Guillermo Mena
1986. Los Cóndores, Córdoba. Argentina.
Lives and works in Ciudad de Buenos Aires

Superior Technician in Visual Arts from the Provincial School of Fine Arts Líbero Pierini 
Graphic Designer, Business University Siglo 21, Río Cuarto. Córdoba.
2012 He was selected by the Art Boomerang Federal Program for the Arts, directed by curator Daniel Fischer, in Córdoba Capital, where he later took analysis clinics with Rodrigo Alonso, Claudia del Río, Lucas Di Pascuale, Verónica Gómez and Tomás Espina. 
2017 He participated in the PAC Project of the Gachi Prieto Gallery. Buenos Aires 

2016 Emilio Caraffa Fine Arts Museum. Córdoba.

2017 Creation Grant from the National Fund for the Arts in the City of Buenos Aires.
2016 won the Mural Contest of the Faculty of Economic Sciences of the UNC, the National University of Córdoba.

Guillermo Mena


Redundant and unrecoverable...

26.11.2018 to 30.11.2018

Through a fellowship of Fundación 'ace para el Arte Contemporáneo, Argentinean artist Guillermo Mena produced a mural in the Transversal Space within a micro-residency.


During the years 2017/2018 I carried a project called Return/Erosion, which consisted in a return to different places I inhabited throughout my life, including the town of Los Cóndores, where I was born. In these tours I registered audiovisual material and collected wood pieces from each place, that was later carbonized. All this material was then processed in different actions by drawing, documenting and destructing. 

I’m interested in this process of material transformation as an analogy of the nostalgic gesture of the functioning of memories. The degradation of images, the materials and the drawing as a possibility of the appearing of a catastrophic landscape or scenery that concludes in an instance that reflects an identity, an identity that starts from the rests, the rubble and the imprint of an ephemeral moment.

For my micro-Residency at Proyecto´ace’s transversal room I decided to wear away different carbon pieces that I accumulated over these years, pieces of different origins and woods. This action manifested itself in a drawing on the wall that was done during the first three days of my residency, inhabiting and acting on the space.

In a second stage of the process I propose to extract stains and marks on papers that, by being dragged over the wall, captured parts of the volatile material present in the drawing. By doing so, I managed to obtain a sensitive registry of the action in a format that makes possible its preservation, unlike the wall, which is ephemeral and will disappear.