MATERIA NO TAN GRIS
Seminario intensivo de formación en prácticas artísticas contemporáneas vinculadas al arte en contexto y nuevos documentalismos.
UNA HISTORIA DE ABAJO HACIA ARRIBA
New York University in Buenos Aires. Abril 2019
Conferencia performática. En castellano e inglés.
“Una historia de abajo hacia arriba” es una investigación con herramientas artísticas y que por su carácter documental adopta la forma de conferencia performática o performance a secas para sus presentaciones.
La obra comenzó en 2016 comisionada por el Teatro Nacional Cervantes para su ciclo “Territorios en conflicto” con curaduría de Gabriela Massuh y Carlos Gamerro. Desde ese momento la enriquecemos y actualizamos permanentemente. Trabajamos interdisciplinarmente con Marcos Chinchilla, Andrea Gati, Guillermo Luciano Gómez y también con un gorila y un dinosaurio. Desde nuestras distintas proveniencias disciplinares (el arte, la actividad física, la política partidaria) todes compartimos el activismo cultural-urbanístico y la militancia antiliberal.
En “Una historia de abajo hacia arriba“ damos vuelta las narrativas sobre la ciudad de Buenos Aires, confrontando la realidad con algunos de sus mitos fundacionales modernos y poniendo de relieve el BuenVivir como ideal, por sobre la eficiencia y una “puesta en valor” que sólo beneficia a la especulación inmobiliaria llevada a cabo por las administraciones políticas y económicas de la Ciudad en connivencia con un sector privado angurriento. Unimos “los sures” de la ciudad remontando el Riachuelo, desde la Villa 20 hasta Puerto Madero pasando por la Villa Olímpica y el ex-Parque de la Ciudad, reviviendo discursos frustrados, platas robadas y recuperando las voces indómitas de sus habitantes. Nuestro punto de vista no es el hegemónico, ni un lugar común: nuestro lugar es el de la defensa de la justicia espacial y los espacios verdes para todes. No hacemos “historia”, hacemos crítica. No somos fantasiosos, somos cuerpos deseantes. No creemos en globos de colores, plantamos semillas nativas. Hablamos, corremos, jugamos, dibujamos, compartimos. Y contagiamos a lxs alumnos y profesores de la NYU quienes con inmensa paciencia y en dos idiomas nos escucharon y preguntaron durante dos horas!
Muchas gracias a la institución y a Guido Herzovich por la invitación y el respeto por nuestro trabajo.
VAMOS A LA PLAYA
Feria Internacional del Libro en Buenos Aires. Mayo 2018
Performance y presentación de mi novela gráfica “Vamos a la playa”
Junto a Kekena Corvalán y Editora Tren en Movimiento
ARCANA IMPERII The secrets of the empire
With:
Efrén Álvarez, Azul Blaseotto, Núria Güell, Ella Littwitz, Regina de Miguel, Javier Peñafiel, Ignasi Prat, Jonas Staal, Katarina Zdjelar
FUERA DE CUADRO Out of frame
Seminario intensivo de formación en prácticas artísticas contemporáneas vinculadas al arte en contexto y nuevos documentalismos.
Buenos Aires junio 2019
Cuatro encuentros para ver, conocer y analizar el llamado "giro documental" en las prácticas de arte contemporáneo desde 2000; activar el sentido narrativo-ensayístico; comprender el alcance del "arte en contexto" y calibrar las diferentes estrategias que adoptan estas prácticas para con la realidad.
-Seminario de formación dirigido a artistas visuales, fotógrafos, creadores, gestores e interesades.
- No son necesarios conocimientos previos
- Se comparte bibliografía específica
-Es más formación que clínica, la clínica es a posteriori.
- No es historia del arte
- No son necesarios conocimientos previos
- Se comparte bibliografía específica
-Es más formación que clínica, la clínica es a posteriori.
- No es historia del arte
-INFORMES E INSCRIPCIÓN: azulblaseotto@yahoo.com
UNA HISTORIA DE ABAJO HACIA ARRIBA
New York University in Buenos Aires. Abril 2019
Conferencia performática. En castellano e inglés.
“Una historia de abajo hacia arriba” es una investigación con herramientas artísticas y que por su carácter documental adopta la forma de conferencia performática o performance a secas para sus presentaciones.
La obra comenzó en 2016 comisionada por el Teatro Nacional Cervantes para su ciclo “Territorios en conflicto” con curaduría de Gabriela Massuh y Carlos Gamerro. Desde ese momento la enriquecemos y actualizamos permanentemente. Trabajamos interdisciplinarmente con Marcos Chinchilla, Andrea Gati, Guillermo Luciano Gómez y también con un gorila y un dinosaurio. Desde nuestras distintas proveniencias disciplinares (el arte, la actividad física, la política partidaria) todes compartimos el activismo cultural-urbanístico y la militancia antiliberal.
En “Una historia de abajo hacia arriba“ damos vuelta las narrativas sobre la ciudad de Buenos Aires, confrontando la realidad con algunos de sus mitos fundacionales modernos y poniendo de relieve el BuenVivir como ideal, por sobre la eficiencia y una “puesta en valor” que sólo beneficia a la especulación inmobiliaria llevada a cabo por las administraciones políticas y económicas de la Ciudad en connivencia con un sector privado angurriento. Unimos “los sures” de la ciudad remontando el Riachuelo, desde la Villa 20 hasta Puerto Madero pasando por la Villa Olímpica y el ex-Parque de la Ciudad, reviviendo discursos frustrados, platas robadas y recuperando las voces indómitas de sus habitantes. Nuestro punto de vista no es el hegemónico, ni un lugar común: nuestro lugar es el de la defensa de la justicia espacial y los espacios verdes para todes. No hacemos “historia”, hacemos crítica. No somos fantasiosos, somos cuerpos deseantes. No creemos en globos de colores, plantamos semillas nativas. Hablamos, corremos, jugamos, dibujamos, compartimos. Y contagiamos a lxs alumnos y profesores de la NYU quienes con inmensa paciencia y en dos idiomas nos escucharon y preguntaron durante dos horas!
Muchas gracias a la institución y a Guido Herzovich por la invitación y el respeto por nuestro trabajo.
VAMOS A LA PLAYA
Feria Internacional del Libro en Buenos Aires. Mayo 2018
Performance y presentación de mi novela gráfica “Vamos a la playa”
Junto a Kekena Corvalán y Editora Tren en Movimiento
ARCANA IMPERII The secrets of the empire
Curated by: Oriol Fontdevila
Centre del Carme, València, Spain
22 September 2017 – 7 januar 2018
Arcana Imperii holds projects of artists that take bureocracy as the media to produce their work. Facing the symptoms of exhaustion that the representative democracy shows up these days, Arcana Imperii starts from the premise that a political change cannot occur whether it doesn’t involve the bureaucracy. The exhibition launches a bunch of new brand projects there has been produced questioning several aspects of the Valencian administration, which are showed together wih other projects that interpellate diffent administration systems from around the world.
With:
Efrén Álvarez, Azul Blaseotto, Núria Güell, Ella Littwitz, Regina de Miguel, Javier Peñafiel, Ignasi Prat, Jonas Staal, Katarina Zdjelar
FUERA DE CUADRO Out of frame
Galería Pasaje 17, Buenos Aires 2015
Curator: Kekena Corvalán.
Artists: Azul Blaseotto, Grupo ETC..., Pao Lunch, Graciela Ieger
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| Installation (digital and analog fotography, drawing on paper, paint on the wall, text) |
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.
REGISTRO EXACTO.
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.
Enter the work ART area only when the elevator WORK stands still
CABEZAS Heads
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
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