read into the process of politicization of justice, by which some of its members, representing factic powers, dispute the construction of a counter-hegemonic government project that wants to expand the social inclusion. The displacement becomes image during the "18F protest".
The mysterious death of the Prosecutor Alberto Nisman the January 18, 2015, a day before his statement in Congress to support his accusation to the President of Argentina Cristina F. de Kirchner by alleged covering up the terrorist attack on the AMIA (Jewish House) July 18 1994, is one of the most shocking police events in recent times in the country with global implications. The march organized by some prosecutors in honour of the deceased colleague and as a street action to demand peace and justice, was an unprecedented strategy to try to gain popularity by the single state power that is not elected by popular vote. Although self-declared "apolitic" the demonstration was accompanied by political, business sectors and trade unions, all representing the oppositional voice to the current government, and the multi-media group that fails to submit to the Audiovisual Law. Thus, out of frame, the politicization of the Justice converged with the "depoliticization" of the politicians.
Judicial officers who work in the Court Palace walk every day in front of a copy of the sculpture designed by Yrurtia. In 1959, five decades later than planned, the State and the Court finally took in the strange figure of Justice. The sculptor never knew it because he was already dead. In life, the work had been acquired by his friend, the aristocratic lawyer Carlos Delcasse, who settled it in the family mausoleum in the cemetery of Vicente Lopez. Delcasse was a renowned fencer, duelist and shooter. Unlike violence by the lower classes, to that practiced by the upper classes was called sport.
From blindness to vision, from to hold a sword to bear arms forward, from the cemetery to court, from privileges for few people to the equality of all before the law, the justice, the memory and the truth make their way in life.
|Dibujo s/papel. lápices de colores. 50x70 cms|
|Fotografía analógica bco/ngro. 40x100 cms. Impresión inkjet|
EL FUTURO The future
Museo de Arte Contemporáneo de Mar del Plata 2015
Curator: Rodrigo Alonso
Installation (photos, drawings, mural painting)
The future is a project that began 2005 when Alfredo, a textil worker from the factory Brukman introduced me Beto, a naval worker. Since that moment and until today “The future“ is a work in progress. It grew out my interest to know closely the every day development of a labor and economic alternative organization. United naval worker´s shipyard is a work cooperative formed today by twenty four workers and it is located in the Dock Sud, where the harbour Puerto Madero ends and the River Riachuelo flows into the river Río de la Plata. This is also the area where I grew up. This harbour landscape I have it under my skin.
The cooperative functions within the National Movement of Recovered Factories and was founded by the former employees of the private shipyard when their owners went bankrupt. This was one of the expressions of the collapse of the neoliberal model of the 90´s. So 2003 was born the first shipyard in the country run by workers. In an assembly they decided to baptize the first photo installation I created about the naval daily work, by unanimous vote, The future, as a commitment and also a desire.
In 2012 they managed to build the first boat. My installation continues changing, modifiying and adding new photos and drawings as the future is made reality.
DIBUJO DOCUMENTAL EN LOS JUICIOS POR CRÍMENES DE LESA HUMANIDAD
Registro exacto. Documentary drawing at the trials in crimes against humanity
Museo de Arte Contemporáneo de Chile, 2015
Curators: Loreto Garín and Federico Zuckerfeld
Installation (drawings, fanzines) based on a work in progress since 2010.
I draw at the court of federal justice in BA attending to the trials, where former military, priests and civil people are investigated because of their participation in the last dictatorship in the country (1976-1982)
Installation view. next to it the work of Juan Carlos Romero
Installation view. Right next to it the work of Marcelo Brodsky.
CÓMO CONSTRUÍR UN MUSEO How to build a museum
Plataforma de Pensamiento e Interacción Artística_La Dársena, BA 2013
Installation (photos, drawings, comic and book) based on a research project with artistic methods on the power relations between culture and nature.
Mar del Plata is the second major touristic city in the country after the capital and its located on the coast of Buenos Aires. In the city you find the most important artificial harbour in the country. However the city is broke. In this context the construction and prompt opening of a museum of contemporary art there (which happened 2014), even without a proper collection of contemporary art, triggers the exploration of the local natural reserve of sea lions, the unofficial art history and the urban development under the state branding lens. The works (photographs, drawings and cartoons) were produced up to the dialogue with marine biologists, architects and museum directors.
In the course of the exhibition will feature presentations by special guests.
Cómo construír un museo is part of the project with artistic methods "Hegemony. Messing the Capital´s agendas "that Azul Blaseotto, Santiago Fredes, Eduardo Molinari, Valeria Serulnicof Serue and Gabriel develops in the art and activist space in Buenos Aires, Argentina, La Dársena_Plataforma de Pensamiento e Interacción Artística between 2011-2013. With support of FNA/ National found for the Arts – Argentina
EXTRANJERA Being a foreign
Galería Arcimboldo, BA 2013
Curator: Pelusa Borthwirck
Installation (22 notebooks, drawings, texts, objects and a fiction-visa for Germany)
Coming from South America I needed a three years visa to do a pos-tgraduated study at the Universität der Künste in Berlin. I became a, word-for-word, “fiction document“. As a real person I could stay at the territory but I was forbidden to work, even as an artist. For two years I interviewed other “privileged migrants“ (after the concept of Aijaz Ahmad, meant for the people who migrates not as asylum seekers but as students) and drawned their stories.
ECCHR / European Centre for Constitutional and Human Rights, Berlin 2012
Installation (photos, txts and book) based on a research project with artistic methods
on the power relations between ideology and architecture. Together with Eduardo Molinari.
In 1975, Hotel Carrasco in Montevideo, Uruguay, was the venue of the »XI. Conference of the American Armies«. During this event, which took place in a luxurious atmosphere and whose context remained obscure, strategic agreements for the future launch of »Operation Condor« were concluded. This formed the basis of state terror- ism that enabled the construction of the neoliberal net which haunts us until today.
EL OBJETO DE(L) ARTE The object of (the) art
Bar in Radio La Tribu, Buenos Aires 2010
Curators: Karina Granieri, Agustin Blanco
Intervention in the tables of the bar (a comic drawn in five tablecloths)
What? The artist works without a payment?
BLUMENSPRACHE Flowery language
Flower market in Berlin, Germany 2008
Curators: Antje Weitzel, Christoph Tannert, Claudia Wahjudi, Peter lnag, Annika vin Taube, Andreas Bruekman
Intervention in the elevator of the old (just about to be the ex) flower market in Berlin (graphic intervention, Rosmarin plants, lights and flower wagons)
In the early 18th century Lady Mary Montagu recounted in his "Correspondence from Istanbul" on the flowers as a means of communication. Each floral type, species, color and form, everything has a meaning. According to its classification, the red rose symbolizes "love", the white calla "death", the flower of rosemary "farewell", etc ... In the combination of different flowers that make up a bouquet can express more complex messages.
In a elevator (forklift) of the future ex- flower market in Berlin a rosmary meets a carnation. The first says "I abandon you" and the second replies: "I'm still available"
The labor market in Berlin is not a bed of roses, it is said here in a flowery language. However Berlin's cultural industry blooms all year long. While rosemary is dismissed from the work that inhabits the Flower Market, the carnation is celebrating its re-functionalization by the advent of a new Museum of Contemporary Art.
work ART area only when the elevator WORK stands still
Ludwig Museum, Köln, Germany 2004
Curator: Alice Creischer, Andreas Siekmann
Installation (tryptichon oil on canvas 1x2mts; 5x2mts; 1x2mts; markers on paper; drawings)
A detail from the central and frontal part.
Installation view: Cabezas in dialogue with Tucumán Arde
(Archive Graciela Carnevale)
A second detail from the frontal central part.
A detail from the back site of the central part.
PUERTO PROYECTADO (2003)
Open Studio BA in ex-Harrod´s
Curator: Ana Maria Battistozzi