My texts
Junthhall-pakeri
October 2 to November 15, 2020. Site specific installation at the Juan Barjola Museum, Gijón, Asturias.
"Junthhall-pakeri" is an Aymara expression that means the patch which the Indian grandmother protector of her Earth covers her head. In the installation this “patchwork” element is reproduced in the tapestries and in the sculptures made with remains of crocheted fabric and which are the common thread of this project. I put in relation these materials and images that recall the everyday life, the domestic space and the female universe, in harmony with compositional forms that pay homage to the cosmovision of aboriginal cultures. This project translates, in images, space and words, the set of questions that remain open and emerge in these months of pandemic crisis.
The ideation of this work is nourished (mainly) by my approach to "The sociology of the image" (2015) by Silvia Rivera Cusicanqui, which, according to the author, is a kind of "art of doing", a theoretical, aesthetic and ethics that seeks to eliminate the borders between artistic creation and conceptual and political reflection. In this text, he develops his commitment to the decolonization of the gaze, which "would consist in freeing the visualization from the ties of language and updating the memory of experience as an indissoluble whole, in which the bodily and mental senses merge. It would then be a kind of memory of doing, which, as Heidegger would say, is above all a dwelling”. Motivated by these and other readings, I propose a scenery that invites you to think about this ambitious goal, the integrality of the experience of live. For this reason, the word inhabit appears in my work, applied or embroidered, translated into the 14 most spoken languages of the world (1. Mandarin Chinese, 2. Spanish, 3. English, 4. Hindi, 5. Arabic, 6. Portuguese, 7. Bengali and others). The same word in different languages brings out a significant aspect of this political and social context, our delicate situation does not distinguish borders. Also holding, together with this author: “From ancient times to the present, the weavers and the astrologer poets of the communities and towns are who reveal to us, that alternative and subversive framework of knowledge and practices, capable of restoring the world and returning it to its own riverbed”.
I would like to expose the key concepts, which arise from recent readings and which participate in my work proposal in some way.
Ordinariness: Cusicanqui says, micropolitics is below the radar of politics and works on small groups and bodily actions that let to flourish spaces of freedom. It is about re-politicizing everyday life, whether from the kitchen, the work or the garden. It proposes to articulate manual work with intellectual work, to produce thought from the everyday. In accordance with the idea of practicing the decolonization through the body. She explains that it is not said, it is done.
Weavers: the choice of fabric and embroidery, the tapestry format and the sinuous shapes in my project make sense as a metaphor of interculturality. Agreeing what Cusicanqui says: “Women always weave relationships with others, with the other. With the wild biosphere, with the sylvan biosphere, with the market, with the dominant world. (…) There is a capacity for women to develop intercultural relationships through the weaving. It is also an acknowledgment that the body has its ways of knowing (…) 'the hand knows’”.
Dwelling: “The fundamental feature of living is this caring (guarding, watching over). This is the main distinction that cross the concept of inhabiting in all its extension”. This is how Martín Heidegger defines it in “Building, thinking, inhabiting” (1951), a text that is contemporary with the reconstruction of German cities after World War II. The author criticizes the urban planning approach to overcrowding, which undermines the base of habitability itself. The presence of the urban element "brick" appeals to this question that Heidegger sows: What is to inhabit? o How do we inhabit? We have not resolved it as a postmodern society, yet.
Florencia De Titta, 2020. Project carried out with the XVII Al Norte Grant and the support of the Juan Barjola Museum.
"Junthhall-pakeri" is an Aymara expression that means the patch which the Indian grandmother protector of her Earth covers her head. In the installation this “patchwork” element is reproduced in the tapestries and in the sculptures made with remains of crocheted fabric and which are the common thread of this project. I put in relation these materials and images that recall the everyday life, the domestic space and the female universe, in harmony with compositional forms that pay homage to the cosmovision of aboriginal cultures. This project translates, in images, space and words, the set of questions that remain open and emerge in these months of pandemic crisis.
The ideation of this work is nourished (mainly) by my approach to "The sociology of the image" (2015) by Silvia Rivera Cusicanqui, which, according to the author, is a kind of "art of doing", a theoretical, aesthetic and ethics that seeks to eliminate the borders between artistic creation and conceptual and political reflection. In this text, he develops his commitment to the decolonization of the gaze, which "would consist in freeing the visualization from the ties of language and updating the memory of experience as an indissoluble whole, in which the bodily and mental senses merge. It would then be a kind of memory of doing, which, as Heidegger would say, is above all a dwelling”. Motivated by these and other readings, I propose a scenery that invites you to think about this ambitious goal, the integrality of the experience of live. For this reason, the word inhabit appears in my work, applied or embroidered, translated into the 14 most spoken languages of the world (1. Mandarin Chinese, 2. Spanish, 3. English, 4. Hindi, 5. Arabic, 6. Portuguese, 7. Bengali and others). The same word in different languages brings out a significant aspect of this political and social context, our delicate situation does not distinguish borders. Also holding, together with this author: “From ancient times to the present, the weavers and the astrologer poets of the communities and towns are who reveal to us, that alternative and subversive framework of knowledge and practices, capable of restoring the world and returning it to its own riverbed”.
I would like to expose the key concepts, which arise from recent readings and which participate in my work proposal in some way.
Ordinariness: Cusicanqui says, micropolitics is below the radar of politics and works on small groups and bodily actions that let to flourish spaces of freedom. It is about re-politicizing everyday life, whether from the kitchen, the work or the garden. It proposes to articulate manual work with intellectual work, to produce thought from the everyday. In accordance with the idea of practicing the decolonization through the body. She explains that it is not said, it is done.
Weavers: the choice of fabric and embroidery, the tapestry format and the sinuous shapes in my project make sense as a metaphor of interculturality. Agreeing what Cusicanqui says: “Women always weave relationships with others, with the other. With the wild biosphere, with the sylvan biosphere, with the market, with the dominant world. (…) There is a capacity for women to develop intercultural relationships through the weaving. It is also an acknowledgment that the body has its ways of knowing (…) 'the hand knows’”.
Dwelling: “The fundamental feature of living is this caring (guarding, watching over). This is the main distinction that cross the concept of inhabiting in all its extension”. This is how Martín Heidegger defines it in “Building, thinking, inhabiting” (1951), a text that is contemporary with the reconstruction of German cities after World War II. The author criticizes the urban planning approach to overcrowding, which undermines the base of habitability itself. The presence of the urban element "brick" appeals to this question that Heidegger sows: What is to inhabit? o How do we inhabit? We have not resolved it as a postmodern society, yet.
Florencia De Titta, 2020. Project carried out with the XVII Al Norte Grant and the support of the Juan Barjola Museum.
The tree ages
July 19 to 28, 2019. Site specific installation, set in Pilar´s house (San Román de Candamo, Asturias)
“Objects are (...) alarm clocks of memory” (Mellado, 1999), all the elements gathered: the light, the Miñardi fabric made by my Asturian grandmother immigrant in Argentina, the drawings that preserve the essence of that woman, and the sound that covers a lullaby that my mother sang to me. This work links three generations in the present time: grandmother, mother and daughter, in a deep link that is only possible in the emotional or imaginary field. It makes available a private universe, which becomes public, to identify with the privacy of the viewer. The fabric supports the role of women involved in domestic and artisan work. On the other hand, the lullaby “Duerme negrito” is a popular and anonymous melody, as overwhelming as it is committed to social reality. Remember that: “There is no dialectical image without critical memory work” (Didi Huberman, 1997)
The crocheted fabric highlights sensitively the role of women involved in domestic and craft work. Work learned from their predecessors, that allowed them to have a source of work in Latin America. It is the story of the women in my family born in Asturias and of so many others. A millennial trade, which began to die with the advent of the sewing machine in the 19th century and the mechanization of work that replaced the handmade one. On the other hand, I appropriate the song which children are lulled, the memory of that experience that is as collective as it is intimate and that, as Atahualpa Yupanki well states, one of the interpreters of “Duerme Negrito”: “It's an anonymous song , plural, folkloric, it is theirs, of the dark people of that border zone Venezuela - Colombia. She is the mother of the story, it is the story of the mother who leaves her child because she goes to the coffee plantation to work”. Melody that refers me to my own childhood and that is as overwhelming as it is committedly political. It cradles while denouncing a reality common to Latin American peoples and so many others, as common to us as “being cradled” and that touches on topics that began to be addressed simultaneously at the intersection of these last two centuries, but that are constantly expressing their questions: race, class, gender and exploitation. I count with the musical collaboration of Ro Trejo, who made an original composition based on this popular song, but altering its original meaning, considering the latent message of the installation.
I want to occupy the exhibition space, an old disused granary, with all these elements that I describe and that are closely related to immigration, with the history of work and with my own biography. Elements that generate an atmosphere full of sounds and words, which in turn generate images, while motivating the construction of other possible stories for future generations.
Florencia De Titta, 2019. Project for the exhibition "Memory, intimate space", Nexodos II Meeting of Contemporary Creation and Rural Areas. San Román de Candamo (Asturias).
“Objects are (...) alarm clocks of memory” (Mellado, 1999), all the elements gathered: the light, the Miñardi fabric made by my Asturian grandmother immigrant in Argentina, the drawings that preserve the essence of that woman, and the sound that covers a lullaby that my mother sang to me. This work links three generations in the present time: grandmother, mother and daughter, in a deep link that is only possible in the emotional or imaginary field. It makes available a private universe, which becomes public, to identify with the privacy of the viewer. The fabric supports the role of women involved in domestic and artisan work. On the other hand, the lullaby “Duerme negrito” is a popular and anonymous melody, as overwhelming as it is committed to social reality. Remember that: “There is no dialectical image without critical memory work” (Didi Huberman, 1997)
The crocheted fabric highlights sensitively the role of women involved in domestic and craft work. Work learned from their predecessors, that allowed them to have a source of work in Latin America. It is the story of the women in my family born in Asturias and of so many others. A millennial trade, which began to die with the advent of the sewing machine in the 19th century and the mechanization of work that replaced the handmade one. On the other hand, I appropriate the song which children are lulled, the memory of that experience that is as collective as it is intimate and that, as Atahualpa Yupanki well states, one of the interpreters of “Duerme Negrito”: “It's an anonymous song , plural, folkloric, it is theirs, of the dark people of that border zone Venezuela - Colombia. She is the mother of the story, it is the story of the mother who leaves her child because she goes to the coffee plantation to work”. Melody that refers me to my own childhood and that is as overwhelming as it is committedly political. It cradles while denouncing a reality common to Latin American peoples and so many others, as common to us as “being cradled” and that touches on topics that began to be addressed simultaneously at the intersection of these last two centuries, but that are constantly expressing their questions: race, class, gender and exploitation. I count with the musical collaboration of Ro Trejo, who made an original composition based on this popular song, but altering its original meaning, considering the latent message of the installation.
I want to occupy the exhibition space, an old disused granary, with all these elements that I describe and that are closely related to immigration, with the history of work and with my own biography. Elements that generate an atmosphere full of sounds and words, which in turn generate images, while motivating the construction of other possible stories for future generations.
Florencia De Titta, 2019. Project for the exhibition "Memory, intimate space", Nexodos II Meeting of Contemporary Creation and Rural Areas. San Román de Candamo (Asturias).
Useful Objects - Symbolic Capital
May 26, 2016. N.N.N.N. Gallery, Amparo Street 94, Madrid, Spain.
It is a site specific- project that is nourished by the mutual pact between Jesus Gallego, shoemaker and the artist, both co-authors of the demonstration of this utopia: the persistence of human labor involved in the production of goods and the knowledge that is build by the course of that experience based on the success or failure. "I am not able to teach my job”, Jesus confesses and his impossibility, added to the nonconformity as response to our time, principle of change and reaction, detonate the proposal to set together, a genuine political and poetic gesture that tries to propose an alternative temporality to this present that becomes marked by standardization and massification of production and consumption, the devaluation of manual work as a dignifying task, acceleration and fragmentation, among other symptoms of these for and post industrial culture in which we live in.
Would that reality -anticipated by Paul Virilio in The cyberworld, The policy of the worst (1997) - be consummated and because of technologies we are losing the own body for the benefit of the spectral body, and the own world for the benefit of a virtual world? And if this was the vertiginous destiny of our era, we adhere deliriously to the prescribed output by the author in this essay: "The question that arises is to regain contact. [...] Rediscovering touch, the pleasure of walking [...] are signs of another divergence, of a return to physics and matter: the signs of a rematerialization of the body and the world”. Drawings, documents, relics, objects and the simple formal appearance of some oil paintings protect and celebrate an irreplaceable value for any change or technology: empirical awareness as a source of knowledge that consolidates an occupation. The divergence is the goal. Art is a way to preserve in the memory of men that which gradually becomes in "rarity" dying to extinction: the being and doing. Tools and workspaces of cobbler and painter are complemented each other, dialogue and also are at the service of this reality that urges to be named before the danger of fading.
Useful objects - Symbolic Capital born of surreal derives, is crossed by the methods of appropriation and decontextualisation heirs of Duchamp and was influenced by the history of painting, life and "be no more." In this case, the aesthetic fact lies not in the object but in exhibit essayistic, ongoing process, possible or impossible and discordant ways of writing about our contemporaneity. Walk across a place, capturing fragments, transit, paint or draw, transcribed, paint, dialectize, transcribed, connect with matter, with the environment and its actors and in the end, the complicity as a consequence.
Florencia De Titta, 2016, Art Residence
Intercambiador Acart.
It is a site specific- project that is nourished by the mutual pact between Jesus Gallego, shoemaker and the artist, both co-authors of the demonstration of this utopia: the persistence of human labor involved in the production of goods and the knowledge that is build by the course of that experience based on the success or failure. "I am not able to teach my job”, Jesus confesses and his impossibility, added to the nonconformity as response to our time, principle of change and reaction, detonate the proposal to set together, a genuine political and poetic gesture that tries to propose an alternative temporality to this present that becomes marked by standardization and massification of production and consumption, the devaluation of manual work as a dignifying task, acceleration and fragmentation, among other symptoms of these for and post industrial culture in which we live in.
Would that reality -anticipated by Paul Virilio in The cyberworld, The policy of the worst (1997) - be consummated and because of technologies we are losing the own body for the benefit of the spectral body, and the own world for the benefit of a virtual world? And if this was the vertiginous destiny of our era, we adhere deliriously to the prescribed output by the author in this essay: "The question that arises is to regain contact. [...] Rediscovering touch, the pleasure of walking [...] are signs of another divergence, of a return to physics and matter: the signs of a rematerialization of the body and the world”. Drawings, documents, relics, objects and the simple formal appearance of some oil paintings protect and celebrate an irreplaceable value for any change or technology: empirical awareness as a source of knowledge that consolidates an occupation. The divergence is the goal. Art is a way to preserve in the memory of men that which gradually becomes in "rarity" dying to extinction: the being and doing. Tools and workspaces of cobbler and painter are complemented each other, dialogue and also are at the service of this reality that urges to be named before the danger of fading.
Useful objects - Symbolic Capital born of surreal derives, is crossed by the methods of appropriation and decontextualisation heirs of Duchamp and was influenced by the history of painting, life and "be no more." In this case, the aesthetic fact lies not in the object but in exhibit essayistic, ongoing process, possible or impossible and discordant ways of writing about our contemporaneity. Walk across a place, capturing fragments, transit, paint or draw, transcribed, paint, dialectize, transcribed, connect with matter, with the environment and its actors and in the end, the complicity as a consequence.
Florencia De Titta, 2016, Art Residence
Intercambiador Acart.
Urban modernist Installation: cultural goods, consumer goods and store heat
July 28, 2015. Gallofré House. 68 Carrer de Manso, Barcelona.
"[...] History has always existed, but not always in its historical form. The timing of man as effected through the mediation of a society is equivalent to a humanization of time [...]"said Guy Debord in The Society of the Spectacle (1967) and it gives me the main concepts of this intention, the cohabitation between cultural goods, consumer goods and the warmth of Gallofré House -established in 1914 by Miguel and Josep Gallofré- which has survived since then offering refined fabrics of pure cotton and nationally manufactured; and it also opens its doors every day thanks to the sustained efforts of a family.
To humanize the time? It is an almost utopian ideal although tangible and achievable in different modes of existence: Gallofré perseverance in protecting the quality, warmth and local industry; and “the picture writing” through drawing, printmaking and painting, which are my ways of adaptation to this present. Moreover, in the immediate context built among paper, pencil, photographic record with blinds drawn of traditional houses in the historic centers of the street and the voice, among others, of the newspaper La Vanguardia that in May 9 2015, published "[...] The old ‘partit dels botiguers’ [...] playing this match with one hand tied behind its back. The liberalization of the services sector promoted by the European Union -the called Bolkestein directive- has limited the regulatory capacity of local administrations across the Union to protect, among other things, its commercial heritage [...]” Noting that who really will lose in this stage - aggravated by the deadline of the 20-year moratorium established by the Law of Urban Leases (LAU) since 1994 and ending January 1, 2015- will be the landscape of cities, while emblematic stores for its quality and history, were filled with “low cost souvenirs, football shirts and ruffled dresses." Already said by John Berger in his essay The size of a bag (2004) "[...] Neoliberalism, that doctrine that enables stupidity and cynicism to be made with the government in various parts of the globe, does not admit more inclusion than the act of attaching disappearing.’Die as a social group, such as culture and, especially, as resistance. Then you will be able to be part of modernity' [...]”
But art? In 1976, Victor Grippo admitted that "when men built their first tool, they created the first useful object and the first work of art simultaneously"; perspective embodied in the exhibition Some trades made (1976) in the Multiple Art Gallery of Buenos Aires, announcing that: "Perhaps at some point, sustained and concerted effort will improve men and society and the coincidence between art and work as a distinctive human ritual will be valid again". Valuing this premise, believing in the strength of the symbolic value over the exchange value, and promoting an equal status between life and certain practices that were cut as "art" from a bourgeois concept, I want to make my invitation to see and expand; adhering to the proposal of Paul Virilio in Aesthetics of disappearance (1980), which anticipated that painting and drawing are disappearing, just as the writing runs the risk of disappearing behind the media, but the problem is not to deny the findings of the technique, but to overcome them through a critical view, the right and the need to disagree, because the way to use this time well and to avoid the disappearance in the vortex is recovering the WORD.
RECOVER THE WORD
RECOVER THE OTHER AND THE MATTER
THE MATERIALITY IN ART
REALIZE AS A WAY OF HUMANIZING
I wish to activate an artistic and versatile process in relation to the institution canonized as high art, passing with graphite, ink, cotton paper, water and fat, fabrics and paintings. Beginning with this dialogue between some drawings, lithographs and paintings, Fragments of a path (O.F.I.C.I.O.), that is a work of varying and expanding dimensions, evoking moments of some of the workspaces that were part of the Urban path between workshops and artists and Gallofré House, with its knitwear, its store atmosphere and the work sustained for 101 years. Appealing to this complicity between Buenos Aires and Barcelona, to highlight the substantial importance of the practice of trades in the field of contemporary art. Above all, remember the dignity of the human condition involved in the preparation of goods, compared to the massive and imminent standardization of life.
Florencia De Titta, 2015, Art Residence
Piramidón Centre d'Art Contemporani.
"[...] History has always existed, but not always in its historical form. The timing of man as effected through the mediation of a society is equivalent to a humanization of time [...]"said Guy Debord in The Society of the Spectacle (1967) and it gives me the main concepts of this intention, the cohabitation between cultural goods, consumer goods and the warmth of Gallofré House -established in 1914 by Miguel and Josep Gallofré- which has survived since then offering refined fabrics of pure cotton and nationally manufactured; and it also opens its doors every day thanks to the sustained efforts of a family.
To humanize the time? It is an almost utopian ideal although tangible and achievable in different modes of existence: Gallofré perseverance in protecting the quality, warmth and local industry; and “the picture writing” through drawing, printmaking and painting, which are my ways of adaptation to this present. Moreover, in the immediate context built among paper, pencil, photographic record with blinds drawn of traditional houses in the historic centers of the street and the voice, among others, of the newspaper La Vanguardia that in May 9 2015, published "[...] The old ‘partit dels botiguers’ [...] playing this match with one hand tied behind its back. The liberalization of the services sector promoted by the European Union -the called Bolkestein directive- has limited the regulatory capacity of local administrations across the Union to protect, among other things, its commercial heritage [...]” Noting that who really will lose in this stage - aggravated by the deadline of the 20-year moratorium established by the Law of Urban Leases (LAU) since 1994 and ending January 1, 2015- will be the landscape of cities, while emblematic stores for its quality and history, were filled with “low cost souvenirs, football shirts and ruffled dresses." Already said by John Berger in his essay The size of a bag (2004) "[...] Neoliberalism, that doctrine that enables stupidity and cynicism to be made with the government in various parts of the globe, does not admit more inclusion than the act of attaching disappearing.’Die as a social group, such as culture and, especially, as resistance. Then you will be able to be part of modernity' [...]”
But art? In 1976, Victor Grippo admitted that "when men built their first tool, they created the first useful object and the first work of art simultaneously"; perspective embodied in the exhibition Some trades made (1976) in the Multiple Art Gallery of Buenos Aires, announcing that: "Perhaps at some point, sustained and concerted effort will improve men and society and the coincidence between art and work as a distinctive human ritual will be valid again". Valuing this premise, believing in the strength of the symbolic value over the exchange value, and promoting an equal status between life and certain practices that were cut as "art" from a bourgeois concept, I want to make my invitation to see and expand; adhering to the proposal of Paul Virilio in Aesthetics of disappearance (1980), which anticipated that painting and drawing are disappearing, just as the writing runs the risk of disappearing behind the media, but the problem is not to deny the findings of the technique, but to overcome them through a critical view, the right and the need to disagree, because the way to use this time well and to avoid the disappearance in the vortex is recovering the WORD.
RECOVER THE WORD
RECOVER THE OTHER AND THE MATTER
THE MATERIALITY IN ART
REALIZE AS A WAY OF HUMANIZING
I wish to activate an artistic and versatile process in relation to the institution canonized as high art, passing with graphite, ink, cotton paper, water and fat, fabrics and paintings. Beginning with this dialogue between some drawings, lithographs and paintings, Fragments of a path (O.F.I.C.I.O.), that is a work of varying and expanding dimensions, evoking moments of some of the workspaces that were part of the Urban path between workshops and artists and Gallofré House, with its knitwear, its store atmosphere and the work sustained for 101 years. Appealing to this complicity between Buenos Aires and Barcelona, to highlight the substantial importance of the practice of trades in the field of contemporary art. Above all, remember the dignity of the human condition involved in the preparation of goods, compared to the massive and imminent standardization of life.
Florencia De Titta, 2015, Art Residence
Piramidón Centre d'Art Contemporani.
Sustainable pictorial writing, the dialogue with a collection
June 27, 2015. Centre of Contemporary Art and Sustainability (CACiS), Barcelona.
Pedra Calcaria, Fum, Petit habitacle, Restes, El Forn
CABIN for cohabitation between temporalities: historic images documenting the cultural and architectural heritage of the Center for Contemporary Art and Sustainability; drawings Fragments of a path (O.F.I.C.I.O.) that is a work of varying and expanding dimensions, evoking moments of some of the workspaces that were part of the Urban path between workshops and artists.
COHABITATION and DIALOGUE were consummated on par with a very significant experiential process. The route from Barcelona to the Bages, urbanization that was left behind, impressed because of the environment, sounds, smells and that relationship by opposition challenges my body: smallness and immensity. Objects with rust and dust, trace with memory of a work that had been replaced today: the transformation of stone Calcaria in consumer product, the lime. Some scenes reset the time governed by transforming that primary element -the stone- and subtle nuances in the color of smoke, nothing more.
I put on a table, my aspiration for the time as a way of life and the participation of men involved, plus, in the present in which we signed as a race. Agreeing with this positively Cacis mission: ... "Our survival as a species depends on our ability to adapt our environment to new procedures" ... moving to the field of art ... "sustainability as a reform strategy”...
Florencia De Titta, 2015, Art Residence
Centre of Contemporary Art and Sustainability (CACiS).
Pedra Calcaria, Fum, Petit habitacle, Restes, El Forn
CABIN for cohabitation between temporalities: historic images documenting the cultural and architectural heritage of the Center for Contemporary Art and Sustainability; drawings Fragments of a path (O.F.I.C.I.O.) that is a work of varying and expanding dimensions, evoking moments of some of the workspaces that were part of the Urban path between workshops and artists.
COHABITATION and DIALOGUE were consummated on par with a very significant experiential process. The route from Barcelona to the Bages, urbanization that was left behind, impressed because of the environment, sounds, smells and that relationship by opposition challenges my body: smallness and immensity. Objects with rust and dust, trace with memory of a work that had been replaced today: the transformation of stone Calcaria in consumer product, the lime. Some scenes reset the time governed by transforming that primary element -the stone- and subtle nuances in the color of smoke, nothing more.
I put on a table, my aspiration for the time as a way of life and the participation of men involved, plus, in the present in which we signed as a race. Agreeing with this positively Cacis mission: ... "Our survival as a species depends on our ability to adapt our environment to new procedures" ... moving to the field of art ... "sustainability as a reform strategy”...
Florencia De Titta, 2015, Art Residence
Centre of Contemporary Art and Sustainability (CACiS).
Urban path between workshops and artists, intervening space
May 4, 2011. Passaje 17 Gallery, Buenos Aires, Argentina.
... "When men built their first tool, they created the first useful object and the first work of art simultaneously. Thereafter the tool was present in human action on the planet, posing new questions and new alternatives. Partners in the practice of trades, men ask and the tool responds, the tool asks and men respond, in the long process of modifying the nature. Matter and spirit change in an interaction between thought and the extended hand. "...
Victor Grippo, 1976.
This project consists in the development of an integrated net formed by people in their respective areas of work whose relationship is the practicing of a trade. We came up with this idea because we consider it important the claiming of the practice of trades in the historical context that is talking place. What's more, we need to highlight some main aspects: the relationship between creation and matter, the value of empirical knowledge transmitted and acquired over generations as a source of knowledge, and the importance of human qualities involved in the preparation of cultural property or for consumption. Let´s take time to listen and therefore, generate links.
Signaling people doing some handwork, around Pasaje 17 Contemporary Art Gallery, is the strategy for the construction of the proposed urban path. It is an invitation to share the redefinition of a given set of chosen people, to broaden its meaning, establishing reciprocal links between the Gallery and the neighborhood where it is inserted; in order to operate a channel of communication between the different parts of the suggested route.
According to the encyclopedic definition, TRADE is a term that comes from the verb Facio that means "do." This activity is the usual occupation of a person and requires experience as a means of knowledge to carry it out, which is consolidated in the skill developed through the course of time, building lore. Moreover, this project adheres to the point of view expressed by Victor Grippo. We also consider that a trade is an integrated activity performed by the human being in a specific time and place. This activity implies: the existence of a subject, the use of tools, the transformation of that material by the manipulation men perform on these two above elements, and the provision of a service to society.
The development of this work is done in three stages: management, intervention and action. In order to build gradually, bridges of interaction and coexistence between different social spheres.
Stage management: develops from the call for participation in this sample. During this period, those that are listed in the Path were located and selected; who voluntary accepted joining this proposal. The intervention stage of the urban environment is done by a referential icon of the project, the banner advertising. Ultimately the Action: it is individual and its achievement is indeterminate. However, it is intended that this project is an aesthetic and social fact. Mainly a social event; as such, it will link people together, generate dialogue and knowledge exchange. The emphasis is not on the object; it’s about displaying the process and involving the others in it.
The process of developing the route will run for the time spent by the gallery's group show in which the project is built. The showroom will be open between the hours in which the gallery is open, and the designated sites have a specific schedule, which is detailed in a brochure being distributed.
Mercedes Figallo & Florencia De Titta, 2011
Pasaje 17 Gallery.
... "When men built their first tool, they created the first useful object and the first work of art simultaneously. Thereafter the tool was present in human action on the planet, posing new questions and new alternatives. Partners in the practice of trades, men ask and the tool responds, the tool asks and men respond, in the long process of modifying the nature. Matter and spirit change in an interaction between thought and the extended hand. "...
Victor Grippo, 1976.
This project consists in the development of an integrated net formed by people in their respective areas of work whose relationship is the practicing of a trade. We came up with this idea because we consider it important the claiming of the practice of trades in the historical context that is talking place. What's more, we need to highlight some main aspects: the relationship between creation and matter, the value of empirical knowledge transmitted and acquired over generations as a source of knowledge, and the importance of human qualities involved in the preparation of cultural property or for consumption. Let´s take time to listen and therefore, generate links.
Signaling people doing some handwork, around Pasaje 17 Contemporary Art Gallery, is the strategy for the construction of the proposed urban path. It is an invitation to share the redefinition of a given set of chosen people, to broaden its meaning, establishing reciprocal links between the Gallery and the neighborhood where it is inserted; in order to operate a channel of communication between the different parts of the suggested route.
According to the encyclopedic definition, TRADE is a term that comes from the verb Facio that means "do." This activity is the usual occupation of a person and requires experience as a means of knowledge to carry it out, which is consolidated in the skill developed through the course of time, building lore. Moreover, this project adheres to the point of view expressed by Victor Grippo. We also consider that a trade is an integrated activity performed by the human being in a specific time and place. This activity implies: the existence of a subject, the use of tools, the transformation of that material by the manipulation men perform on these two above elements, and the provision of a service to society.
The development of this work is done in three stages: management, intervention and action. In order to build gradually, bridges of interaction and coexistence between different social spheres.
Stage management: develops from the call for participation in this sample. During this period, those that are listed in the Path were located and selected; who voluntary accepted joining this proposal. The intervention stage of the urban environment is done by a referential icon of the project, the banner advertising. Ultimately the Action: it is individual and its achievement is indeterminate. However, it is intended that this project is an aesthetic and social fact. Mainly a social event; as such, it will link people together, generate dialogue and knowledge exchange. The emphasis is not on the object; it’s about displaying the process and involving the others in it.
The process of developing the route will run for the time spent by the gallery's group show in which the project is built. The showroom will be open between the hours in which the gallery is open, and the designated sites have a specific schedule, which is detailed in a brochure being distributed.
Mercedes Figallo & Florencia De Titta, 2011
Pasaje 17 Gallery.
Reviews
10 artists for the Next Generation 2020: the future is feminine
Arteinformado, Wednesday, January 15, 2020, Madrid.
The second call of LA ARTEINFORMADA - NEXT GENERATION has aimed, like 2019, to focus the work of young artists and/or even on training. The new edition has had a quantitatively similar participation to that of the first call. A number close to the 70 artists have shown almost 300 works that are available on the platform. In this second edition of the project, Room Number 13 of the Iberostar Hotel Las Letras in Madrid has collaborated as co-organizer of the event with ARTEINFORMADO. In this way, the sample with the selected artists will jump from the virtual plane to the physical in its exhibition space located in Gran Vía, 11, Madrid.
Since ARTEINFORMADO we have launched a new edition of LA ARTEINFORMADA - NEXT GENERATION with the intention of making younger art visible. On this occasion, almost 70 artists have shown more than 280 works. The current call, also curated by Natalia Alonso Arduengo, it will have a complementary addition to the virtual exhibition as the selected artists will be invited to participate in an exhibition in Room Number 13 of the Iberostar Hotel Las Letras (Gran Vía, 11, Madrid) that will be inaugurated on February 20, a few days before the celebration of Madrid art week and closed a month later with a colloquium on patronage in the arts about the publication of our report "100 Sponsors and Patrons of Art in Spain".
Although, both the general participation and the subsequent selection of LA ARTEINFORMADA - NEXT GENERATION 2019 was equal with 6 men (...) and 6 women (...), in the 2020 call the creators gain ground with a participation that doubles that of them (45 women versus 21 men). From this data and curatorial selection, we can state bluntly that the NEXT GENERATION of artists will be feminine (9 women in front of a man). Among the main thematic axes addressed by this group of artists are individual and collective memory, identity and territorial issues, consumerism and the technologizing of society, climate change and feminism.
Selected Artists: Elián Stolarsky Cynowicz, Florencia De Titta, Clara Barquín, Rocío Álvarez Cuevas, María Dolores Gallego, Alma Seroussi, Aissa Santiso, Noemí Iglesias Barrios, Tomás Justicia and Rocío Álvarez Cuevas.
Text: Natalia Alonso Arduengo
Link: https://www.arteinformado.com/magazine/n/10-artistas-para-la-proxima-generacion-2020-el-futuro-es-femenino-6501
The second call of LA ARTEINFORMADA - NEXT GENERATION has aimed, like 2019, to focus the work of young artists and/or even on training. The new edition has had a quantitatively similar participation to that of the first call. A number close to the 70 artists have shown almost 300 works that are available on the platform. In this second edition of the project, Room Number 13 of the Iberostar Hotel Las Letras in Madrid has collaborated as co-organizer of the event with ARTEINFORMADO. In this way, the sample with the selected artists will jump from the virtual plane to the physical in its exhibition space located in Gran Vía, 11, Madrid.
Since ARTEINFORMADO we have launched a new edition of LA ARTEINFORMADA - NEXT GENERATION with the intention of making younger art visible. On this occasion, almost 70 artists have shown more than 280 works. The current call, also curated by Natalia Alonso Arduengo, it will have a complementary addition to the virtual exhibition as the selected artists will be invited to participate in an exhibition in Room Number 13 of the Iberostar Hotel Las Letras (Gran Vía, 11, Madrid) that will be inaugurated on February 20, a few days before the celebration of Madrid art week and closed a month later with a colloquium on patronage in the arts about the publication of our report "100 Sponsors and Patrons of Art in Spain".
Although, both the general participation and the subsequent selection of LA ARTEINFORMADA - NEXT GENERATION 2019 was equal with 6 men (...) and 6 women (...), in the 2020 call the creators gain ground with a participation that doubles that of them (45 women versus 21 men). From this data and curatorial selection, we can state bluntly that the NEXT GENERATION of artists will be feminine (9 women in front of a man). Among the main thematic axes addressed by this group of artists are individual and collective memory, identity and territorial issues, consumerism and the technologizing of society, climate change and feminism.
Selected Artists: Elián Stolarsky Cynowicz, Florencia De Titta, Clara Barquín, Rocío Álvarez Cuevas, María Dolores Gallego, Alma Seroussi, Aissa Santiso, Noemí Iglesias Barrios, Tomás Justicia and Rocío Álvarez Cuevas.
Text: Natalia Alonso Arduengo
Link: https://www.arteinformado.com/magazine/n/10-artistas-para-la-proxima-generacion-2020-el-futuro-es-femenino-6501
#thinkingthefuture /# thinkingnofuture: 18 key answers from 18 Latin American artists
Arteinformado, Wednesday, July 17, 2020.
Sandra Vásquez de la Horra and Miguel Aguirre call for collaboration and solidarity. Nicola Costantino, Vivian Caccuri, Christian Salablanca and Andrés Bedoya would welcome a change in the hierarchical art system. Angela Bonadies, Florencia De Titta and Iván Candeo see an opportunity in the crisis and uncertainty for their artistic practice and demand improvements. Luis Camnitzer continues to think "that better education would help to have a better society" and Donna Conlon & Jonathan Harker will seek to "find or open small gaps or fissures in the system."br>
Pablo Helguera is not interested in the topic of dissemination and Claudia Fontes will not respond to marketing strategies. They're both interested in their practice. For Jhafis Quintero and Dagoberto Rodríguez the online medium has been accelerated and enhanced. Luis González Palma and Simón Vega believe that there will be fewer intermediaries when it comes to creating, making the work visible and spreading. And Glenda León thinks that in terms of concept and format her work will be better understood than before.
As a compilation synthesis, since the collaborative information project #thinkingthefuture /#thinkingnofuture has engendered a total of 167 interviews, and also the possibility of editing an e-book with all of them. We want to recover some key answers from the distinguished directors of artistic institutions and art fairs as well as curators, galleys, artists, patrons and Ibero-American collectors who have friendly collaborated in this initiative.
Because this project was born with the clear objective of "sharing knowledge for a better future". From ARTEINFORMADO, we firmly believe that a broader and more quality understanding of the opportunities and challenges facing the art world, and culture in general, will help us to make better individual and collective decisions.
Summarizing, we leave you with 18 key answers from 18 Latin American artists and collectives (in some cases edited and/or abbreviated) to follow, over the next few days and openly, those of the other operators and actors of the Ibero-American artistic-cultural system.
ARTEINFORMADO (AI): In these moments of uncertainty, what message of encouragement and confidence would you like to transfer to your colleagues and the rest of the operators and actors in the art world?
Florencia De Titta: Uncertainty can be a searching engine, mainly when we think with and from images and it's a natural and positive aspect of this context. I am referring to the search for new curatorial, visual and material discourses, which empathize with the social moment we are living or suffering.
Read on: https://www.arteinformado.com/magazine/n/pensandoelfuturo-pensandonofuturo-18-respuestas-clave-de-18-artistas-latinoamericanos-6778
Sandra Vásquez de la Horra and Miguel Aguirre call for collaboration and solidarity. Nicola Costantino, Vivian Caccuri, Christian Salablanca and Andrés Bedoya would welcome a change in the hierarchical art system. Angela Bonadies, Florencia De Titta and Iván Candeo see an opportunity in the crisis and uncertainty for their artistic practice and demand improvements. Luis Camnitzer continues to think "that better education would help to have a better society" and Donna Conlon & Jonathan Harker will seek to "find or open small gaps or fissures in the system."br>
Pablo Helguera is not interested in the topic of dissemination and Claudia Fontes will not respond to marketing strategies. They're both interested in their practice. For Jhafis Quintero and Dagoberto Rodríguez the online medium has been accelerated and enhanced. Luis González Palma and Simón Vega believe that there will be fewer intermediaries when it comes to creating, making the work visible and spreading. And Glenda León thinks that in terms of concept and format her work will be better understood than before.
As a compilation synthesis, since the collaborative information project #thinkingthefuture /#thinkingnofuture has engendered a total of 167 interviews, and also the possibility of editing an e-book with all of them. We want to recover some key answers from the distinguished directors of artistic institutions and art fairs as well as curators, galleys, artists, patrons and Ibero-American collectors who have friendly collaborated in this initiative.
Because this project was born with the clear objective of "sharing knowledge for a better future". From ARTEINFORMADO, we firmly believe that a broader and more quality understanding of the opportunities and challenges facing the art world, and culture in general, will help us to make better individual and collective decisions.
Summarizing, we leave you with 18 key answers from 18 Latin American artists and collectives (in some cases edited and/or abbreviated) to follow, over the next few days and openly, those of the other operators and actors of the Ibero-American artistic-cultural system.
ARTEINFORMADO (AI): In these moments of uncertainty, what message of encouragement and confidence would you like to transfer to your colleagues and the rest of the operators and actors in the art world?
Florencia De Titta: Uncertainty can be a searching engine, mainly when we think with and from images and it's a natural and positive aspect of this context. I am referring to the search for new curatorial, visual and material discourses, which empathize with the social moment we are living or suffering.
Read on: https://www.arteinformado.com/magazine/n/pensandoelfuturo-pensandonofuturo-18-respuestas-clave-de-18-artistas-latinoamericanos-6778
Florencia De Titta: Recovering the material essence
Zumo de naranja, Thursday May 30, 2016, Madrid.
By Isabel Sáez Serna.
CONTEMPORARY ART EXHIBITION: USEFUL OBJECTS - SYMBOLIC CAPITAL
Weeks ago, when I met Florencia De Titta, I had to reconfigure the software of my brain to understand what goes through the head of a young artist who dared to fix her attention on a trade that tends to disappear: repair footwear.
Florencia De Titta told me about space and time, to return to the materialisation of moments and instants, of aesthetic facts, to celebrate and capture fragments of a reality that evaporates.
TALES OF A WALL
In a society where almost everything is given to us after being done and in which almost everything is designed, packaged and prefabricated; in a society in which only the virtual things succeed, the technology, the starts up and the engagement; in a society in which the minutes expire before being lived, to get into the mind and the heart of an artist is almost a miracle.
"I spend my time between brushes, oil paints, fabrics, graphite, cotton paper, photographic records, and links ... Building a dream: pause and reparation as a response to our era" [Extract from Florencia De Titta´s letter to her grandmother]
For Florencia De Titta, art is a way of preserving in the memory of men that which gradually becomes in "rarity" dying to extinction: the being and doing. The cobbler and painter's tools and workspaces are complemented one with each other, they have a dialogue and are also at the service of this reality that urges to be named: the asphyxia.
With the implementation of her project I discovered that some of the useful items picked up by this creative project, had taken their own life and felt the need to tell a story. It was then that I connected with the neural network of a contemporary visual artist and her ability to merge art with life.
Florencia De Titta has achieved, thanks to its symbolic vision, the coexistence between the contemporary and tradition. Matter of daily life and the fleeting idea of a creative thought got to cohabit in a limited space filled with oil paintings, drawings, sounds, strokes with soul full of colors.
HANGING PICTURES
Florence De Titta is a contemporary artist who imagines, creates and manufactures. With the sound of a sewing machine, recovered a past time in which she recorded in his mind a desire, that speed for power does not destroy human capacity.
Today her dream has taken shape and this project USEFUL OBJECTS - SYMBOLIC CAPITAL has managed to let us experience the essence of the material and review the ways and means in which we live our present.
By Isabel Sáez Serna.
CONTEMPORARY ART EXHIBITION: USEFUL OBJECTS - SYMBOLIC CAPITAL
Weeks ago, when I met Florencia De Titta, I had to reconfigure the software of my brain to understand what goes through the head of a young artist who dared to fix her attention on a trade that tends to disappear: repair footwear.
Florencia De Titta told me about space and time, to return to the materialisation of moments and instants, of aesthetic facts, to celebrate and capture fragments of a reality that evaporates.
TALES OF A WALL
In a society where almost everything is given to us after being done and in which almost everything is designed, packaged and prefabricated; in a society in which only the virtual things succeed, the technology, the starts up and the engagement; in a society in which the minutes expire before being lived, to get into the mind and the heart of an artist is almost a miracle.
"I spend my time between brushes, oil paints, fabrics, graphite, cotton paper, photographic records, and links ... Building a dream: pause and reparation as a response to our era" [Extract from Florencia De Titta´s letter to her grandmother]
For Florencia De Titta, art is a way of preserving in the memory of men that which gradually becomes in "rarity" dying to extinction: the being and doing. The cobbler and painter's tools and workspaces are complemented one with each other, they have a dialogue and are also at the service of this reality that urges to be named: the asphyxia.
With the implementation of her project I discovered that some of the useful items picked up by this creative project, had taken their own life and felt the need to tell a story. It was then that I connected with the neural network of a contemporary visual artist and her ability to merge art with life.
Florencia De Titta has achieved, thanks to its symbolic vision, the coexistence between the contemporary and tradition. Matter of daily life and the fleeting idea of a creative thought got to cohabit in a limited space filled with oil paintings, drawings, sounds, strokes with soul full of colors.
HANGING PICTURES
Florence De Titta is a contemporary artist who imagines, creates and manufactures. With the sound of a sewing machine, recovered a past time in which she recorded in his mind a desire, that speed for power does not destroy human capacity.
Today her dream has taken shape and this project USEFUL OBJECTS - SYMBOLIC CAPITAL has managed to let us experience the essence of the material and review the ways and means in which we live our present.
Four projects, four universes
Descubrir el arte, Saturday May 18, 2016, Madrid.
In the space "N.N.N.N." (Amparo Street 94, Madrid) we find from this afternoon at 20 hs until Monday 30, the final work of the four creators that in the last two to four months have completed the residences of the Intercambiador Acart Association. A sample that -in contrast to many others- does not pursue a curatorial discourse intertwining the four plastic investigations; but simply presents each piece separately in order to be conceived as unique approaches by the public.
Florencia De Titta, Diana Flores, Sophie Neilson and Patty Pajak, are the four main artists from different parts of the world: Argentina, Mexico, England and Sweden, which met each other about two and four months in Madrid, or more specifically in the studies of Antonio Moreno Street where the residents of Intercambiador Acart Association used to work. Since then, they were absorbed by the arduous process of creation to present a final draft in relation to some reflections that they were maturing along this residence.
Both their backgrounds and their ideas make a kaleidoscopic universe that enriches the viewer's perspective of what today formulates the art world. Issues such as the loss of the matter and sensitivity to experience it as a result of technologies and therefore the virtual and abstract contact, call the attention of Florence De Titta. In her project Useful Objects - Symbolic Capital, not only does she reflect upon this, but she has also assumed the legacy of Duchamp and the Surrealists in terms of rewriting the present to give us different readings about the time that we live in.
In the space "N.N.N.N." (Amparo Street 94, Madrid) we find from this afternoon at 20 hs until Monday 30, the final work of the four creators that in the last two to four months have completed the residences of the Intercambiador Acart Association. A sample that -in contrast to many others- does not pursue a curatorial discourse intertwining the four plastic investigations; but simply presents each piece separately in order to be conceived as unique approaches by the public.
Florencia De Titta, Diana Flores, Sophie Neilson and Patty Pajak, are the four main artists from different parts of the world: Argentina, Mexico, England and Sweden, which met each other about two and four months in Madrid, or more specifically in the studies of Antonio Moreno Street where the residents of Intercambiador Acart Association used to work. Since then, they were absorbed by the arduous process of creation to present a final draft in relation to some reflections that they were maturing along this residence.
Both their backgrounds and their ideas make a kaleidoscopic universe that enriches the viewer's perspective of what today formulates the art world. Issues such as the loss of the matter and sensitivity to experience it as a result of technologies and therefore the virtual and abstract contact, call the attention of Florence De Titta. In her project Useful Objects - Symbolic Capital, not only does she reflect upon this, but she has also assumed the legacy of Duchamp and the Surrealists in terms of rewriting the present to give us different readings about the time that we live in.
The Works and Days
Telam, Thursday May 19, 2011.
By Viviana Ponieman.
An exhibition that questions the relationship between artists and the world of work, or to put it another way, what the actual insertion of artists to society or the community to which they belong is conducted in Pasaje 17 Contemporary Art.
This is an unusual gallery, founded three years ago by the social work of the Staff Association external control bodies union (Apoc), in a historic building, located in the city center which was restored respecting the original structure of the house, directed by a group of artists.
For this occasion, they invited Rodrigo Alonso as curator who suggested –motivated by the character of this space- to focus on how work defines a way of living in community, and how indifferent or devastating, the labor market of contemporary capitalism determines the existence social inclusion or exclusion, possession rights or civil nullity.
Alonso appeals to the view of the artists who display their works in the echoes of political, economic and cultural events that affected the argentine labor physiognomy in more or less evident, more or less radical ways.
Then we see the photographs of Marcelo Coglitore that in 2001 begins these series of "Portraits of people at their workplace" as an act of resistance, an almost museum preservation of images which in those days would be condemned to disappear. The artist runs through the territory of our country recording workers and their environment in direct drive with his analog camera without gadgets.
Also responding to that tessitura we have the photos and portraits of Azul Blaseotto that since 2000 works about the transformation of Puerto Madero, and from 2004 on the Rio Santiago shipyard experience and Shipyards States which are two unique situations, the first of its resistance to remain the state and the second recovered by their workers. This entire trough her camera to record changes over time, and in her drawings portraying workers.
Eduardo Molinari who conceives walking as an aesthetic practice, uses photographs of the General Archive of the Nation that show us some floats made by the CGT in 1948, prepared for a parade with applications in relief of slogans. This reflects the aesthetic of an era that still can be seen in the buildings and the logo of the “Central Obrera”, and confronted with a flat of 1822, with instructions on how to accommodate in the holds of ships, blacks, to save space and fit more quantity. In addition, a current photo of the news story shows us victims of slave labor in the exploitation of the field, inside a shipping container where they are supposed to sleep and another shipping container near the port with a painted wondering: Who wins with soy?
Mercedes Figallo and Florencia De Titta without euphemisms show us the remains of craftsmanship in the city center, trough to framed objects and also invite us for a tour to visit the places of work of the tailor, the manufacturer of medals or flags, trades that remain in the places where they are still necessary but sometimes we lose their track. Trying may be in this way, to rebuild ties, to give visibility in the midst of a sweeping urban fabric.
Meanwhile Juan José María Tirigall invents a small machine that mixed cement beads of different colors through referring to migration and miscegenation, others in mini screens make a parallel between the work and the landscapes of the places of origin. In a strange and disaffected poetry, it offers a mechanism that works alone, automated toys of a virtual world, a little tight reference to a dehumanized world.
“The craft knowledge, the sources of re appropriated employment, the human maps of the current work force and contexts of labor exercise, past and present, are combined here to offer us a space for thinking, analysis and evaluation of a phenomenon that involves us all. Its appearance in an art space that belongs to a guild is not accidental" says Rodrigo Alonso. Then Alonso promotes a dialogue between artists, the community and the workplace, in Pasaje 17 Gallery at 1559 Bartolome Mitre.
By Viviana Ponieman.
An exhibition that questions the relationship between artists and the world of work, or to put it another way, what the actual insertion of artists to society or the community to which they belong is conducted in Pasaje 17 Contemporary Art.
This is an unusual gallery, founded three years ago by the social work of the Staff Association external control bodies union (Apoc), in a historic building, located in the city center which was restored respecting the original structure of the house, directed by a group of artists.
For this occasion, they invited Rodrigo Alonso as curator who suggested –motivated by the character of this space- to focus on how work defines a way of living in community, and how indifferent or devastating, the labor market of contemporary capitalism determines the existence social inclusion or exclusion, possession rights or civil nullity.
Alonso appeals to the view of the artists who display their works in the echoes of political, economic and cultural events that affected the argentine labor physiognomy in more or less evident, more or less radical ways.
Then we see the photographs of Marcelo Coglitore that in 2001 begins these series of "Portraits of people at their workplace" as an act of resistance, an almost museum preservation of images which in those days would be condemned to disappear. The artist runs through the territory of our country recording workers and their environment in direct drive with his analog camera without gadgets.
Also responding to that tessitura we have the photos and portraits of Azul Blaseotto that since 2000 works about the transformation of Puerto Madero, and from 2004 on the Rio Santiago shipyard experience and Shipyards States which are two unique situations, the first of its resistance to remain the state and the second recovered by their workers. This entire trough her camera to record changes over time, and in her drawings portraying workers.
Eduardo Molinari who conceives walking as an aesthetic practice, uses photographs of the General Archive of the Nation that show us some floats made by the CGT in 1948, prepared for a parade with applications in relief of slogans. This reflects the aesthetic of an era that still can be seen in the buildings and the logo of the “Central Obrera”, and confronted with a flat of 1822, with instructions on how to accommodate in the holds of ships, blacks, to save space and fit more quantity. In addition, a current photo of the news story shows us victims of slave labor in the exploitation of the field, inside a shipping container where they are supposed to sleep and another shipping container near the port with a painted wondering: Who wins with soy?
Mercedes Figallo and Florencia De Titta without euphemisms show us the remains of craftsmanship in the city center, trough to framed objects and also invite us for a tour to visit the places of work of the tailor, the manufacturer of medals or flags, trades that remain in the places where they are still necessary but sometimes we lose their track. Trying may be in this way, to rebuild ties, to give visibility in the midst of a sweeping urban fabric.
Meanwhile Juan José María Tirigall invents a small machine that mixed cement beads of different colors through referring to migration and miscegenation, others in mini screens make a parallel between the work and the landscapes of the places of origin. In a strange and disaffected poetry, it offers a mechanism that works alone, automated toys of a virtual world, a little tight reference to a dehumanized world.
“The craft knowledge, the sources of re appropriated employment, the human maps of the current work force and contexts of labor exercise, past and present, are combined here to offer us a space for thinking, analysis and evaluation of a phenomenon that involves us all. Its appearance in an art space that belongs to a guild is not accidental" says Rodrigo Alonso. Then Alonso promotes a dialogue between artists, the community and the workplace, in Pasaje 17 Gallery at 1559 Bartolome Mitre.
Exhibition of Crafts and Workshops in the City Centre
Digital version of VAS.
Newspaper Cultural Community Character of the City of Buenos Aires, May 12, 2011.
As it happened two hundred years ago with the Enlightenment, our artists and artisans of San Nicolas’ neighborhood display their trades and knowledge. This experience called "Urban path between workshops and artists, Intervening space” takes place during the month of May. During that period, everyone is invited to travel around the various locations of this network in the specific times of each one. The goal is to operate a channel of communication between: the different workspaces and people who inhabit it. Among Pasaje 17 Contemporary Art Gallery; and between all nodes featured with the public in general. Finally, the artists and artisans propose to generate the dialogue and the exchange of knowledge from different sources along the course of this urban network.
The Urban path between workshops and artists consists of the development of net integrated by people in their respective areas of work; whose relationship is a practice of some trade. It was designed to highlight the importance of the practice of trades today; considering some fundamental aspects: the relationship between creation and matter, the value of empirical knowledge transmitted and acquired over generations as a source of knowledge, and the importance of human qualities involved in the preparation of cultural property or for consumption.
... "When men built their first tool, they created the first useful object and the first work of art simultaneously. Thereafter the tool was present in human action on the planet, posing new questions and new alternatives. Partners in the practice of trades, men ask and the tool responds, the tool asks and men respond, in the long process of modifying the nature. Matter and spirit change in an interaction between thought and the extended hand. "...
Victor Grippo, 1976.
The path is integrated by: Pasaje 17 Contemporary Art Gallery; Glaz who sells and makes sports world flags; Sergio Soloaga, upholsterer; Carlos Ravinovich, locksmith; Gustavo and Miguel Cammarano, fine tailors measure; Santiago Ferreira, luthier and Alice Pisani´s House, where it is realized metal stamping.
“According to the encyclopedic definition, TRADE is a term that comes from the verb Facio that means "do." This activity is the usual occupation of a person and requires experience as a means of knowledge to carry it out, which is consolidated in the skill developed through the course of time, building lore. Moreover, this project adheres to the point of view expressed by Victor Grippo. We also consider that a trade is an integrated activity performed by the human being in a specific time and place. This activity implies: the existence of a subject, the use of tools, the transformation of that material by the manipulation men perform on these two above elements, and the provision of a service to society”.
Newspaper Cultural Community Character of the City of Buenos Aires, May 12, 2011.
As it happened two hundred years ago with the Enlightenment, our artists and artisans of San Nicolas’ neighborhood display their trades and knowledge. This experience called "Urban path between workshops and artists, Intervening space” takes place during the month of May. During that period, everyone is invited to travel around the various locations of this network in the specific times of each one. The goal is to operate a channel of communication between: the different workspaces and people who inhabit it. Among Pasaje 17 Contemporary Art Gallery; and between all nodes featured with the public in general. Finally, the artists and artisans propose to generate the dialogue and the exchange of knowledge from different sources along the course of this urban network.
The Urban path between workshops and artists consists of the development of net integrated by people in their respective areas of work; whose relationship is a practice of some trade. It was designed to highlight the importance of the practice of trades today; considering some fundamental aspects: the relationship between creation and matter, the value of empirical knowledge transmitted and acquired over generations as a source of knowledge, and the importance of human qualities involved in the preparation of cultural property or for consumption.
... "When men built their first tool, they created the first useful object and the first work of art simultaneously. Thereafter the tool was present in human action on the planet, posing new questions and new alternatives. Partners in the practice of trades, men ask and the tool responds, the tool asks and men respond, in the long process of modifying the nature. Matter and spirit change in an interaction between thought and the extended hand. "...
Victor Grippo, 1976.
The path is integrated by: Pasaje 17 Contemporary Art Gallery; Glaz who sells and makes sports world flags; Sergio Soloaga, upholsterer; Carlos Ravinovich, locksmith; Gustavo and Miguel Cammarano, fine tailors measure; Santiago Ferreira, luthier and Alice Pisani´s House, where it is realized metal stamping.
“According to the encyclopedic definition, TRADE is a term that comes from the verb Facio that means "do." This activity is the usual occupation of a person and requires experience as a means of knowledge to carry it out, which is consolidated in the skill developed through the course of time, building lore. Moreover, this project adheres to the point of view expressed by Victor Grippo. We also consider that a trade is an integrated activity performed by the human being in a specific time and place. This activity implies: the existence of a subject, the use of tools, the transformation of that material by the manipulation men perform on these two above elements, and the provision of a service to society”.
Interviews
#thinkingthefuture /# thinkingnofuture
Arteinformado, Wednesday, April 8, 2020.
Within the collaborative information project of reflection on the future of art and our society (#thinkingthefuture /# thinkingnofuture), born in the middle of the fight against the coronavirus crisis, we present this new interview with the artist Florencia De Titta (Buenos Aires, 1985), based in Madrid, and who, like the rest published and / or to publish, ARTEINFORMADO offers in open so that we can continue "everybody at home but well informed":
ARTEINFORMADO (AI): In these moments of uncertainty, what message of encouragement and confidence would you like to transfer to your colleagues and the rest of the operators and actors in the art world?
Florencia De Titta (FDT): Uncertainty can be a searching engine, mainly when we think with and from images and it's a natural and positive aspect of this context. I am referring to the search for new curatorial, visual and material discourses, which empathize with the social moment we are living or suffering. A moment that calls into question all aspects of contemporary civilization: social individualism, the hegemony of certain institutions, our geographical and demographic conditions, our economic and production system or the relationship with the environment. Moment that also reminds us the vulnerability of our human race. Personally, I feel more aware of time, life, death and the other. It gives me confidence the slowed city, the clear sky and synergies with other colleagues of the art world. I find in the possibility of translating into images and words this present moment, an opportunity to transgress the limits of the confinement. I take refuge in this verse of Alejandra Pizarnik "a look from the sewer can be a vision of the world". It can be one, in addition to many others.
AI: How do you think it's going to affect the way you work and your work as well as your relationships with other operators? Is it time to reinvent yourself?
FDT: I question what types of materials to use and how to produce in a more sustainable way. It is a motivation that is not new in the field of art, which currently takes a main stage in other fields such as fashion and that will gradually move to consumption. However, it had not been until now, a particularity in the way I have worked.
Reinventing oneself is vital, as it is also vital to sow new channels of relationship and cooperation between the different actors of the art world: artists in their different disciplines, curators, gallerists, digital platforms, critics, historians and collectors.
We cannot ignore that the sector has pre-crisis problems. Ticio Escobar in Image and Weather. The tribulations of art in the times of the total market (2015) describes some of these problems and sets out his perspective "[...] ethics and aesthetics (...) cannot be clearly, linguistically stated. They must 'show the world' in another way: ethics, guiding the imperative to realize one's condition; art, renewing the astonishment of things. Both will not change the world, but they can discuss their limits and thus reconfigure their meanings." The author refers to this "own condition" which is the transgressive vocation of art and is a vision that could be a very valuable starting point for rethinking the current art system.
AI: Do you now think that you should undertake a new online phase to make your work or other projects driven and related to it more and more visible? If so, what measures do you shuffle to implement going forward in your new digital strategy that you were not executing?
FDT: The online phase crosses us, shortens the distances and makes all the information available to us. It is an absolute advantage to be able to access art archives, catalogues, digital press, bibliography, movies, museum collections or interviews through the internet at this time. As well as exhibit virtually, the work itself and know that of other artists.
I couldn't imagine a new phase online, but if moving this transformation that I'm experiencing on a personal level through my future projects and gradually bringing them to my website could be a work in progress.
The argentine artist Luis Felipe Noé in Not written about what's called art: 1966- 2006 (2007) proposes to assume a network awareness as a premise for the 21st century: "We are at the beginning of a new process in which the method 'many Images, no image' will change to 'many images, one image'". This could be our challenge as collective. Trying to choose one of all the images is the strategy I choose, and I want to rehearse to live together in this digital age.
Link: https://www.arteinformado.com/magazine/n/florencia-de-titta-no-podemos-ignorar-que-el-sector-tiene-problemas-que-son-anteriores-a-esta-crisis-6620?fbclid=IwAR0gK5KNgpovPNLOZ-SEwbJ3yNXHFSKJ0NuTioXNJa4HBZ8hX0Z-VQakjV4
Within the collaborative information project of reflection on the future of art and our society (#thinkingthefuture /# thinkingnofuture), born in the middle of the fight against the coronavirus crisis, we present this new interview with the artist Florencia De Titta (Buenos Aires, 1985), based in Madrid, and who, like the rest published and / or to publish, ARTEINFORMADO offers in open so that we can continue "everybody at home but well informed":
ARTEINFORMADO (AI): In these moments of uncertainty, what message of encouragement and confidence would you like to transfer to your colleagues and the rest of the operators and actors in the art world?
Florencia De Titta (FDT): Uncertainty can be a searching engine, mainly when we think with and from images and it's a natural and positive aspect of this context. I am referring to the search for new curatorial, visual and material discourses, which empathize with the social moment we are living or suffering. A moment that calls into question all aspects of contemporary civilization: social individualism, the hegemony of certain institutions, our geographical and demographic conditions, our economic and production system or the relationship with the environment. Moment that also reminds us the vulnerability of our human race. Personally, I feel more aware of time, life, death and the other. It gives me confidence the slowed city, the clear sky and synergies with other colleagues of the art world. I find in the possibility of translating into images and words this present moment, an opportunity to transgress the limits of the confinement. I take refuge in this verse of Alejandra Pizarnik "a look from the sewer can be a vision of the world". It can be one, in addition to many others.
AI: How do you think it's going to affect the way you work and your work as well as your relationships with other operators? Is it time to reinvent yourself?
FDT: I question what types of materials to use and how to produce in a more sustainable way. It is a motivation that is not new in the field of art, which currently takes a main stage in other fields such as fashion and that will gradually move to consumption. However, it had not been until now, a particularity in the way I have worked.
Reinventing oneself is vital, as it is also vital to sow new channels of relationship and cooperation between the different actors of the art world: artists in their different disciplines, curators, gallerists, digital platforms, critics, historians and collectors.
We cannot ignore that the sector has pre-crisis problems. Ticio Escobar in Image and Weather. The tribulations of art in the times of the total market (2015) describes some of these problems and sets out his perspective "[...] ethics and aesthetics (...) cannot be clearly, linguistically stated. They must 'show the world' in another way: ethics, guiding the imperative to realize one's condition; art, renewing the astonishment of things. Both will not change the world, but they can discuss their limits and thus reconfigure their meanings." The author refers to this "own condition" which is the transgressive vocation of art and is a vision that could be a very valuable starting point for rethinking the current art system.
AI: Do you now think that you should undertake a new online phase to make your work or other projects driven and related to it more and more visible? If so, what measures do you shuffle to implement going forward in your new digital strategy that you were not executing?
FDT: The online phase crosses us, shortens the distances and makes all the information available to us. It is an absolute advantage to be able to access art archives, catalogues, digital press, bibliography, movies, museum collections or interviews through the internet at this time. As well as exhibit virtually, the work itself and know that of other artists.
I couldn't imagine a new phase online, but if moving this transformation that I'm experiencing on a personal level through my future projects and gradually bringing them to my website could be a work in progress.
The argentine artist Luis Felipe Noé in Not written about what's called art: 1966- 2006 (2007) proposes to assume a network awareness as a premise for the 21st century: "We are at the beginning of a new process in which the method 'many Images, no image' will change to 'many images, one image'". This could be our challenge as collective. Trying to choose one of all the images is the strategy I choose, and I want to rehearse to live together in this digital age.
Link: https://www.arteinformado.com/magazine/n/florencia-de-titta-no-podemos-ignorar-que-el-sector-tiene-problemas-que-son-anteriores-a-esta-crisis-6620?fbclid=IwAR0gK5KNgpovPNLOZ-SEwbJ3yNXHFSKJ0NuTioXNJa4HBZ8hX0Z-VQakjV4
Intercambiador ACART: interview with artists in residence.
#TAP magazine, April 2016, Madrid.
I A: To begin with, who is Florencia De Titta?
F: I am a contemporary visual artist, whose roots nest between Argentina, Italy and Spain, like so many Latin American descendants of European immigrants. The identity of my creative, divergent and thinking essence has been gradually built as the result of a continuous learning process among inherited tradition, academic education and time dedicated in painting, engraving and drawing workshops, plus live competences acquired in the course of dialogue between praxis and reflection.
IA: What is your artistic investigation?
F: The expansion of conventional art circuits to integrate other ways of doing, highlighting the importance of human labor involved in life, is the main driver of my most recent searches that foreshadow other processes involved: recovery of materiality in art, testing new contexts, the argument of a possible parity between art and life, the blurring of the boundaries about the concept of work and authorship and questioning about the concept of value. I am pointing out with these elections, some aspects that nourish the possibility of improving the future.
IA: Let´s talk about references, could you give an example of an artist who inspires you and any other references outside the art world?
F: I can recognize the reference and a learning intention in Povera artists at an international level, because I really admire mainly the radicalism of their proposals connected to the questioning of art as an Institution. Also, some Argentine authors have collaborated with their works, to create a personal perspective on my own artistic practice, such as: Oscar Bony, The working family (1968); Víctor Grippo, Construction of a popular oven for making bread (1972), Some trades (1976) and Tables of work and reflection (1994); Patricio Larrambebere, Argentine Railways (1998); Jorge Macchi, Advertising (2000) or Gabriel Baggio Warm chocolate with kujelles, Lerning Process (2006)
IA: What is your project for Intercambiador Artist in Residence? How did it begin and how has it evolved?
F: It is a site specific project about the appropriation of moments and places that denote the juxtaposition of historical and cultural temporalities in the life of the city of Madrid, to create images, meanings and new contexts from my records. It is an action and a response to the revolution of space and time experienced as a way of life in this globalized world. I work through drawing, painting and multiple means of making an existing images within the expanded field of contemporary art, that promote the coexistence between modernity and tradition.
IA: If so, how was it similar to or different from your Intercambiador experience?
F: I took part in two residences before in Barcelona. One of them, in Piramidón Centre d’Art Contemporani where they select two international artists for a certain period of time and they offer wide working spaces to develop your own projects individually. The other one is Centre d’Art Contemporani i Sostenibilitat (CACiS) in Calders, which offers a working context influenced by the landscape and the nature where I could experiment with the sense of time and even with the art in a field of coexistence and fraternity very healthy and helpful to be concentrated.
IA: What would you highlight from the Madrid art scene and how does it contrast with the art scene in Argentina?
F: From what I have seen until now, I highlight the breadth and the inclusion of the Madrid art scene, especially in the younger and experimental field that is emerging, proposing new ways, solutions and answers to our era. These qualities are also present in the scene of Argentina, where there is a large influx of young galleries and alternative spaces to formal institutions that give visibility to current artistic practices.
I A: To begin with, who is Florencia De Titta?
F: I am a contemporary visual artist, whose roots nest between Argentina, Italy and Spain, like so many Latin American descendants of European immigrants. The identity of my creative, divergent and thinking essence has been gradually built as the result of a continuous learning process among inherited tradition, academic education and time dedicated in painting, engraving and drawing workshops, plus live competences acquired in the course of dialogue between praxis and reflection.
IA: What is your artistic investigation?
F: The expansion of conventional art circuits to integrate other ways of doing, highlighting the importance of human labor involved in life, is the main driver of my most recent searches that foreshadow other processes involved: recovery of materiality in art, testing new contexts, the argument of a possible parity between art and life, the blurring of the boundaries about the concept of work and authorship and questioning about the concept of value. I am pointing out with these elections, some aspects that nourish the possibility of improving the future.
IA: Let´s talk about references, could you give an example of an artist who inspires you and any other references outside the art world?
F: I can recognize the reference and a learning intention in Povera artists at an international level, because I really admire mainly the radicalism of their proposals connected to the questioning of art as an Institution. Also, some Argentine authors have collaborated with their works, to create a personal perspective on my own artistic practice, such as: Oscar Bony, The working family (1968); Víctor Grippo, Construction of a popular oven for making bread (1972), Some trades (1976) and Tables of work and reflection (1994); Patricio Larrambebere, Argentine Railways (1998); Jorge Macchi, Advertising (2000) or Gabriel Baggio Warm chocolate with kujelles, Lerning Process (2006)
IA: What is your project for Intercambiador Artist in Residence? How did it begin and how has it evolved?
F: It is a site specific project about the appropriation of moments and places that denote the juxtaposition of historical and cultural temporalities in the life of the city of Madrid, to create images, meanings and new contexts from my records. It is an action and a response to the revolution of space and time experienced as a way of life in this globalized world. I work through drawing, painting and multiple means of making an existing images within the expanded field of contemporary art, that promote the coexistence between modernity and tradition.
IA: If so, how was it similar to or different from your Intercambiador experience?
F: I took part in two residences before in Barcelona. One of them, in Piramidón Centre d’Art Contemporani where they select two international artists for a certain period of time and they offer wide working spaces to develop your own projects individually. The other one is Centre d’Art Contemporani i Sostenibilitat (CACiS) in Calders, which offers a working context influenced by the landscape and the nature where I could experiment with the sense of time and even with the art in a field of coexistence and fraternity very healthy and helpful to be concentrated.
IA: What would you highlight from the Madrid art scene and how does it contrast with the art scene in Argentina?
F: From what I have seen until now, I highlight the breadth and the inclusion of the Madrid art scene, especially in the younger and experimental field that is emerging, proposing new ways, solutions and answers to our era. These qualities are also present in the scene of Argentina, where there is a large influx of young galleries and alternative spaces to formal institutions that give visibility to current artistic practices.
Download my texts
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