Lucía del Milagro Arias, prácticas curatoriales, 2012/2022

LUCIA DEL MILAGRO ARIAS

Some community thinking projects

2022

I LIKE WHAT I SEE BEHIND A CACTUS

My main interest from the curatorial point of view focuses on the construction of narratives with the works narratives linked to the issues of scene, territoriality and the artist's situation as a worker and nomad, in tension with a the concept of time and reality (as constructed reality and revisable historicity, not as a search for truth).

I am interested in the narratives that we find on the margins and the limits, in works that question and reformulate the "homogenized official discourse" of the art of a given place, investigating the particularities and materialities of the contemporary productions outside the big centres. Observing the territory not from a unilateral action of the viewer, but from an exchange that invites to the appropriation. I believe in collaboration and group work, both in productions as well as in the curatorship.

I carry out my projects through field work with the scenes as a container story of particular practices in relation and of contemporary artists in situation.

JOURNEY TO MARS OR APPROXIMATIONS TO THE CONCEPT OF COMMUNITY Córdoba-Rosario

curatorship

LUCIA DEL MILAGRO ARIAS GABRIELA GABELICH

crossing of artists of intermediate generation from Córdoba and Rosario, pretending a poetic experience applied to the sense of community through a fictional story, by means of the historical rescue of the first Argentinean science fiction novel that belongs to the fantastic literature of Latin America "wonderful trip of Mr. Nic Nac to the planet Mars" by Holmberg of 1875, and contents by Edgar Morin's The complex theory. Co-curatorship with Gabriela Gabelich, part of the project PROVINCIAS UNIDAS DEL SUR, Museo Genaro Perez, Córdoba, May 2018.

Celeste Martínez Aburra

Gastón Herrera

Pauline Fondevila

Rodrigo Fierro

Lucas Di Pascuale

Journey to Mars or Approaches to the Concept of Community

Córdoba Rosario

"It is about the concern of our time regarding the common character of our existences: to what makes us not primarily distinct atoms but that we exist according to relationship."

Jean Luc Nancy

Journey to Mars... arises with the intention of constructing and developing a dialogue between two scenes. One Rosario, the other Cordoba. It is a question of approaching two cities with an important artistic tradition that share their being being on the periphery of the great centre, of the great capital city. They also share a motorway that only arrived in 2004 and took years to be built.

One Mediterranean, the other port.

We forced their natural condition of parallel scenes into a situation of crossing. We approached the fieldwork from the perspective of relations as systems, with Edgar Morin's Complex Thought1 as the matrix of our speculations. We work from artistic practices as a subjective representation of an individual reflection, rethinking the concept of identity as a collective experience, where the personal emerges from its relationship with the world, thus forming a complex network of autonomous agents that inexorably modify the conditions of their environment and rehearse in the other the very definition of the self, which necessarily happens as a register of the self in the other and the other in the self, finding the subject and the other as interchangeable entities in a community. We thus point out the importance of being-being-with (intersubjectivity), and the contingent and probable as constitutive in the temporal dimension of the present.

At a time when talk of dystopia is the norm, we want to focus our reflection on a marvellous journey, quoting the title of Holmberg's 1875 work "Mr. Nic Nac's Marvellous Journey to the Planet Mars", where modernity takes on the form of utopia and where socio political critique is of an urgent nature, in order to make this curatorial account a clearly hopeful poetic fiction.

The Wonderful Journey of Mr. Nic Nac

It has the merit of being the first Argentinean science fiction novel and belonging to the genre of fantastic literature in Latin America.

It tells how Mr. Nic-Nac embarks on a journey to the red planet by means of a technique of disembodiment: he stops eating until his soul detaches from his body, thus arriving on Mars, finding himself in numerous and confusing situations.

"In this work we can find a hybridisation of typical discourses of the time, such as journalism, political oratory, classical poetic register, scientific discourse, etcetera. With the presence of a narrator external to the facts and incredulous in a situation that serves as a framework for the fantastic story in the first person.

It includes some typical elements of science fiction of the time, such as fantastic travel, satirical utopia and unorthodox science. Social satire can be found in the parallels between the inhabitants of Mars and the Argentinean citizens of the 19th century. Holmberg commented through this work on local and international affairs and exaggerated and extrapolated aspects of Argentine society in the "Martialitas". The play touches on topics such as the national political situation, debates on religion, religious hypocrisy, and academic issues. We see in Theosophopolis a parallel of the city of Córdoba, the seat of the Jesuit order in Argentina and of the National Academy of Sciences. Through the parallel between the Aurelian capital and Buenos Aires, Holmberg seems to give a message about the importance of national unity in the unstable political situation of the time. The subject of international debate touched upon in the play is the possibility of life on other planets, a discussion that reached its climax with Schiaparelli's observation of supposed canals on Mars in 1877. "2

The aim is a reflection, a poetic experience applied to the sense of community through a fictional story.

Talking about community instead of society, of modernist utopias in the contemporary dystopian, to speak of a cut-out of artists to undertake a great journey, an enormous challenge. They are appropriators, appropriators by identity and belonging. They have institutional critique as a tool and the institutions themselves as materiality.

We have Vikings, agitators, warlords, transformers and commune builders.

Yes, always builders, who let the situation pass through them, who believe in good practices, in collaborative actions, in community, in partnership, in an enormous journey with their own ideals, but with a collective gaze.

The script of our exhibition is a dialogue in the key of science fiction, where the method of writing our story does not have a point of gravity, which means that we always start again from zero, and the text is rewritten over and over again.

We put forward a hypothesis that began with a field research that is modified because the waves that bounce on matter, their direction, and their pressure (gravity) cause the text to be constantly crossed by different things, thus systematically modifying its content and direction. Community...

Journey to Mars...

Mr. Nic-Nac's "hybrid and social" look...

...is a great moment, just when the communication office of the University of Cambridge3 , as part of a celebration, makes Stephen Hawking's 1966 doctoral thesis "The Properties of an Expanding Universe" publicly available. A historic decision because it places the Internet as a vector for the new concept of community, as inclusive and totalising, with open, free and meaningful communication....

...this fact is also key in relation to territoriality...

(in chapter four Hawking deals with the occurrence of singularities in cosmological models, with the implications and consequences of the expansion of the universe that we could use to rehearse cartographies in relation to the trajectory of our device).

Here is our curatorial idea after such a weightless introduction: The construction of an enormous device box casket (rooms on the first floor of the Genaro Pérez Museum), which houses elements in relation, without previous intention of this tension, forming part of a representative pretension of diverse poetics and different materialities but which, at the same time, functions as a something, the Voyager I, a I don't know what, an inter-trans-subjective loop, a thing, a being-with-others, a "construct" of meaning.

Wanting to reflect on the concept of community, wanting to contain in a fiction, in a poetic gaze, a determined group of artists with a specific territoriality and above all a state in their artistic practices in relation to a context.

Artists of intermediate generation from Cordoba and Rosario.

Artists of intermediate generation from Cordoba and Rosario who enclose their works in a device to send them to Mars and thus, in a situation of dialogue, they can be read from the evolution of the concept of society to the concept of community that arises again in the field of sociology due to the presence of the virtual as a paradigm of the contemporary. Lucia del Milagro Arias.

1 Edgar Morin. Le Methode. 1977 2 Haywood Ferreira, Rachel (2012). "El viaje a marte en la imaginación argentina ayer y hoy: Viaje maravilloso del Señor Nic Nac al planeta Marte by Holmberg and Viaje a Marte by Zaramella". Revista Iberoamericana (Pittsburgh: University of Pittsburgh). 3 University of Cambridge. England.

Exhibition of installed practices by artists of the intermediate generation in all the rooms of the two floors of the Genaro Perez Museum.

https://museogenaroperez.wordpress.com/2018/05/08/viaje-a-marte-o-aproximaciones-alconcepto-de-comunidad-curadosra-lucia-del-milagro-arias-y-gabriela-gabelich/ https://www.facebook.com/museo.genaroperez/videos/1644836915571872

https://www.facebook.com/media/set/?set=a.10214636823068104&type=3

https://vos.lavoz.com.ar/artes/?fbclid=IwAR1orlYKnUun-paraiso-paracoleccionar3efDKmRzxdpefFphUvxP9nnoDLeLBFzW3IMZJlTWQw6ZePHbE http://ramona.org.ar/node/66111?fbclid=IwAR3rKpTvgHz5EW3Z6UTy3HAGKI0sOlAN9nyFUQA1s4cisAyv6c38X2JdI14

ARTISTS FROM CÓRDOBA: Hugo Aveta, Luciano Burba, Adriana Bustos, Laura Del Barco, Lucas Di Pascuale, Rodrigo Fierro, Juan Juares, Celeste Martínez, Leticia Obeid, Pablo Peisino, Christian Román, Soledad Sanchez Goldar, Ana Volonté

ARTISTS FROM ROSARIO: Eugenia Calvo, Pauline Fondevila, Laura Glusman, Mauro Guzmán, Gastón Herrera. Fabiana Imola, Cecilia Lenardón, Andrea Ostera, Georgina Ricci, Maximiliano Rossini, Lila Siegrist, Alejandra Tavolini, Mariana Telleria, Román Vitali

ON BIOCENOSIS AND ENCHANTED OBJECTS IN PARADISE

Hugo Albrieu Collection

Curator

del Milagro Arias

Cordoba

Palacio Ferreyra

ON BIOCENOSIS AND ENCHANTED OBJECTS IN PARADISE

A complex, territorial, intimate story.

Biochemistry is a science that deals with the investigation of biosystems and biomolecules. It is a scientific discipline that encompasses the physico-chemical laws and biological transformation that influence biosystems and their constituents.

All animals, plants and micro-organisms living in a given context form a biosystem. Their relationships of dependence, nourishment and development form communities called biocenoses. A biocenosis is therefore all the living beings that coexist in a context and the relationships that are established between them.

Hugo Albrieu is a biochemist, artist, cultural manager and collector.

His house is the place where his works, his books, his plants coexist, where everything is organised, where everything makes sense, where he writes an intimate story: his collection. Sometimes uncomfortable, sometimes pleasurable, sometimes just a backdrop to silence, to isolate himself and remain, selfishly, with paradise.

His house, in the centre of La Rioja, is a meeting place for artists, intellectuals, foreigners and locals.

It is Un Muro, a space for the dissemination of contemporary visual practices.

Her house is sometimes her house, her routine, her rituals. Your house is even more yours when it is appropriated by the scene, by an artist from another province (who is lovingly lodged there), by an exhibition that intervenes all its walls (which wanted to be white, without even the light keys), by readings at an inauguration, by a party...

We speak of images, of texts, of a world thought of from itself, of a specific cartography, of identity, that identity built by links, by displacements, by the cooperative idea in relation to the construction of a scene.

But it is impossible to approach his collection-story while leaving aside the diversity of his actions as a scene builder (something like the rabbit who manages time in Lewis Caroll's text).

I have not seen a more representative exhibition of Pablo Peisino's work than the one curated by H.A. at Osde de la Rioja in 2012.

I still find in me the surprise in front of the woven work of Geri and Noel, a great vine that covered their entire kitchen until it blended in with the vine in the courtyard (which H.A. didn't stop watering for a single day in the months prior to the exhibition).

I also remember him, "subtracting" Gustavo Piñero's Subte at two o'clock in the morning from the museum Octavio de la Colina to accompany him to film a stop (despite the fact that it was opening the following day)... And I laugh.

...The playful, an invasion of clues, of "secret" clues. that inhabited his house, as after a crime in the exhibition "Collections".

... relationships with other scenes, his friendship with German Borman, from Cstll 569 (Catamarca); his presentation in the fifth forum of contemporary art and cultural policies (Tucumán), the clinic of Anibal Buede in his house...; Dimas Melfi with his little drawings everywhere, the Celina Galera's curatorship, Pablo Curuchet and his big inflatables at the MOC, his readings at the Russian open, the exhibition of Viviana Coromillas as forceful and honest as her bond... her unconditional support to MOC and its director Ana Mercado Luna... just a few.

How could we develop a cartography of this narrative-collection, understanding it as the creation of a map that unites the different points of reference (works) and at the same time unites the different artists-agents who developed them?

The primary intention is to show its collection, the works in its custody, which point to a very specific territory, very different from what we are used to, when we talk about contemporary Argentinean art.

We talk about the NOA (Northwest of Argentina), sometimes not.

We speak of an "overflowing" and mobile cutout of a "territorial" context, with a great patrimonial value, both in terms of the artists who make it up and in the singularity of each chosen work.

We speak of images, of texts, of a world thought from itself, of a specific cartography, of identity, an identity constructed by links, by displacements, by the cooperative idea in relation to the construction of a scene.

I am encouraged to hypothesise, thinking about how this artist biochemist collector links himself to his works (and their makers) and I have no hesitation in imagining a plane of intensities (like a satellite image) and Hugo looking closely at this system (perhaps through a microscope)

His collection is evidence of a well-determined symbolic landscape, as in the biocenosis, constructed from the artists' productions and from the cartography of links, in a place in Argentina known as paradise.

Lucía del Milagro Arias.

These works are study material, like logbooks of notes that show the passage of time, and the relationship between people which are tinged with a context. They are the notebook of a collector-biochemist.

MARCOS ACOSTA, CÓRDOBA

AYELEN ARGAÑARAZ, LA RIOJA

KARIM AYAME. TINOGASTA

NOEL ARIAS, LA RIOJA

LUCÍA DEL MILAGRO ARIAS, CORDOBA

LUCAS ARDÚ, CÓRDOBA

NATASHA AVELLANEDA, LA RIOJA

CARLOS RODRIGUEZ BALLESTER, CABA

NICOLAS BALANGERO, CORDOBA

LUCIANO BURBA, CÓRDOBA

ELIANA BUSTAMANTE. LA RIOJA

ANDREA BUSTAMANTE. LA RIOJA

ELOISA BALLIVIAN, CABA ERNESTO BERRA, CÓRDOBA

ANIBAL BUEDE, CÓRDOBA

LUIS BERNERI, SANTA FE MARTÍN BRIZUELA, LA RIOJA

MARTA ELENA CORTES ÁLVAREZ, LA RIOJA

YÉSICA COSTA, VALLE FÉRTIL, LA RIOJA

PABLO CURUTCHET, CÓRDOBA

CECILIA CANDIA CORDOBA

GUILLERMO CÓRDOBA, DEAN FUNES RODRO CAÑAS, TUCUMÁN

ROSARIO CASULLI VILLACORTA, CHILECITO, LA RIOJA LULI CHALUB, CÓRDOBA EMILIANO D AMATO MATEO, TUCUMÁN

JUANA DE LA VEGA, CHILECITO, LA RIOJA LUCAS DIPASCUALE, CÓRDOBA

JAVIER ESTRADA, LA RIOJA

NOELIA FARIAS, CÓRDOBA. ALFREDO FRIAS, TUCUMÁN SARA FERNÁNDEZ, CATAMARCA

FLORENCIA FRASCHINA, MAR DEL PLATA. MARCOS FIGUEROA, TUCUMÁN DIEGO FIGUEROA RESISTENCIA, CHACO DIANA GUZMÁN, LA RIOJA TOTO GUZMÁN, LA RIOJA MARIANO GONZÁLEZ, PUERTO MADRYN LUCIANA GÓMEZ, LA RIOJA

CELINA GALERA, CATAMARCA PABLO GUIOT, TUCUMÁN

FERNANDO GARCÍA, LA RIOJA

ALVARO HERNANDEZ, SAN JUAN MARTÍN KOVENSKY, CABA

JORGE LOBATO CORONEL, TUCUMÁN LULU LOBO, TUCUMÁN ANGELES LUNA, LA RIOJA

CELESTE MARTÍNEZ, CÓRDOBA INES MISERENDINO, CÓRDOBA

PALOMA MARQUEZ, CHILECITO MANUEL MOLINA, CÓRDOBA

DIMAS MELFI, CATAMARCA

ESTEBAN MARTÍNEZ, CÓRDOBA

PEDRO MOLINA, LA RIOJA

ROSALBA MIRABELLA, TUCUMÁN

MANUEL MOLINA, CORDOBA

GUSTAVO NIETO, TUCUMÁN GASPAR NÚÑEZ, TUCUMÁN

VIVIANA OCAMPO COMOROMINAS, LA RIOJA GERARDO OBERTO, CÓRDOBA HUENÚ PEÑA, CÓRDOBA

GUSTAVO PIÑERO, CÓRDOBA

PABLO PEISINO, CÓRDOBA

CAROLINA PARADELA, CATAMARCA ROXANA RAMOS, SALTA JULIA ROMANO, CÓRDOBA NICO SARA, RAFAELA GUILLERMO STEFANI, TUCUMÁN

JORGE SALAS, CABA

NENIA SOL, PTO. MADRYN

RAMIRO VAZQUEZ, CORDOBA

NESTOR VILDOZA, LA RIOJA

GERMAN WENDEL, VILLA RESTITUCIÓN GERARDO LUQUEZ, LA RIOJA

NEREO FUNES, LÍMITE INTERPROVINCIAL NORTE

HUGO ALBRIEU, LA RIOJA NINJA, BAHÍA BLANCA

https://issuu.com/guillermocordoba/docs/catalogo_hugo_albrieu

https://vos.lavoz.com.ar/artes/un paraiso para coleccionar?fbclid=IwAR1orlYKnU3efDKmRzxdpefFphUvxP9nnoDLeLBFzW3IMZJlTWQw6ZePHbE

MONTAÑA NEGRA RESIDENCE

A space for reflection and production on the inhabiting and intervention of the landscape, which has been carried out in an organic, non-institutional way since

Calamuchita, Córdoba

Memories of the water.

A river is built among the landscape as a symbolic representation of the desire for water in a period of eight months without rain. The image of a silver thread among the trees connects us with desire, with the scenography of an invocation to the gods who control nature, to Pachamama herself, placing her in the place of the absent spectator. Luisa Adami.

Poetics of lineage. Celeste Martinez Aburra

Appropriating American Gothic represents my own particular quarantine. The original work was made in a post crisis context (1930).

a tribute to a frame of my master David Lynch. Gustavo Piñero

Capricious cartographers or a look over the horizon.

It is a project that emerges from the application of methodical processual practices in a specific cut in our geography, a landscape reformulated to talk about territory.

A landscape that is methodically deconstructed to question the borders, the margins and the horizon.

It also speaks of identity from the honesty of the very object that inhabits this landscape, through an exploratory process of direct intervention, following the scars-marks (as points of reference) to "lift" the skin and investigate.

the identity of the environment that contains and defines us.

Melina Colombano- Gaspar Nuñez

MERCADO

Art Fair

Curatorship of the multimedia space, MERCADO Art Fair, Cordoba 2015 2016.

AUDIOVISUAL LIBRARY, OUT OF FOCUS multimedia space. Moving images emerged between the 22nd and 55th parallels of south latitude and the 53rd and 74th meridians of west longitude, about time and audiovisual metaphors. The general script was accompanied by a strongly federal selection of practices by artists from all over the country. Historic Cabildo. 2015

AUDIOVISUAL LIBRARY, THE INEXISTENT LIMIT multimedia space, MERCADO fair, 2016. Artists from Brazil, Chile and Argentina were included, referencing particular characteristics of their own identity in a context of neighbouring countries, accompanying the general curatorial intention of rewriting new maps, with a global gaze not dominated by the large centres as legitimisers of practices in the Argentine visual arts. Historic Cabildo. 2016

Cintia Clara Romero

2015

Camilo Guinot Buenos Aires. Argentina

Damián Linossi Córdoba. Argentina

Suyai Otaño Neuquén. Argentina

Laura Colombo Córdoba. Argentina

Walter Tolaba Catamarca Argentina

Eva Filquelstein Córdoba Argentina

Manuel Molina Córdoba Argentina

Guido Yannitto Salta Argentina

2016

Cintia Clara Romero. Argentina

José Ulloa Acosta. Chile

Gisela Motta. Brasil

Leandro Lima Brasil

Carlos Issa. Brasil

Maximiliano Rossini Argentina

ANGEL WITH AXE

A wild landscape.

Carlos Manuel Crespo compilation of works from 1965 to 2010.

Take 2. A Turtle Man Turned Upside Down.

We find a reflection by Hanna Segal in a publication by Andrea Fraser who defines that: "the work of art is like the work of mourning: a process of reworking the melancholic guilt and anxieties associated with loss, real or fantasised, through efforts to repair, restore or recreate lost objects of love".

Curator

Gustavo Piñero

Installation design

Lucia Del Milagro Arias

The angel with the axe. A wild landscape.

Carlos Manuel Crespo and a compilation of works from 1965 to 2010.

It is a spring afternoon. We are on a terrace with a red chalky floor, cans painted with small flowers act as flowerpots. There is a small table, also hand-painted, and from the workshop comes a song by Lou Reed. It is hard to imagine that we are in the heart of the city centre next to buildings full of students. The plants, the austerity and the terrace don't match what surrounds us.

He was born in 1940. Descendant of Spanish and Syrian Lebanese. He was the eldest of three brothers. As a boy he was nicknamed Lito. A photo shows him at the age of ten in a suit with a cat in his arms. His father died that year and this fact marked his life forever. He studied architecture, played football in the first team of the Belgrano club. He met the artist Oscar Curtino and under his influence he began to paint.

Crespo is an exponent of art-life. His figure, his space/workshop, the way he dresses, his drawings, paintings, sculptures and installations represent, as a whole, his ideology. A marked sense of anti consumerism and anti regulation. His works reflect on man and the ruins of capitalism. Difficult to pigeonhole and to interpret, we are only going to try to look for clues to approach his thought. To talk about Carlos Crespo's work is to talk about a method.

Take 1. The method.

At the beginning of AndreiTarkovsky's film The Sacrifice, the main character, Alexander, is planting a dry tree and tells a story to his 6-year-old son who accompanies him:

"A long time ago, a monk in an Orthodox monastery planted a dry tree on a mountain, and told his disciple to water the tree every day, until it came back to life.

Every morning, the disciple filled a bucket with water and went up the mountain, watered the tree and returned to the monastery alone in the evening. He did this for three years.

And one day, when he arrived, the tree was full of flowers.

There are times when I say to myself, if one does something every day, at the same time, always the same act, like a ritual, systematically, one day the world would change! It would have to change.

That was Carlos' way of working, his method. Every day at the same time, he worked on several pieces, which, because of the technique used, were finished. He would select one that did not correspond to the group to eliminate it, or if there was any doubt, he would leave it to be analyzed the following day. A daily ritual with which he imagined a change. A rupture.

He defined himself as a naive and primitive artist.

A seeker of different languages and materialities for painting and sculpture. Thick strokes, dry paint, pure colour. He used himself as an archetype to reflect his reality, the world of art and social relations. Obsessions and traumas. His paintings become critical, politically incorrect in their execution and subject matter.

He created a body of work whose components are part of a great story, his way of assembling it in installations of many pieces, mark a reading for his work, they are all fragments of a great film.

Take 2. A Turtle Man Turned Upside Down

We find a reflection by Hanna Segal in a publication by Andrea Fraser that defines that: "the work of art is like the work of mourning: a process of reworking the melancholic guilt and anxieties associated with loss, real or fantasised, through efforts to repair, restore or recreate lost objects of love".

On a visit to Argentina, Achile Bonito Oliva invites him and other artists from Córdoba to exhibit in Rome, in Room 1, where they make the exhibition Seis, in which he presents an installation with his paintings: Dulces Sueños. A turtle man turned upside down, characters with giant clocks, men on horses, a figure with a huge thermos are some of the pieces that make up the installation.

Take 3. Art and Fire

There is a set of her ceramic sculptures/objects. The fire of the kiln transmutes his work into pieces with an enormous tension between the fragile and the hard in the message. Like an alchemist he transforms clay into precious stone. There are also his glazed ceramics and a set of small rings.

In a last video we made, he risks an ending and says looking at the camera, but speaking through it: "only art doesn't lie..." and finishes off: "don't you think it's good?"

Take 4. Violence.

Returning to Tarkovsky's The Sacrifice, the protagonist relates:

"His little house had a little garden, a little garden that was very badly kept.

For years, nobody looked after it or went into it. My mother was already ill and didn't leave the house.

The garden was also very beautiful. Yes, I know now that it was.

When the weather was fine, she would sit in front of the window and stare at the garden. She even had a special chair to sit on. Once, I wanted to clean the garden, cut the grass, trim the trees, in short, everything to my taste, with my own hands. Everything to make my mother happy.

For two weeks I worked in the garden, I dug, I pruned, I sowed, I weeded....

My mother was getting worse, she stayed in bed all day. The more I wanted her to have time to sit and look at her new garden.

When everything was finished, I took a bath, changed my clothes and even put on a tie.

I sat in the chair and looked out of her eyes. And through the window I saw all my traces of violence. I had prepared a vision of myself. Anyway, I looked out of the window and I saw...

What did I see?

Where had all that beauty of nature gone? It was so disgusting.

All there was was a sign of violence."

Carlos saw that kind of hidden, latent violence. Where others understand order and progress, he sees an advance of violence over nature, the brutal domination of territory, and many of his works reflect this.

A man cutting down trees, headless, surrounded by buildings that suffocate him.

And he puts on a mask

And lights the fire

And atonal sounds like knives cut the air

And he laughs.

Night falls, I get up from the chair on the terrace, we say goodbye, I give him a hug and go down the spiral staircase, I continue down the corridor and close the door from outside. I take one last look at the window on the street that has a long handmade pot that says Carlos Manuel Crespo; through the window you can see his head walking and you discover that he is about to start cooking. Nueva Córdoba takes me towards the centre of the city.

At the end of a film from when he exhibited at the Caraffa Museum, we hear a song sung by him...

"chiribín chiribín chin chin chin chin chin, pero mi caballito, pero mi caballito..." and at the end, his contagious laughter.

Gustavo Anibal Piñero

SUBTE AFTER KIPPENBERGER

Journey Proyect

Gustavo Piñero

The artista as a nomad, as a foreinger, Even for his own envirorment. The constructión of a dispositive, a portable underground, to transport oneself.

Curator Lucia del Milagro Arias.

MOC. Octavio de la Colina Museum.

La Rioja, Argentina.