Showing posts with label Buenos Aires. Show all posts
Showing posts with label Buenos Aires. Show all posts

Tuesday, April 26, 2011

PLANETARIO GALILEO GALILEI, BUENOS AIRES



with my friend Lucas Sampellegrini outside the Planetario



Planetario Galileo Galilei, Buenos Aires.
Construction began under the direction of architect Enrique Jan in 1962, and it was inaugurated on December 20, 1966. The fist function was carried out on June 13, 1967, it was officially opened to the public on April 5, 1968.

http://www.planetario.gov.ar/

Monday, April 25, 2011

EDUARDO COSTA: VISIT IN BUENOS AIRES DURING THE INSTALLATION OF HIS EXHIBITION AT GC GALLERY



Leo, curator of the exhibition of Eduardo Costa at GC, artist Eduardo Costa, and GC gallerist Luisa Pedrouzo

Eduardo Costa, one of my favourite artists, siting outside Galeria GC in Buenos Aires during the installation of his exhibition there

http://www.gcarte.net/

Saturday, April 23, 2011

ROBERTO JACOBY, SATURDAY WALK IN LA COSTANERA, BUENOS AIRES


Roberto Jacoby at El Parrillon, la mejor y mas grande bondiola, at La Costanera, Buenos Aires.





informal sellers and performers at La Costanera, glass and steel mini Manhattan of Buenos Aires in the background.


On Saturday I went for a 5 PM stroll with artist Roberto Jacoby to the Costanera of Buenos Aires. The Costanera used to be the river coast of Buenos Aires with the Rio de la Plata (I love the translation of River Plate), although located next to the river/sea, and having been an important port for centuries, Buenos Aires is a city that turns it's back to it's sea. The old port area has been developed and gentrified in the past 15 years with its transformation into Puerto Madero, an elite residential, office and leisure area similar to many other apartheid luxury developments in cities worldwide. Next to it, La Reserva Ecologica and the paseo de La Costanera co-exist, and allow for much more democratic urban leisure spaces.

Our first stop was an attempt to visit the Museo de Calcas (which keeps copies of classical sculptures), which was closed for renovation. We then passed the police car-cemetery and visited the Villa Rodrigo Bueno, an illegal settlement (read favela) inhabited by Bolivian, Paraguayan and Peruvian immigrants. Our next stop, next to la villa, was la Reserva Ecologica, a stretch of land gained to the river during the 70s and 80s, made out of dumping the demolition material from the city into the river, with the original plan of building a new political-administrative centre for the city during the dictatorship. The plan never happened and the river covered the dump with soil, seeds and vegetation, which also prompted the return of fauna, and what developed is what is now the Ecological Reserve (which also happens to be one of the traditional homosexual cruising grounds). We continued walking down la Costanera, in what used to be the traditional 1910-1920s river promenade and resort where the working classes would come to bath, and which was later abandoned in the 50s-60s due to the river's pollution. La Costanera is again today a pleasant river walk (although the river is not there anymore, with La Reserva Ecologica creating a buffer between La Costanera and El Rio de la Plata), which is invaded by informal sellers, food posts, and performers. One cross dressed Paraguayan performance was singing songs from Amanda Miguel, an Argentinean singer from the late 70s and 80s who was exiled in Mexico during the dictatorship and who with her husband Diego Verdaguer became pop famous there, being almost unknown even today in Argentina.

During the walk with Roberto we talked about the immigrant history of Buenos Aires, and its more recent Latino Americanisation trough South American immigration. We also talked amongst many other things about artistic and sexual survival during the times of the dictatorship, the antifetichisation of his most recent retrospective, and the songs he wrote for rock band Virus in the 80s.

Born in 1944, Roberto Jacoby is probably Argentina's most interesting living contemporary artist. He recently had a brilliant retrospective at Reina Sofia in Spain, and produced the polemical artistic support brigade in support of Dilma's candidature for the presidency in the last Sao Paulo Biennal. With Judi Werthein and Graciela Hasper he is also one of the instigator's of CIA, Centro de Investigaciones Artisticas in Buenos Aires. Active since the late 60s (he participated in Tucuman Arde, as well as part of the generacion de Di Tella), Roberto has been instrumental in supporting the younger generation of artists, specially that coming out of the 2001 Argentinean economic crisis through projects such as Proyecto Venus, Ramona magazine, Bola de Nieve (a web archive of argentinean artists) and more recently CIA.

Thursday, April 21, 2011

LUNCH AT 'LO DE CARMEN' WITH ARTISTS CECILIA SZALKOWICS AND GASTON PERSICO IN BUENOS AIRES



Gaston and Cecilia


tropical fan, two Dan Flavin's, half a Felix Gonzalez Torres, ceiling could almost be an inverted Carl Andre...







amazing beef tapa de asado and ravioles

Maybe the best unpretentious lunch (and also the best priced one) I had in Buenos Aires was in the company of artists Cecilia Szalkowicz and Gaston Persico who took me to 'Lo de Carmen' (also known as 'El Renaciente') in Gorriti 3902, (corner with Medrano), in the Almagro neighbourhood (closed Sundays).

I met Cecilia and Gaston at the Puerto Rico Triennal in 2009 (curated by Pedrosa, Hoffmann and Gonzalez) in which they participated. Apart from doing their own work, sometimes in collaboration, sometimes independently, they also publish together with Mariano Meyer the publication Script.

Thanks to Runo Lagomarsino and Carla Zaccagnini for insisting Cecilia and Gaston had to take me to 'lo de Carmen'.

Wednesday, April 20, 2011

REVISTA CORRESPONDENCIA, VISIT TO ITS CASA/OFICINA AT THE TROPICAL ORIENTAL MODERN BUILDING OF LOS EUCALIPTOS IN BUENOS AIRES


Los Eucaliptos modernist building in Virrey del Pino 2446, Buenos Aires.
Designed by architects Juan Kurchan and Jorge Ferrari Hardoy in 1941, construction finished 1944. (Notice the tropical-oriental setting).







Juan Ignacio Moralejo, editor of Correspondencia in his home office at Los Eucaliptos building





Correspondencia Magazine, is a literary and arts magazine published quarterly in Buenos Aires, Argentina. Its content consists of 80 pages of images in color and 80 pages of texts in spanish and english. Issue No. 1 includes amongst other things, a text by Walt Whiltman and a photographic portafolio of images taken by Wolfgang Tillmans in Patagonia. Correspondencia is edited by Juan Ignacio Moralejo and designed by Juan Ignacio Moralejo and Diego ValiƱa.

Order your copy of Correspondencia here:
http://www.revistacorrespondencia.com/

Tuesday, April 19, 2011

ELOISA CARTONERA, LOW BUDGET CO-OP PRINTING HOUSE AND PUBLISHERS, IN LA BOCA, BUENOS AIRES






Miriam Merlo 'La Osa', an ex cartonera, producing some book covers



Alejandro Miranda, from Eloisa Cartonera, producing an edition of Copi's 'La Guerra de las Mariquitas'





EloĆ­sa Cartonera Publishing House

We are EloĆ­sa Cartonera, a work cooperative in the neighborhood of La Boca in the city of Buenos Aires, Argentina. We produce handmade books with cardboard covers. We purchase this cardboard from the urban cardboard pickers (cartoneros) who collect it from the streets. The books we publish are of Latin American literature, the most beautiful ones we've had a chance to read in our lives.

It all began with the crisis of 2001 - as some say "we are a product of the crisis," or that we "aestheticized misery". Actually, it was nothing like that. We were a group of people who came together to work in a different way, to learn new things through work, to build up a cooperative, to learn how to subsist and manage ourselves, to work towards a common good. Like many of the movements and collectives born from these insane times, we organized into a cooperative or a small assembly group, as there were also neighbourhood and community groups, all sorts of social movements. People, workers and neighbours, there we were.

Through all this time we rejoice on the fact we were able to put so much love into the work we did. The previous catalogue already contained 100 titles - and today we are already reaching 200. They're the most varied and entertaining works of literature (poetry, short stories, short novels, theater plays, literature for children) from Argentina and sibling countries. This brings us true joy!

And how much this had to do with you, our dear friends and readers, whom supported us all this time, accepting our books, recommending them, spreading the word, getting in touch, stopping by. In short, always there for us. The most valuable a publishing house can have in addition to good books, of course, is a group of good friends and dedicated readers. Thank you for always expecting a new title!

Our dream is to edit the complete stories of Rodolfo Walsh, an Argentine writer, an intellectual amongst the people, a formidable journalist killed by the military in 1976. Walsh, along with Urondo Francisco, Bustos, Conti or Santoro, is one of our leading intelectuals, and we should all be discovering and praising their work.

We want to get ourselves a piece of land, stop paying rent and organize our own headquarters. So many things ...

Today we can say that we are a product of all the work we have done, and we thrive for our work to serve all. Making books, or in the future doing other things, that is the spirit of our endeavor. To translate our work into experience, a place that serves many colleagues more. We do not want to close a circle around ourselves. We welcome new colleagues, fresh ideas, look for ways to do more, or better. That's why our "carto" (as we lovingly call it, a diminutive from "cartonera") is an open space for everyone. We hope and live the revolution of the people!

EloĆ­sa Cartonera was born in 2003, in those furious days when people took the streets, protesting, fighting, gathering in neighborhood assemblies, the barter clubs, all sorts of communal and collaborative endeavours. In those days, both men as women lost their jobs and headed to the streets, where they met each other, and we all met with the "cartoneros" (cardboard pickers). It was summer, and Javier Barilaro and Washington Cucurto were busy producing some colourful poetry books. EloĆ­sa was the name of a charming Bolivian Javier was in love with, and the name of the publishing house became an ode to her. The story tells that they never did get together, but despite all that Javier and his friends went on producing beautiful and love-inspired books. Thank you, EloĆ­sa, for your beauty!

Then one day came Fernanda ... an yellow late afternoon, a pink bike, and a green skirt, like spring itself. She proposed to open an workshop at Guardia Vieja street. That was how EloĆ­sa Cartonera was born, in the spring of 2003. We first started selling both books as well as vegetables. We were an imediate success both in our neighborhoud as well as in the world press. Newspapers and radios from all around the world came to take pictures with us. We started realising how beautiful our books were and how much people liked them...

We designed a very simple work system. Making a cartonero-book is quite simple, but let's not forget we do it all ourselves! The "cartoneros" bring the cardboard. To this we select, cut, paint, mount, glue, everything that a cartonero-book needs. We also print everything here, in an old German Multilit 1250, which we very slowly grow accostumed to, even if it not always works out so well.

We had to learn everything from scratch: our first book was published Pendejo, (Shameless) by Gabriela Bejerman. Gabriela is a beautiful poet, performer and latin pop singer. We have published so many bautiful books that it would be unfair to forget even one, so please consult the catalogue for more information.

We traveled all over the country from book fair to book fair, and got in touch with so many other realities. Thank you La Rioja, Mendonza, Trelew! Thank you Mar del Plata, Chaco, Córdoba! Thank you TucumÔn, Salta and Jujuy! Greetings to Entre Rios, Reconsquita and Santa Fe! Overall, the best thing that happened to us, besides meeting all of you, was to become a cooperative. It was a true awakening to how work can become the best part of your life, and never an obligation, something unpleasant. It became a dream come true, to work in our project. We learned to trust one another and to be better partners, to strive for a common purpose, for something more than our own bellybutton. Cooperativism showed us our strength. That was how we learned everything we now know, and we remain eager to learn more.

We now have a new project. We will buy a piece of land in Florencio, in Varela. One hectare of land. We will build a house and start an organic food garden, and in the future a school and everything that might come to take us... We believe that we must return closer to the earth, reconcile with it and work from it. Land and labor can make the most beautiful clay sculpture. There we can cut our cardboard and mount thousands of beautiful books, with more and more friends.

You are invited ...! We wait for you!

http://www.eloisacartonera.com.ar

Monday, April 18, 2011

KARINA PEISAJOVICH: LIGHT PAINTINGS, COLOUR FIELDS AND INTERACTION OF COLOURS, STUDIO VISIT BUENOS AIRES


Karina Peisajovich welcoming us to her studio in the centre of Buenos Aires



Karina Peisajovich, light/colour paintings produced by the projection of rotating coloured discs on a wall painting (under process)



rotating colour discs







Karina Peisajovich, 'Machine to Produce Colours', at the 2009 Mercosur Biennial




and images of Karina Peisajovich's 2010 exhibition 'Theory of Colour' at the Centro Cultural Recoleta in Buenos Aires

visit Karina Peisajovich's website: http://www.karinapeisajovich.com