Uni– verses - María Edwards

Uni– verses | María Edwards

Uni– verses | María Edwards

“The task of the writer is to metaphorize the world, to poetize it.

His poetic gaze uncovers the hidden love relationships between things.

Beauty is the event of a relationship…

It only manifests itself later, in the light of something else, as reminiscence.

It consists of historical phosphorescent sediments.”

— Byung-Chul Han, To Salvation of the Beautiful

Contents

Introduction

15

Dialogue with Alexia Tala

19

The Exhibition

29

Verses

45

About the Artist

79

The Gallery

87

List of Works

93

Credits & Contributors

98

Introduction Uni – verses

Edwards’ work has developed around the role of herself as an active observer of reality, an agent producing object-scenes from a collection of random elements she finds and selects. From these journeys she creates relationships and constellations between objects or fragments, guided by intuition and amazement that find their correlation in the strong influence of scientific and philosophical thinking.

These constellations, which take the form of installations, notebooks and chalkboards, among others, relocate that which has been discarded or has gone unnoticed by others, giving it a new presence and appearance.

Continuing, but at the same time turning her research around one of the most transversal themes of her work, the astronomical universe, the artist presents three new installations, with subtle mention of the objectual world of music: a mobile construction, blackboards and a machine-like object. The first of these stands out for its scale by presenting us with a constellation of transfigured musical scores, which are invisible as such in their continuous, dynamic and innocent movement. This piece dialogues with the other two, which emphasize the tension between reinterpretation and objectual uselessness, generating an atmosphere of fragility, lightness and balance.

The spacial and object organization of the room takes us to a place where time seems to have been suspended, where the viewer can read and experiment in his own journey.

The name of the show comes from these operations that oscillate between the scientific and the poetic; a view of the universe as an infinite framework composed of verses or phrases, that joined by a sometimes visible thread, connect the various pieces that roam free in the air, like the verses of a poem that has been marked in space, creating a logical as well as poetic work.

15

Dialogue with Alexia Tala January, 2017

Alexia Tala: Getting to know your work more in

M.E. I believe that the power of something

depth and working with you in the Guatemala

is manifested in the relationship that can be

biennial has made me realize that the disposition

established with others. In the meeting between

of the way you look at and perceive the universe

them, a new space is opened, new possibilities,

points to the infimum, as Cao Guimarães says,

giving another life to what seemed dead. And it

to the “almost invisible”. Is this perceptive state a

is the space that appears between them as well as

constant in you or could we say that you activate it

the void, is what finally interests me more than the

at the moment of creating your work?

things themselves. I am interested in being able to point out those spaces by the activation of the void.

María Edwards: I could say that it is a constant, without a prior intention my attention has always

A.T. Then emptiness is a great theme in your work.

been in what happens unnoticed, in what we could

But I do not see the intention to sculpt the void,

easily overlook, in things, situations or the state of

but to intervene it, break it, or rather to indicate its

things that are in the limit of disappearing ... those

presence...

are the things that catch my attention.

M.E. Yes, I think that in the end behind of what A.T. Your creative poetics has a lot to do with

I do, there is always the intent to give space to

observation, experience and especially drifting,

the void, without invading it, rather letting it

collecting objects, new or old, cute or ugly, useful

appear between the distances and pauses that

or useless ... In this regard, I have been thinking of

I leave between one thing and another ... Allow

something that we talked about in your workshop

the air to circulate freely, as in the case of mobile

some days ago about that third space of experience

constructions, where the piece can be read by

that occurs through the interaction between

observing the objects arranged in space or by

objects. Could you delve a bit into this?

traversing the empty spaces to get from one object 19

to another. In that same way appears the process

amongst other things, by the figure of the flanêur

that leads to the construction of an artwork, by

that Walter Benjamin takes from Baudelaire. To

always starting from the parts to finally get to the

do so, I decided to take with me only the most

whole.

essential and the lightest elements that could fit inside a suitcase (that would be my portable study)

A.T. In such case, your process is one of constant

and that would not be much load to carry tied on

learning and constant experimentation. Proust says

my bicycle accompanying me on the trips and daily

“For beauty the secret correspondences between

actions in the city.

things and notions are essential, a correspondence that occurrs over vast periods of time.” How does

I also imposed myself a series of obstructions,

time play a role in your work? There are several

limits and creative exercises inspired by the Oulipo

of your works that have the intentionality of

group and George Perec, to “wander” in a certain

measuring time through actions, especially “1

direction, but always open to what might appear

month & 19 days before, during and after”.

on the way ...

To prolong the experience, I decided to replicate

I have always had the feeling that everything

the time I was staying before and after, for the

happens too fast. That the minute you discover

previous planning and the subsequent connection

one thing it loses its state of being in force, it

of everything that had happened, had been

disappears and quickly has to go for the next one

collected and rediscovered.

... there is little time to lose oneself and to ramble.

For the same reason and against that, I decided

A.T. How interesting to try to compress your

to create works and projects that need time to be

4-year experience in a fraction of time by means

completed or “finished”, although many of them

of your bike tours. Michel de Certeau in Practices

do not even have an end. They are works that could

of the Everyday, talks about these acts of traveling

be extended, as long as necessary, to allow me to

“by the ordinary practitioners of the city”, which

live the experience of carrying them out.

are real plots that their inhabitants weave and leave over the cities. In this creation of plots there is a

Such was the case of “1 month & 19 days before,

psycho-geographical aspect, but also a temporal

during and after”, a project that arose from the

one. How do you approach it?

urge to return to New York City and condense in

20

a month and 19 days what I had lived for almost 4

I approach it with the idea of the point and the line

years, and to do so at a pace of its own and with the

that remain in space as a record of those routes,

necessary time to lose myself in the city, inspired,

the arrests and moments that occur throughout

such time... The line, in some cases would be the

Light by filmmaker Patricio Guzmán? In it, an

thread or wire with which I am weaving the weft;

astronomer of the Alma project speaks of that idea

and the point, the knots, with which I mark the

of “time as image”, what we see in the sky is what

pauses or tie up the encounters occurred in them.

happened millions of years ago ...

In physics Aristotle poses it in a very beautiful

Yes, beautiful, that “Nostalgia for the Light”, I

way through the theory of the “indivisible atoms”,

imagine it must be related to Aristotle´s sadness

distinguishing between the “indivisible moments”

when referring to time and those “indivisible

which he calls present, and time, which would be

moments that make us sad, because they remind

the line that unites those indivisible moments...

us of the inevitable end of the line.”

He also says that this line, which would be the time, and that unites the objects that keep inside

Perhaps the stars could represent those indivisible

those indivisible moments, saddens us because it

moments that we perceive today behind its light,

reminds us of the inevitable end of the line.

like the patent line of another time. I believe that this is the nostalgia that I could perceive in the

Thus, whenever I start a project or a piece of work

astronomers of Alma when I worked with them in

I do it with a thread that I put inside my pocket

one of my last projects. They are somehow in daily

or that I tie on my bike and then I go out with it.

contact with death, with what is not longer there

In some cases I find things on my way that I tie

but continues to illuminate.

in order to load them and if not, I simply measure the distances and count the pauses. That’s what I

A.T. What was that project about?

did during the 47 days in New York City with the thread on my bike, to later take the thread and re-

It was the result of a prize awarded by the European

extend it for a month and 19 days in my studio, in

Network of Digital Art and Science, consisting

order to find the coincident constellation, guided

of a residency in search for consonances between

by the knots done each day.

art, science and innovation, which brought together within the project the Observatories

A.T. Is it like taking to that thread all the images

of the Atacama Desert with the Laboratory of

you experienced on your journey through your

Innovation in Linz Austria.

collected items?

Everything began with a journey to the M.E. Yes, somehow it is.

observatories of the Atacama desert, in company

A.T. Did you watch the film The Nostalgia of

with a great team of scientists and astronomers 21

that allowed me to find great connections with

write down your ideas, thoughts and possible

the artist’s work, since both live and build from

projects and their relationships with philosophy,

uncertainty, from observation and doubt , In

astronomy, music and other sciences. What is the

a constant search to open new possibilities, to

importance of writing in your process? And in

expand the limits of space and by doing so, in some

what way do you generate the intersection with

way, expand consciousness through the experience

other sciences? Do you have other works besides

of observing.

String and air instruments that make these crosses?

From these walks through the desert and the observation of the sky, the work “Instrument of

On one hand, writing helps me to remember,

rope and air” arose, inspired also by the music,

I have a terrible memory and I often write the

the mathematics, the stars and the Pythagorean

ideas several times in order to record them in my

myth that says that we descend from the sky and

head so that later, when they are necessary, they

that the only way to get back up, would be by

come back naturally. Many times what I write at a

replicating the order of the Universe with the use

certain time may not have any immediate meaning

of mathematics as music... “musical notes would fill

or direct relationship with what I am doing, but

the space between the earth and the sky with an

I feel that at some point it could be useful or will

orderly pattern that we could cross.”

connect with another idea that appears, causing both to be enhanced ... at the end, I see the act

The intention was to build an instrument that

of writing similar to the action of collecting, both

could connect distant times and places. It consisted

the notes and writings that I take (as the things

of 11 swings installed in 8 European countries; 3

that I collect) when seen isolated they are only

observatories in Northern Chile; and a piano in

notes and objects, but then they make sense in

Austria as the sounding board of this fragmented

time when linked with others.

instrument. Each swing was connected with the strings of the piano to record the balance produced

I believe that the way of making crosses with

at a distance, translated with the 11 notes played by

other sciences or disciplines outside the world of

the piano. A project that again involved time, since

art is due to these encounters and the diversity

the musical composition was completing itself as

of elements and ideas that I go collecting,

the swings were being installed throughout one

making them coexist in the same “universe”, this

year, leaving the (musical) result open at random.

being my workshop, a suitcase, a notebook or a blackboard. Thus, ideas are linked with objects

A.T. You have a lot of notebooks where you 22

of different nature, “spreading themselves” in a

way.... For example, when I use a typewriter as

I went out every day to tour the city collecting the

a paperweight so that the sheets of music do not

pieces with which I finally built a mobile translating

flip or as a lectern for a book of constellations, I

the plot drawn invisibly over the space traveled.

inadvertently discover a hidden relation between things as well as with the ideas that represent

A.T. Besides your notebooks, there are your

those things.... It is there were the beauty of

“Blackboards”. What is the difference in the

what was not planned arises... As Lautréamont

content between your notes in the notebooks and

describes it with “the odd encounter of a sewing

the “Whiteboards”?

machine and an umbrella at a dissecting table”.

The difference is in the content, my notebooks I can also connect that with the process of writing

are loaded with notes written to remember. The

in the creation of metaphors, but taken to the

step to my blackboards is a way to empty them of

objects in space, especially to address science or

that content or they are no longer that important

certain topics that escape my understanding but

because they have fulfilled its first function of

not my interest. I approach those ideas through

being recorded in my notebooks...

simple, everyday objects that I have at hand.

In my blackboards, the notes are simply transformed In general, all works are the product of these

into a gesture, many times illegible, its value is no

crosses, Perpetuum mobile-Perpetual Mobile,

longer in the information but in the possibility of

the work done for the Biennial of Guatemala,

fixing that gesture as well as the mental process

for example, is inspired by the same term used in

behind the ideas that are being marked by in a trace

both music and physics.

in the black space delimited by the blackboard, another way of approaching and activating the

In music “Perpetuum mobile” is called a piece that

void, of transgressing it through the line, like the

can be interpreted repeatedly, that has no end and

telephone game, when words are transmitted from

can be resumed infinitely. In physics “Perpetual

one ear to another and begin to lose their meaning

mobile” is a hypothetical machine that would be

or simply to transform themselves in sounds...

able to function forever, after an initial impulse. It

something similar happens with my notes.

is also considered an impossible object because it is a mobile driven without external energy.

Also the blackboard is a single space, without pages that hide what was written before, without

Using both ideas I built a “mobile car” pierced

the passage of time that has a notebook marked by

with the musical piece “light andante” with which

the flipping of the pages. Everything is exposed, 23

from the first gesture to the last, sometimes they

words in another way to what logic says. I like it

get crossed and confused or a drawing that I did

above all because there is no established way to

not expect arises.

approach it, but many possibilities, whether as image, sound, sense or absence of it. To be able

A.T. When you talk about the illegibility of your

to be detached from the meaning of words and

blackboards and the importance of the gesture,

simply observe how they are organized and the

this makes us think of the accuracy of data that

place they occupy in the blank page where in most

science seeks, the idea that has been understood

occasions there is a lot of space left empty, a space

as the paradigm of the controlled and abstract,

that I enjoy and feel relief to enter in. In poetry one

while art has historically given place to intuition,

can establish the paths at a time and pace suitable

imagination (the so liberating “artistic license”) ...

to oneself.

M.E. It is true that science seeks accuracy, as well

I think it connects with the way I organize things

as to justify the time of study and observation to

in space, either on my workshop’s table, in an

achieve a greater understanding about things. In

installation by suspending objects inside a weave

that search for new possibilities there is also place

and connecting them with a thread or wire, in

for intuition, perhaps as a starting point in order to

the notes that I write on the blackboards, even

then take another path, a path made of certainties.

at the moment of going out into the street and

On the other hand, in art, there is freedom and

establishing my tours and recollections in it.

the license to “wander” without going anywhere, or seeking answers, where the meaningless is valid as

A.T. In your notes you speak of works that can

well as the “useless” and even the “waste of time”,

be extended, stretched, reduced and transported ...

allowing to have full attention on things that may

Do you see this as a formal strategy, as a concept,

seem irrelevant.

or both?

A.T. In addition, what relationship do you see

M.E. Like both, it came first as an idea when

in this search process with poetry and literature,

trying to build a column inside my workshop by

which you constantly refer to in your work?

vertically joining legs of chairs and tables that I was collecting. As I did not have enough, I used some

24

M.E. I admire the ability and freedom of poetry that

old tire chambers from my bicycle and I crossed

can make things that seem to have no relationship

horizontally the legs that were left, and thus when

live with ease in the same space, connecting them

tying a chamber with another one I was able to

in a new universe by the mere fact of organizing

extend the line of the column, not only towards

the vertical but also horizontally, opening void/airy

A.T. To close, I just wanted to refer to my own

spaces between one section and another, with the

perceptive experience, entering your workshop is

idea that these columns could not only cross the

like getting immersed in another world, one that

space vertically but also open holes in it as well.

is constantly changing, where everything is played between fragility and balance. The works are joining

Then I had to move the column to another space,

each other. I imagine that Kurt Schwitters would

where the distance between the ground and the

have started his Merzbau with a similar process.

ceiling was much bigger. As it had been built in

Do you feel that your workshop is, in some way,

parts that were connected by knots, I was able,

taking on a life of its own?

without great difficulty, to reduce the column with no need to dismantle it. I tied a few more

ME. I did not know the existence of the column

bicycle chambers, extending the column again and

of Merzbau but it resembles in part to the column

stretching it to reach the highest point.

of Simeon the Stylist, in whom I was inspired to raise mine inside the workshop, as an exercise of

This exercise led me to think of works that could go

balance so that someday, like him, I could build it

through vast spaces, even temporary one as well as

in the middle of the desert. The difference is that

long distances, both vertical and horizontal. Being

Merzbau had to open space by drilling the ceiling

able to adjust them also to the lack or reduction of

to continue climbing, while Simeon had no limits,

space and time, without limiting the possibilities of

since it was not being contained within walls there

imagining a work.

was nothing concrete that hindered him further than his own physical limitations. His impulse was

At the same time, to be able to travel and move

the eagerness to rise from the ground and distance

with them, without needing a specific physical

from the noise to live a life of contemplation.

place, but only certain essential conditions that would allow their installation. Like the 11 swings

The impulse that is manifest in my workshop is

hanging for “an instrument of rope and air,” where

the intention to “suspend” things in space, to make

the only condition was to climb to the highest

them lose gravity and find balance in relation to

point that could be reached, to tie up and drop two

others. It almost always begins as a ratio of weight

straight lines that crossed the horizon vertically,

and counterweight, one comes to compensate the

opening a window of air and pointing to an empty

other one and allow this or both to be equated in

space from where it could be suspended. In other

order to stay suspended... Other times the weight

words, an idea applied to a creative method to put

of one causes the other to rotate and the movement

into practice or vice versa.

occurs. All this through an exercise of precarious 25

balance as I try to use the same pieces collected to

been left in the various containers become signs ...

achieve it.

the thousand and one marks inscribed on sheets of paper that Morandi left under his objects and

Then everything seems fragile due to the

that served him to compose his paintings in a

precariousness with which I carry out each

mathematical way, at least according to rules of

“exercise” and to the fact of leaving them just

perfection understandable to him, but not to u ...

“suspended” and open to the possibility of changing,

“(excerpt from the text Slow (E)motion. The art of

transforming or depending on other pieces. This is

reflection according to Tatiana Dean by Elisabeth

where a suspension in space and time occurs too

Lebovici). I think that something similar happens

... it seems like everything over here has stopped,

on the tables of my workshop and that it is also

but not deprived of movement, which is another

reflected on my blackboards and the walls, the

intention that leads me to perform these exercises;

floor, the ceiling and the space between them.

to find that “perpetual motion” without the need of external energy but the one of an initial impulse.

Things are transformed into notes, suspended notes that I transfer from one space to another ...

AT: Now that you say so, of course, your workshop

what is on the tables goes to the slates, the slates

has something that reminds me of The way things

to the sky, the sky to the walls... a logic of positions

go, 1987, by Fischli and Weiss where everything

and movements that are recorded by the line, the

works in a precarious way and by the gravity

string or the wire that ties them, connecting and

and interaction between the objects. But yours

going across the space of the workshop.

is a bit more esthetic and less crude, within the same conceptual idea. I see, however, a kind of

A.T. What is the limit? (if there is one).

archaeological search ...

M.E. The limits of the concrete space are those

26

M.E. Of course, there is something of archeology

that have been conditioning my work so far, and

in this, when I see the tables of my workshop,

such could generate the need to go “outside”, so

which despite being anchored to the ground, they

that the work can extend itself after the footprint

are another space delimited within the larger space

of a route and prolong the line, expand the weft

where things are finding a place and establishing

and expand the knit that has been adjusted to the

relationships. I remember the surfaces of Morandi’s

space of the workshop by making itself visible in

table from which Tacita Dean builds a fiction in

it. I imagine such knitting as the reduction of a

Still Life, a table that points to a background, a

greater and invisible path in my wandering in the

picture within the frame.... “The marks that have

street.

I am interested in approaching both spaces, be

A.T. Thank you Maria for this very enriching

able to extend in them and then reduce them

conversation, I am left with the feeling of a work

conserving the essential, the idea of connecting

that dialogues with so many artists that I admire,

points, crossing visible or invisible lines between

the simplicity of the image of Cao Guimarães,

the things that are appearing and that, returning to

the temporality of Tacita Dean, the contemporary

the idea referred to in the beginning, keep inside

drifts of Ian Sinclair, the Genius of Fischli and

those <indivisible moments>.

Weiss, the prolixity and accuracy of Alexander Calder’s balance, and the contemporaneity in that

A.T. We return then to the theme of temporality...

magical blend that your work has.

M.E. There is somehow a respect or the intention to keep those “moments” intact translated into the things that I collect and take to my workshop, where they find a place, linking with each other and generating new relationships between them beyond the “moment” that is kept within each one.

When they are already in place and the relation arises, a work is produced, but the combinations can be infinite, and there is always an (invisible) thread that ends up connecting them all... therefore it is sometimes difficult to know where a work begins or ends. Perhaps I refuse myself to the idea that there must necessarily be a definite beginning and end to each piece. They can be seen as a whole, as a big uni-verse made up of fragments with the possibility of being fragmented again, scattered, and spilt. To return to their original state in which they were collected, so that other relationships arise according to a certain movement, position and equilibrium in space, such as the pieces of a board game ... being able to transform, to go backwards and forward, preserving within themselves the idea of ​​the whole.

27

The Exhibition

29

Verses

45

Uni- verses

Uni- versos

white verses / black verses day verses / night verses shadow verses

versos blancos / versos negros versos dias / versos noches versos sombras

loose verses

versos sueltos

hollow verses echo verses

versos huecos versos ecos

free verses filthy verses mute verses knot verses blind verses

versos libres versos sucios versos mudos versos nudos versos ciegos

empty verses lost verses perpetual verses layed verses spilled verses

versos vacĂ­os versos perdidos versos perpetuos versos tendidos versos derramados

punctured verses

versos perforados

left over verses flying verses verses yawns floating verses

versos que sobran versos que vuelan versos bostezos versos al aire

bug verses point verses

versos bichos versos puntos

luminous

luminosos

47

Verse I â&#x20AC;&#x201C; 2017 Intervened typewritter, rusty steel tripod and rusty steel wire constellations.

102 x 50 x 37 cm (40 x 15.7 x 14.5 in) 48

Verse II â&#x20AC;&#x201C; 2017 Bronze tripod and cymbal 135 x 48 x 30 cm (53.1 x 18.9 x 11.8 in) 52

Verse III â&#x20AC;&#x201C; 2017 Pitt pencil on felt paper drawing, rusty cuckoo clock machine, rusty can filled with nails, rusty steel wire and two eyebolts.

Drawing 33 x 39 cm (13 x 15.3 in) Clock machine 17 x 23.5 x 15 cm (6.7 x 9.2 x 5.9 in) Can with nails 5 x 11 x 11 cm (2 x 4.2 x 4.3 in) 56

Verse IV - Puntos luminosos â&#x20AC;&#x201C; 2017 Installation of intervened music sheets, guitar pegs, bicycle spokes, steel rods and black thread.

Variable measurements.

62

Verse V â&#x20AC;&#x201C; 2017 Steel, rusty bicycle spokes, bird feather, rusty clock gears and steel winders.

41 x 22 x 27 cm (16.1 x 8.6 x 10.6 in) 66

Verse VI â&#x20AC;&#x201C; 2017 Pitt pencil on two wooden blackboards.

122 x 76 cm (48 x 30 in) each.

70

Verse VII - Punto â&#x20AC;&#x201C; 2017 Two black steel cones, two rusty bicycle spokes and pitt pencil on a wooden blackboard-shelf.

6.5 x 13 x 10 cm (2.5 x 5.1 x 3.9 in) 74

The Artist

79

María Edwards Chile, 1982

Edwards’ work has its origin in her will of assuming herself as an active observer of the world, from her own exercises of discarding and selection…from the crossing of relationships and encounters, her long bicycle rides and her deep interest in the stars, the scientific and philosophical thought. From all these references arises the idea of “grid”, like a vast weft of spatially interconnected points, as in a constellation.

The sky map traced in the earth´s surface by means of its paths. Her journeys, blackboards, notebooks and mobile constructions, as in a philosophy of the world, a mental and physical map of experiences, as well of the status and position that the artist occupies in the world and the universe.

Her work is characterized by its coherence and consistency, which begins with the recognition of that which has been discarded and unnoticed, and ultimately with the ethics and dignity in which each of these recovered fragments of the world are brought back again to its presence, transfigured and reinterpreted by the artist´s will.

Her work has been exhibited in Chile and abroad, in countries like Spain, United States, Argentina, Peru, Colombia, México, Paris, London and others.

She has recently been awarded the “Art for Science” award from the National Commission for Scientific and Technological Research (CONICYT) Santiago, Chile. Nominated with the ArtNexus / EFG award at the International Art Fair, ArtLima 2015. Awarded by the European Network of Art and Digital Science with double residence (at the European Southern Observatory in the Atacama Desert and AEC Future Lab, Austria) The results of this residence were exhibited at the Ars Electronic Festival in Linz, 2015, as well as 7 mobile exhibitions at the seven cultural network partner institutions, getting her first Prix Ars Electronica Award.

81

Curriculum

EDUCATION 2011

Lower East Side Printshop, Specialization in Printmaking and Waterbased Screenprinting. New York, USA.

2005

Bachelor of Arts, Major in Printmaking, University Finis Terrae. Santiago, Chile.

2007

Bachelor in Film, Art Direction and Photography, University of Chile. Santiago, Chile.

EXHIBITIONS (SELECTION) 2017 2016

Uni– verses, Arróniz Arte Contemporáneo. Mexico City.

XX Bienal Paiz. Guatemala.

Chaco International Fair of Contemporary Art. Santiago, Chile.

YIA Art Fair - Young International Artist. Paris, France.

Across the Divide (curated by Lu chao and Ian rosenfeld), Rosenfeld Porcini Gallery. London, England.

Chileans Without Boundaries, 40 Years of Ideas, CorpArtes Foundation. Santiago, Chile.

ARCO Madrid - International contemporary Art Fair. Madrid, Spain.

Reverberadas - Exploraciones sobre arte digital & ciencia, Fundación Zaragoza ciudad del conocimientoEuropean Digital Art and Science network. España.

Against a Conspiracy of Invisibilities, Sobering Galerie. Paris, France.

Art Lima - International contemporary Art Fair, Isabel Aninat Gallery. Lima, Peru.

2015

ArtBo - International Art Fair of Bogota, Isabel Aninat Gallery. Bogota, Colombia.

Materia Prima, LABoral Centre for Art and Industrial Creation. Gijon, Spain.

Encuentros, Ars Electronica Center Museum. Linz, Austria.

XII Bienal de Artes Mediales, National Museum of Fine Arts. Santiago, Chile.

Sónar Sound, International Festival of Advanced Music, Creativity & Technology. Santiago, Chile.

ArtBo - International Art Fair of Bogota, Isabel Aninat Gallery. Bogota, Colombia.

La buena estrella (curated by Carolina Castro Jorquera), OTR Space Madrid. Madrid, Spain.

Chaco - International Fair of Contemporary Art. Santiago, Chile.

2014

Art Lima - International contemporary Art Fair, Gallery Isabel Aninat. Lima, Peru.

Andantes (curated by Germán Bobe), Centro Cultural Palacio la Moneda. Santiago, Chile.

Encontrado, Elegido, Clac (curated by Carlos Montes de Oca), Las Condes Art Gallery. Santiago, Chile.

ArteBA - Latin American Art Fair. Buenos Aires, Argentina.

2013

2012 2011

FAXXI, Art Fair XXI. Santiago, Chile.

Elogio al Reino Natural y la Savia Nativa (curated by Carlos Navarrete), UC Extension Center. Santiago, Chile.

12 x 12 Nuevos Medios, Cultural Corporation of Las Condes (Chile AICA). Santiago, Chile.

The End of Light, Academy Space Manhattan. New York, USA. In Between, International Art Festival. Tamaulipas, Mexico.

Made In New York, Artespacio Gallery. Santiago, Chile.

Pinta Art Fair - The Modern & Contemporary Latin American Art Show. New York, USA. Alternate Routes, Lower East Side Printshop. New York, USA.

Keked (curated by Glen Baldridge), Lower East Side Printshop. New York, USA. 82

2010

2009 2007 2006

Vinyl Project, Local Project. New York, USA.

The Carpenter, Pierogi Gallery. New York, USA.

Wcraft, The Starrett-Lehigh Building. New York, USA.

The Black Book, School of Visual Arts. New York, USA. Journey by Paris, Gallery La Sala. Santiago, Chile.

Black & White, Casas Lo Matta Cultural Center. Santiago, Chile.

In your labyrinth there are three lines, Visual Arts Center of Santiago (CAVS). Santiago, Chile.

RESIDENCIES, GRANTS & AWARDS 2015

First prize awarded by the European Network of Digital Arts and Science for the “Encounters” project, developed at ESO observatories and Ars Electronica. Linz, Austria.

European Digital Art and Science Network / Ars Electronica Futurelab. Linz, Austria.

2013 2011 2010 2004 2003

ArtNexus EFG, for the solo project “Nocturno”, displayed at the International Art Fair ArtLima. Lima, Peru.

Art for Science award, National Commission for Scientific and Technological Research. Santiago, Chile.

International Residency keyholder, Lower East Side Printshop. New York, USA.

International Residency in Printmaking and Book Art, School of Visual Arts. New York, USA. Second Prize, Lounge Finis Terrae University. Santiago, Chile.

First Prize, Lounge Finis Terrae University. Santiago, Chile.

PUBLIC AND PRIVATE COMMISSIONS 2014

Mural for the new public building CONICYT. Santiago, Chile.

2012

Mural, Etcheberry Study. Santiago, Chile.

2010

Mural, River Park, Alexandria Center for Life & Science. New York, USA. Mural, The Starrett-Lehigh Building.New York, USA.

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The Gallery

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Arróniz Arte Contemporáneo

Arróniz emerged from a particular interest to work with a new generation of artists from Mexico and Latin America. Our main drive is to support and closely follow the careers of our artists both locally and internationally. A key element to our labor are the multiple exchanges with other galleries from other countries and participation in art fairs around the world.

Our local program is composed by exhibitions of our represented, and a parallel presentation by an invited artist in the projects room, where a specific piece or project –created with the space in mind– is showed.

This allows us to expand our cultural offer to new audiences while working in collaboration with emerging artists, curators and institutions.

Represented artists: Daniel Alcalá José Luis Landet Marcela Armas Almudena Lobera Omar Barquet Nicola López Christian Camacho Reynoso

Pablo López Luz

Gilberto Esparza

Moris (Israel Meza Moreno)

Mónica Espinosa Mark Powell Taka Fernández Iván Puig Fernando García Correa

Ishmael Randall-Weeks

Mauro Giaconi Ricardo Rendón Agustín González Omar Rodriguez-Graham Sergio Gutiérrez

Jaime Ruiz Otis 89

List of Works

93

List of Works

In numerical order

Pages 49-51 Verse I, 2017 Intervened typewritter, rusty steel wire constellations and rusty steel tripod.

102 x 50 x 37 cm (40 x 15.7 x 14.5 in) Pages 53-55 Verse II, 2017 Bronze tripod and cymbal.

135 x 48 x 30 cm (53.1 x 18.9 x 11.8 in) Pages 56-59 Verse III, 2017 Pitt pencil on felt paper drawing, rusty cuckoo clock machine, rusty can filled with nails, rusty steel wire and two eyebolts.

Drawing: 33 x 39 cm Clock machine: 17 x 23.5 x 15 cm Can: 5 x 11 x 11 cm Pages 60-65, 16-17, 84-85 Verse IV, 2017 Installation of intervened music sheets, guitar pegs, bicycle spokes, steel rods and black thread.

Variable measurements.

Pages 67-69 Verse V, 2017 Steel, bicycle spokes, clock gears, steel butterflies and bird feather.

41 x 22 x 27 cm (16.1 x 8.6 x 10.6 in) Pages 70-73, 12-13 Verse VI, 2017 Pitt pencil on two wooden blackboards.

122 x 76 cm (48 x 30 in) each Pages 75-77, 96-97 Verse VII, 2017 Steel cones, two bicycle spokes and pitt pencil on a wooden blackboard-shelf.

6.5 x 13 x 10 cm (2.5 x 5.1 x 3.9 in) 95

Uni– verses María Edwards Credits & Contributors

Uni– verses, a solo exhibition by María Edwards.

Curated by Alexia Tala.

Projects Room, Arróniz Arte Contemporáneo, Mexico City.

February 7 - April 8, 2017.

Contributors All artworks by María Edwards.

Texts by Alexia Tala.

Design & exhibition photography by Otmar Osante Mariel.

Artwork photography by Rodrigo Barrionuevo.

Introduction & Dialogue © Alexia Tala, 2017.

Opening Quote © Byung-Chul Han, 2015.

First published in Die Errettung des Schönen, Fischer, S..

ISBN 3104035261

9783104035260

Publication © 2017, Arróniz Arte Contemporáneo & Otmar Osante Mariel.

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All rights reserved under international copyright conventions.

This publication may not be reproduced or utilised in any form or by any means, including photocopying, printing and digital copy, in whole or in part, without the written permission of the contributors.

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