calendario eventi  :: 

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18/3/2015

Three exhibitions

Malba - Coleccion Costantini, Buenos Aires

Experiencia Infinita

Artists:
Allora & Calzadilla [Jennifer Allora (Filadelfia, 1974) y Guillermo Calzadilla (La Habana, 1971)]
Diego Bianchi (Buenos Aires, 1969)
Elmgreen & Dragset [Michael Elmgreen (Copenhague, 1961) e Ingar Dragset (Trondheim, Noruega, 1968)]
Dora García (Valladolid, 1965)
Pierre Huyghe (París, 1962)
Roman Ondák (Zilina, Eslovaquia, 1966)
Tino Sehgal (Londres, 1976, vive en Berlín)
Judi Werthein (Buenos Aires, 1967, vive en Miami).

Curator: Agustín Pérez Rubio

In March will open at MALBA Infinite Experience, an exhibition of live works that incites reflection on forms of life as well as art and the museum, The works featured in an event with no precedent at a museum in Latin America consist of constructed situations, live installations, and representations and choreographies created in the first years of the 21st century.

Works by eight outstanding artists from Argentina and abroad will be featured in the exhibition: Allora & Calzadilla [Jennifer Allora (Philadelphia, 1974) and Guillermo Calzadilla (Havana, 1971)], Diego Bianchi (Buenos Aires, 1969), Elmgreen & Dragset [Michael Elmgreen (Copenhagen, 1961) and Ingar Dragset (Trondheim, Norway, 1968)], Dora García (Valladolid, Spain, 1965), Pierre Huyghe (Paris, 1962), Roman Ondák (Žilina, Slovakia, 1966), Tino Sehgal (London, 1976; he lives in Berlin), and Judi Werthein (Buenos Aires, 1967; she lives in Miami). This is the first time most of these artists have shown their work in Argentina.

The exhibition is born of a question: Is a live museum—where the works act, speak, move about, and live eternally—possible? For Agustín Pérez Rubio, artistic director of MALBA and curator of the exhibition: “The works in Experiencia Infinita are particularly concerned with the idea of the living as work and as a component of a kind of art that ensues not only in time but also in space: experience as journey, different situations that take place one after another,” he explains.

Infinite Experience is not a historical exhibition. It does not attempt to locate the precedents of live art, which partakes of theater, action, dance, performance, set design, and literature. It was in the sixties that production of this sort—which is still hard to categorize—first took shape. “Tino Sehgal, with his ‘constructed situations,’ and Dora García, with her ‘inserts in real time,’ may well be proposing other categories within these new modes of production and reception of art—something other than performance”, states Pérez Rubio, who, in his curatorial essay, places emphasis on the need to study and valorize work of this sort.

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Osías Yanov

In 2014, MALBA invited a group of young Argentine curators to formulate proposals for a project linked to the idea of performance geared specifically to the museum’s space. Laeticia Mello (Buenos Aires, 1983) devised the winning project in conjunction with artist Osías Yanov (Buenos Aires, 1980). “Yanov’s proposal for MALBA is based on research into gestural operations taken from the Argentine cultural machinery that are then processed to form a new image at the boundary of the sexed as dissident posture,” Mello explains.

If a routine of movements were capable of establishing a law, what would a parliament of bodies based on choreographies be like? Through performance practices in relation to sculptural elements, this work explores the individual as generator of changes by means of his or her physical reverberations.

Osías Yanov conceives of the body as an endless reservoir of meanings. In his work, that conception yields a space of communication that goes beyond the strategies of a merely visual language to take the shape of a discourse of action that lies beyond the norm. “Performer and sculpture come together in his work in a new gestural code rooted in a dynamic of movement between body, object, and viewer that challenges the limits of representation in performance and the visual arts,” Mello asserts.

Enunciation of the Body
Curator: Laeticia Mello

The curatorial design entails four simultaneous clusters of action on different floors of MALBA. One day of the week, ten performers chosen on the basis of bodily stance or personality will use iron sculptures previous produced by Yanov as scores to compose a choreography. On a formal level, the sculptures dialogue with the performers.

In Mello’s word, “This body of work formulates four topics—boundary, penetration, subjugation, and synthetization—through which the performers dialogue with the museum’s structures and architecture. The pieces trace a diagram of vital exercises where bodies attempt to explore sensibilities beyond the conditions of gender, territory, and identity.”

One of the resources that furthers the conceptual alteration of the body in Yanov’s work is the use of cat suits. The performers wear outfits made of artificial materials and shiny plastics whose metallic textures are “reminiscent of techno-performances where the identity of the body is lost and conceptions of gender challenged in a desire to connect to deeper aspects of its being,” the curator explains.

A book featuring documentation of the work, an introduction by Agustín Pérez Rubio (artistic director of MALBA), and a curatorial essay by Laeticia Mello entitled “Osías Yanov: Enunciación del cuerpo” will be published in conjunction with the exhibition.

The exhibition takes place in the framework of the Bienal de Performance BP.15.
Header image: Soledad Manrique Goldsack.

Osías Yanov
Buenos Aires, Argentina, 1980.

Osías Yanov’s work ensues at the threshold between the disciplines of dance and sculpture. Through form, gesture, and symbol, his works address issues of gender identity, the reconfiguration of the body in response to its environment, and pain as a form of ecstasy and liberation.

Yanov has studied at the most prestigious centers of art education in Argentina: the Universidad Torcuato Di Tella/Beca Kuitca (2010-2012), the Centro de Investigaciones Artísticas (CIA) (2009-2010), Intercampos/Fundación Telefónica (2007-2009). He has studied theater, dance, and choreography with important figures like Florencia Vecino (contemporary dance) and Vivi Tellas (biodrama).

In pursuit of a broader conception of authorship, Yanov and four other artists working in different fields founded the Rosa Chancho art collective in 2006. Rosa Chancho uses the performance medium to create narrative moments where it is impossible to distinguish between group and individual.

Starting in 2006, exhibitions of his work have been held in Argentina, Spain, France, Brazil, and Russia. His works are part of the collections of the Cisneros Foundation, Jorge Federico Klemm Foundation, the Museo de Arte Contemporáneo de Rosario, Argentina (Macro) and the Museo de Arte Moderno de Buenos Aires (MAMBA), among others. He is currently applying his research to the sphere of education.

Performers:
Nacho Arias
Gabriel Bergonzi
Maurox García
Nacho García Lizziero
Joinner Hoyos
Franco La Pietra
Gastón Ledezma Foster
Gastón Osiris
Jair Jesus Toledo
Max Vanns

Performance: Starting March 26, every Thursday at 7:00 p.m.

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Annemarie Heinrich
Secret Intentions

Curated by Victoria Giraudo and Agustín Pérez Rubio, features a selection of 90 vintage photographs—many of them on exhibit for the first time—from the thirties to the sixties. On the basis of feminist theory, the exhibition focuses on the more intimate and personal work of Annemarie Heinrich (Darmstadt, Germany, 1912– Buenos Aires, 2005), an emblematic 20th-century Argentine photographer whose more commercial production—she was one of the great portraitists of Argentine movie stars of the forties—obscured her more personal work. Heinrich had an avant-garde approach to the body and to female sexuality and sensuality; this exhibition will revolve around her nudes and the register of her intimate world and family life.

Annemarie Heirich (Darmstadt, Alemania, 1912 – Buenos Aires, 2005). Heirich began experimenting with photography in a m akeshift darkroom in her home. In 1930, she opened her first studio and, in 1933, she began working with local gossip magazines. During the same period, she began her career as a portraitist of important figures associated with e Teatro Colón. For forty years, she provided all the cover images for the Antena and Radiolandia. In the forties, she became known for her portraits of Argentine movie stars, specializing in the portrait and the nude genres. In addition to her professional photography, she did more experimental work with the photographic image, especially during her travels. Heinrich was a pioneer in envisioning photography as an art form.
Her first solo exhibition was held in Chile in 1938 and it was followed by a great many exhibitions in Argentina and abroad. She was the founder of the Carpeta de los Diez and of the Consejo Argentino de Fotografía, and the director of the Asociación de Fotógrafos Profesionales. She sat on the jury of the Federación Argentina de Fotografía and the Foto Club de Buenos Aires. The awards she was granted over the course of her lifetime include an honorary excellence distinction from the Federation Internationale de l'Art Photographique. She lived and worked in Buenos Aires from 1926 until the time of her death in 2005.

Image: Osías Yanov, VI Sesión en el Parlamento.

Press office
T +54 11 48086500 prensa@malba.org.ar
Guadalupe Requena T +54 (11) 48086507 grequena@malba.org.ar
Fernando Bruno T +54 (11) 48086516 fbruno@malba.org.ar

Opening: Thursday, March 19, 7:00 p.m.

MALBA
Avda. Figueroa Alcorta 3415 Buenos Aires Argentina
Hours:
Thursday–Monday noon–8pm,
Wednesday noon–9pm

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