Juliana Ceci, Viviana Macías
of banks and limits
For years Viviana Macías Juliana Ceci and maintain a fruitful artistic conversation. Now poetic and critically approached two water paths, with dissimilar paths and destinies come together in the Río de la Plata. Conducted in the vicinity of the rivers they know well, because that is where ordinarily work, the works reveal a complex inhabited horizon even unexpected findings.
explorations underline the contrast between the Riachuelo, full settlements and contaminated wastes, and Paraná, with its margins and green islands, but also indicate boundaries and contact points. Mark the geographical boundaries actually exist-the Matanza-Riachuelo separates the capital of the southern suburbs, "noted the divide between life and death because of absent, present the frontier between action and recording artist.
Juliana Ceci taught to children in Villa Fiorito and to dream. Actions carried out in three stages in the Brook (named in his mouth, and River Massacre in much of its course), which circulate through photos and prints. Chose colorful toys shaped like animals that are inflated and took off walking down the slimy water. As a lifeguard, these ducks and swans floated stressing the desire for beauty and the return of wildlife. In his chores around the area, Ceci discovered an exotic plant growing out of control at the edges, it is the castor-plant pollution indicator, which, like a spell, portrayed and stamped on paper and canvas to drape the room and design clothes. How to convey the joy of the kids to see animals of fantasy?
Viviana Macías long ago developed artistic practices related to encounters with spectators, both metaphorically and physically to complete their work. Events are generous exchange of knowledge, seeds, food, arms, objects of silt, originating in the drift and aspirations of the Paraná delta. Video and installation together pieces of clay that appear to have been found in some archeological site and is equal to the houses of rice they usually do and distribute for consumption. In the sequence of photos, the branches, which brought the Paraná and dressed with threads of different shades, were left by Macias in the creek bank in front of La Salada, some people took them and left debris generated color change , with which the artist wore a lush ricin. Where is the excitement for the anonymous exchange of arms and colors? Victoria
Verlichak
Curator Thanks: Beauty and Happiness Fiorito, Archive Vivo.
