An international visual artist, architect and independent curator. Her international artistic practice consists of expanded print and digital media work, architectural interventions and collaborative art projects with artists and communities around the world. Drawing inspiration from more than 30 years of this international career, she has taken ideas from the residencies she has completed and from the experiences she has acquired to outline and develop the International Artistic Residency Program and the activities/other programs associated with it.
Candiani’s work has been shown in over 300 shows, biennials and one-person exhibitions since 1977. In her professional career she has received many honors and awards, being the Theodore Randall International Chair of Expanded Media at Alfred University, New York, USA the most recent of them. This position is open to established artists who are internationally based, non-US citizens living outside of the United States who, by virtue of extensive experience, can bring diverse cultural experiences to that university’s artistic and academic community. In addition, she has received important international awards, being the 1st Prize for Graphics without Borders in Oldenburg, Germany and the Award for Excellence in Visual Arts, Turner Museum, United States among them. In Argentina, she was selected by the National Academy of Fine Arts as one of ten best printmakers in her country in 1998, 2000 and 2004. In 2010 she was the artist who represented Argentina at the International Art Biennale in Beijing, China.
Alicia has been awarded Art Residencies at the Institute of Electronic Arts in New York, the Kansas City Artists Coalition in Kansas City, the Center for Contemporary Printmaking in Connecticut, Inky Paper Program-University of Wyoming, Western Washington University at Bellingham and Iowa State University in Ames, all of them in the United States; Akademija, Belgrade, Serbia; Guanlan Original Print Base, Shenzhen, China; Atelier Presse Papier in Trois Riviéres and University of Alberta in Edmonton, both in Canada and the Frans Masereel Center for the Graphics in Kasterlee, Belgium
In addition, she has been a visiting professor-scholar, visiting artist, international jury member, curator, and lecturer at numerous institutions around the world, including the Library of Congress of the Nation, Washington DC in the USA, UNESCO, the House of the Americas in Cuba, the Free University of Varna in Bulgaria, the University of Castilla La Mancha in Spain, the Academies of Art in Wroclaw, Lodz and Krakow in Poland and numerous universities in the United States as well as prestigious museums, foundations and artistic institutions in Spain, Egypt, the Czech Republic, Portugal, Bulgaria, the United Kingdom, Russia, the Netherlands, Germany, Sweden, Peru, Mexico, Ecuador, Cuba, Puerto Rico, Brazil, China, Canada and Argentina.
The female body has been present in my work since the early 1990s. I use it as a powerful tabula rasa on which to rewrite identity, history, and politics. Using this tool, my work raises questions about the historical and geopolitical limitations that support issues related to the history and culture of Latin America – such as the conquest of the territory by the Spanish Crown, Catholic regulations and the bloody footprints of the State terrorism in society while expressing global concerns about migration, identity and memory.
In addition to the female body, my most recent works use cartography as a primary source of imagery, drawing from a range of sources: nature, poetry from Latin American writers as Jorge Luis Borges, Pablo Neruda and Mario Benedetti, Art History appropriations, Catholic symbols as well as old and recent map projections. I am interested in maps, exploring through them notions of place and space while questioning their political-territorial meanings, addressing a reflection on the contemporary world where borders and identities vanish and fluctuate. Through this looking glass it creates a quiet but at the same time unrested world in which the individual comes together with the general human condition.
1953 Buenos Aires, Argentina
Lives and works in Buenos Aires
1976 | MFA. National University of Córdoba (UNC), Argentina
1978 | Architect. National University of Córdoba (UNC), Argentina
1990 | Theory of Art. University of Buenos Aires (UBA), Argentina
1991-92 | Digital Imaging. Iowa State University. USA
1993 | Postgraduate Diploma. Ernesto de la Cárcova Academy of Fine Arts. Argentina
1994-95 | Theory of Art. University of Buenos Aires (UBA), Argentina
_ Founding Director. Proyecto´ace, Artist-in-Residence International Program. Buenos Aires, Argentina
_ President. Fundación´ace for Contemporary Art. Buenos Aires, Argentina
_ International Vice Dean for Latin America. IPI, International Printmaking Institute. CAFA Central Academy of Arts. Beijing, China
_ Member of the International Advisory Council. IAPA, International Academic Print Alliance. CAFA Central Academy of Arts. Beijing, China
OTHER RECENT POSITIONS
2018 |Theodore Randall International Chair in Expanded Media, Alfred University, New York, USA
2018 | International Advisor and Keynote Speaker. IMPACT10 Conference, Santander, Spain
2017/14 | Visiting Professor. Institute of Art and Design. Shanghai, China
2017 | Visiting Professor, Academy of Arts and Design, Lodz, Poland and International Reviewer, Pontifical Catholic University of Peru, Lima, Peru; 2016 | Visiting Scholar. Montclair State University. New Jersey, USA
MEMBER OF INTERNATIONAL JURIES:
2019-20 | Open Portfolio. FIG Bilbao, Spain
2016 | ROC2016 International Biennial, Taichung, Taiwan
2015 | Jury President, MTG2015, Krakow, Poland
2010 | No Big Heads National Exposition, Anchorage, Alaska
2009 | Guanlan International Biennial, Shenzhen, China
2004 | IV Ural International Triennial in UFA, Russia
2003 | The Emerging Print, Havana, Cuba and 4th Egyptian International Triennial, Cairo, Egypt
2001 | XIII San Juan Biennial of Latin American and Caribbean Printmaking, San Juan, Puerto Rico and Inter-Kontact-Graphic International Biennial, Prague, Czech Republic.
TNG Opening, Mexico
Artists in Dialogue
Aguascalientes´ State Ministry of Culture, through the Support Program for the Cultural Infrastructure of the States (PAICE), allocated more than US $ 1,000,000 for the consolidation of the Macro Space for Culture and the Arts, whose building 49 houses the TNG |Taller Nacional de Gráfica/National Printmaking Workshop. Opened on October 28, 2016 the TNG is located in what were the former Aguascalientes Railway Workshops and Warehouses in Mexico. Specifically, it was installed in one of the warehouses of those old railway workshops, at the time functioning as the bronze casting workshop into the railway complex. The ambitious project rescued one of the most representative spaces both of the state and of the country in terms of historical and industrial heritage, considered as well one of the largest in Latin America.
The TNG |National Graphics Workshop will provide services to the students of the University of the Arts, to the artists in the community, both nationally and internationally, with state-of-the-art equipment and facilities, in accordance with the technological advances of the 21st century. Combining the different techniques of print media and digital graphics, with a special focus on eco-trends and the dissemination of graphic arts, it pay homage to the illustrious printmaker José Guadalupe Posada´s valuable legacy. The workshop has four areas: intaglio, screen printing, lithography and digital area.
Alicia Candiani, director of Proyecto´ace, was the only international representative to be invited by the Cultural Institute of Aguascalientes at the opening ceremony. In her speech, she appreciated the opportunity to be in a historic moment, highlighting the refurbishing of architecture as well as the facilities of this space, which is at the height of the most important workshops in the world. She then promised to be a bridge with Argentine artists and to promote the work of Mexican artists internationally. Associated with this invitation, the presence of ´ace was completed with an on-site conference and workshop as well as participation in the 4th Engraving Fair, also organized by the Secretary of Culture, who also carries out the José Guadalupe Posada International Print Biennial.
TALLERES NACIONALES DE GRAFICA
28.10_Alicia Candiani (Buenos Aires, Argentina)
Expanded Printmaking Practices: from multiple art to post-digital printmaking
29.10_ Carlos Mijares
How to conserve prints
27.10_ Gabriel Macotela (Mexico DF, Mexico)
29.10_ Alicia Candiani (Buenos Aires, Argentina)
En-residencia en Proyecto´ace
27.10_Daniel Amora Mora (Baja California, Mexico)
Xerox Transfer Processes
28.10_ José Gutiérrez (Guadalajara, Mexico)
29.10_Alicia Candiani-Cecilia Candiani (Argentina)
30.10_ Luis Bolbrügge (Mexico DF, Mexico))
Artists in dialogue
In Greek mythology, a box was given to Pandora, the first woman on earth, but the box was not to be opened under any circumstances. Impelled for her curiosity, Pandora opened the box, and all evil contained inside of it escaped and spread all over the earth. She hastened to close the lid, but the whole contents of the jar had escaped, except for one thing that laid at the bottom: Hope – which remains to this day, mankind’s sole comfort in misfortune. As in the Pandora myth, a symbol of hope lies beneath this collection of works.
The Pandora Project was an international collaborative project involving 15 artists from Argentina, Chile, United States and Uruguay, that jointly developed an edition of non-traditional paper objects based on the Greek Myth “Pandora’s Box”.
The project was directed and conceptualized by artist and professor, Rimer Cardillo, from the State University of New York at New Paltz, in the United States and Alicia Candiani, artist and director of Proyecto´ace, an international centre for innovative print media located in the city of Buenos Aires, Argentina.
After three months of separate work, (one group in North America and the other in South America), the Pandora’s artists gathered together at Proyecto´ace in Buenos Aires in the month of July of 2006. The encounters took place from the 8th to the 22nd of that month. Through various innovative printing, digital and photographic techniques, pop ups in paper, collage and sewing, the participants were able to document global subjects involving environmental, anthropological and social issues of our time. The printed objects were collected and housed in a portfolio/ “art container”. Seen as a contemporary Pandora’s box, the container became a symbol of the collaboration among the artists who participated in intensive days of cultural and artistic diversity.
Rimer Cardillo | artist and professor at the State University of New York SUNY-New Paltz, USA
Alicia Candiani | artist and director of Proyecto ´ace.
Amy Appel (United States)
Silvana Blasbalg (Argentina)
Silvia Brewda (Argentina)
Juan Canavesi (Argentina)
Alicia Candiani (Argentina)
Rimer Cardillo (Uruguay-USA)
Bob Capozzi (United States)
Alexandra Davis (United States)
Sebastián García Huidobro (Chile)
Luca Giovanopoulos (United States)
Siri Hanja (United States)s
Susan Jenkins (USA)
Dylan McManus (United States)
Carly Still (United States)
MONUMENTAL IDEAS IN MINIATURE BOOKS
Monumental Ideas in Miniature Books Project is an international travelling exhibition of small-format artist’s books curated in conjunction with the Southern Graphics Council, Chicago, March 2009.
This exhibition explores the power of small-scale artist books to challenge their readers with urgent, powerful and moving content.
The artist Chu-Hui Ching, who designed this exhibition believes that on a monumental scale, art can be overwhelming when the viewer is put in a position of “smallness” when confronted and consumed by the giant. On the contrary, with small-scale miniature art, the viewer can leave his passive role and put himself in a position that perhaps allows him to “devour” the work, thus keeping it in his soul. The miniature invites the viewer to a personal and intimate relationship. In this way, looking at what is apparently insignificant, the momentary nature of the miniscule is magnified and acquires monumental value.
This project produced in the USA involves the participation of 140 artists from the USA, Argentina, Belgium, Canada, the UK, Finland, Germany, India, Japan, Korea, Spain, Sweden and South Africa. It is curated by Alicia Candiani, and it also involves the participation of German children and members of the community in general that have expressed their monumental ideas in small-format artist books. This is a project of intimate, economical and democratical cultural exchange on a world scale.
Future exhibition venues:
Exhibitions in the USA: The University of Akron, Proyecto ’ace, Buenos Aires Argentina, Kent State University, University of Colorado, Boulder, Northern Illinois University, Southern Birmingham University, Texas Tech University, University of North Carolina, Chapel Hill. Houghton College, NY, Savanna College of Art and Design, Ohio Northern University, Ada Ohio, Univ. of Texas at Arlington, Youngstown State University, Ohio University.
Argentine artists in MIMB:
Silvana Blasbalg | Silvia Brewda | Patricia Miani | Maria Constant | Liana Strasberg | Liliana Sánchez | Adriana Moracci | Alicia Candiani
Alicia Candiani will travel to Chicago and will therefore be present at the opening of the event. Candiani is also the organizer and moderator of the international panel Disturbed Places. Proyecto ’ace will be present at the Publishers Fair on Friday the 27th and Saturday 28th.
Opening and reception: March 27, 6 – 9pm
Location: Columbia College Exhibition Space, 1006 S. Michigan Ave. Chicago, EE.UU.
Exhibition: March 6 – 28, 2009
Future exhibition venues: The University of Akron, Proyecto’ ACE, Buenos Aires, Argentina, Spain, China, Finland.
VI Belgrade Encounters
Artists in dialogue
On September 1st and under the name “VI Belgrade Encounters: Latin America meets Serbia” will begin the sixth edition of the International Printmaking Workshop and Symposium 2011. The event has a packed agenda, which includes the residence of 6 Latin American artists, the production of a portfolio in collaboration with 7 Serbian artists, a guest artists exhibition and a symposium with lectures and demonstrations.
“Akademija” Research Center Visual and Graphic Arts “(Centar za grafiku i vizuelna istrazivanja” Akademija “) has been organizing on biennial basis these encounters during the past 10 years. The purpose of these meetings is to establish organizational and artistic links between different countries, helping to position Belgrade among the leading cities on the international map of new media and printmaking.
‘ace and Latin American artists related with our center will be the guest of honor at the 2011 event, being the first time that the invited institution and region do not belong to Europe. The Argentinean artist Alicia Candiani, who is the founder and director of ‘ace, is in capacity of curator and liaison with the Latin American group of artists, and her colleague from Belgrade, the curator Ljiljana Tašić, is in charge of the selection of Serbian artists.
In addition, Rafael Trelles (Puerto Rico) and Alicia Candiani will lead the symposium, hosted by the Instituto Cervantes de Belgrado, that will focus on heterogeneity, multiplicity, connection and rupture as marks of contemporary printmaking. Finally, ´ace will increase its collection with one of the portfolios, which will be exhibited in Buenos Aires in the future as well as several projects will be launched inspired by these contacts between artists and art associations.
The “meetings” have taken place during the last 10 years on a biennial basis organized by “Akademija”: Center for Visual Research and Graphic Arts (Centar za grafiku i vizuelna istrazivanja “Akademija”), under the Faculty of Fine Arts of Belgrade El The objective of these meetings is to establish organizational and artistic ties between different countries, helping to position Belgrade among the leading cities on the international map of new media and graphic arts.
Ljiljana Tašić (Belgrado)
Alicia Candiani (Buenos Aires)
Latin American artists
Romina Biglieri | Alicia Candiani
Sebastian Garcia Huidobro | Adriana Moracci
Rafael Trelles | Valeria Zamparolo
Slobodan Knezevic Abi | Nebojsa Lazic
Dragana Radivojevic | Simonida Rajcevic
Mihailo Stanisavac | Slobodanka Stupar
International Projects, Exhibitions
CROSSOVER @ Bs. As.
The work produced during Crossover [KC-Bs As] was exhibited in Fundación ‘ace during three months. 26 artists from different countries participated of this project which took place in ‘ace during the beginning of 2013.
On the exhibition’s opening, May 15th, Buenos Aires public enjoyed and shared an ‘aceNITE not only with many of the Crossover artists, but also with Miguel Rivera (initiator of the project) who came all the way from Kansas City in the USA to join us.
Essay on Crossover (by Daniela Ruiz Moreno)
To work in collaboration means to unite, merge, and contrast diverse ways of seeing and thinking. It implies openness to receive others expressive languages, allowing it to penetrate and challenge our own language.
In Theory of Modern Art, Paul Klee, reflects upon human’s creative strength and states “it is necessary to reveal this strength, its functions, in the same way it reveals in ourselves, this strength together with the matter, should embody, become shape, reality”. Is because of this that I believe that working in collaboration means to reveal and to force the emergence of the creative strength inside the others work. This is only achieved by activating one’s own strength.
Following this it is interesting to note the variety of “crossings” and overlaps, the different levels of permeability explored and revealed by each artist. In some cases each ones images suffered mutations, established dialogs in which each issuer maintains some distance, they relate but avoid infection (Viviana Sierra). Images crush or become flatten with the presence of the other, but at the same time a level of merging is achieved (Natalio Altube, Sol Massera, Paula Nahmod). In other case, both languages relate organically (Alejandro Scasso).
Artists appropriate the original for their own work (Alejandro Thornton), or use it as an impulse or stimulation to explore questionings already present in their search (Cristina Solía). Even chance was present in a piece in which a strong syncretism between Judaism, Muslim and Catholicism was achieved (Gabriela Zelentcher). In other works, the link between the two expressions was documented in a video. This resource allowed registering the randomness and importance of the entailment as one expression was not perceptible without the other (María José Sánchez Chiappe).
The virus, fundamental concept in the previous editions of CROSSOVER was interpreted in multiple ways in this session. In one case, the work focused in rats, essential actors and victims of the experiments to resist and battle viruses (Sonia Sánchez Avelar). In other, the artist was interested in the reproductive capacity of the virus, finding in its embryonic state, formal similarities with other beings (Bárbara Vincenti). The duality life/death that the virus holds was explored (Maren Preston), also the social danger and horror that epidemics produce. Infection, destructive in the case of viruses was founded in other human expressions such as laughter, in this case as something positive and empowering. Infection could be related also with colonial processes, where not only physical destruction is implied but also cultural, social and religious (Jennifer Pickering).
Crossover [KC-Bs.As.] is a project in which each artist had the opportunity to explore in a creative environment. Individual expressions became challenged, stimulated and embraced. Each artist, free to invade and to be infected by others creations, achieved in this way new languages.
A Miguel Rivera and Cara Jaye’s original project
CROSSOVER [KC-Bs As]
Argentina | Canada | Colombia |Korea |Germany | South Africa | UK
Gabriela Alcoba | Natalio Altube | Carla Beretta | Alicia Candiani |Felipe García | Simon Hall |Paz Jovtis | Yoon Kim | Sol Massera | Magui Moavro | Paula Nahmod | Carla Perri | Jennifer Pickering | Maren Preston | Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe | Alejandro Scasso | Viviana Sierra (Buenos Aires, Argentina)| Cristina Solía | Alejandro Thornton | Sara-Aimee Verity | Valeria Zamparolo | Gabriela Zelentcher
International Projects, Exhibitions
CROSSOVER @ KCAC, USA
The international project CROSSOVER [KC-Bs As] was exhibited from October 17th until November 14th, 2014 at the Mallin Gallery, Kansas City Artists Coalition, Kansas City, USA. Organized
ALEJANDRO THORNTON I WRITE / I DRAW
PLACE AND MEMORY – Kansas City Art Institute students participated in the Foreign Travel Led Program to Buenos Aires. Upon their return they created a series of works made in response to their experiences in Argentina and Uruguay. These visual sources, or tokens are being adapted and processed around notions of the found print and memory recollection.
CROSSOVER [KC-Bs As] is an in-progress international collaborative printmaking project between artists questioning the established norms of the original production and authorship of artistic works. In this project one’s work, property and egos became irrelevant, as artists have to trust each other allowing themselves and their counterparts to place their hand-marks, images and matrixes on one’s previous works. In April 2015 the project will be received by the Western Gallery at Western Washington University in Washington States, United States, completing a successful project carried out as an initiative of ‘ace in 2013.
Argentina | Alemania | Colombia | Corea | Inglaterra | México | Sudáfrica | USA
Natalio Altube | Gabriela Alcoba | Carla Beretta
Alicia Candiani | Felipe García | Simon Hall
Paz Jovtis | Yoon Kim| Sol Massera
Magui Moavro | Adriana Moracci | Paula Nahmod
Carla Perri | Jennifer Pickering | Maren Preston
Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe
Alejandro Scasso | Viviana Sierra | Cristina Solía
Alejandro Thornton | Sara-Aimee Verity | Gabriela Zelentcher
International Projects, Exhibitions
CROSSOVER-Cruce de Vías
From April 06 to May 16, 2015 the works produced in the International Project CROSSOVER [KC – BsAs] were exhibited in the Western Gallery, Western Washington University, Washington State, USA.
Organized by Cara Jaye, one of the creators of the project, CROSSOVER [KC-Bs As] was in this oportunity part of a larger exhibition and event. It included the pieces of all the Crossovers sessions as well as artists Miguel Rivera, Alicia Candiani, Melanie Yazzie and Patricia Villalobos Echeverria’s residencies, lectures scheduled for April 7, 8, 9, 21 and May 5 and 7, in addition to gallery talks with the artists explaining the project.
Created by Cara Jaye (Washington, USA) and Miguel Rivera (Guanajuato, Mexico) in 2004 as a spontaneous collaboration that has now expanded to include the taking and trading of artworks by more than 30 artists from over ten countries, Crossover/Cruce de Vías addresses issues of exchange, borders, authorship, travel and the interplay within collaboration. The diverse body of more than 150 works incorporate drawing, collage, photography, painting and printmaking techniques as artists use layers and multiple viewpoints to form an active and ongoing dialogue on crossing borders and nationalities, bridging differences and expressing commonalities while sending work across actual borders.
International Crossover exhibitions
2015 | Crossover / Crossroads, Western Gallery, Western Washington University. Bellingham, Washington, USA.
2013 | Crossover [KC-BsAs], Proyecto´ace. Buenos Aires, Argentina
2012 | Crossover KC, Kansas City Artists Coalition. Kansas City, Missouri, USA
2006 | Crossover / Cruce de Vias, Shift Gallery. Seattle, Washington, USA and Jesús Garcia Gallery, Guanajuato, Mexico
Organizer Cara Jaye
Curator Amy Chalouptka
Lectures Alicia Candiani | April 7th, Miguel Rivera | April 9th
Amy Chalouptka, Alicia Candiani, Cara Jaye and Miguel Rivera | April 10th
Artists in Crossover [KC-BsAs]
Natalio Altube | Gabriela Alcoba | Carla Beretta | Alicia Candiani | Felipe García | Simon Hall | Paz Jovtis | Yoon Kim| Sol Massera | Magui Moavro | Adriana Moracci | Paula Nahmod | Carla Perri | Jennifer Pickering | Maren Preston | Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe| Alejandro Scasso | Viviana Sierra | Cristina Solía | Alejandro Thornton | Sara-Aimee Verity | Gabriela Zelentcher
Pandora Project @ Ferreyra Palace
PAndora, ´ace first international project, was exhibited at the Museo Superior de Bellas Artes Evita (Palacio Ferreira) in Córdoba, featuring artists from Argentina, Chile and USA.
Conceptualized and directed by Rimer Cardillo at the State University of New York SUNY-New Paltz and co-directed by Alicia Candiani, it was carried out at the Proyecto’ace workshops in June 2006. Seven years later, the portfolio/box is still an example of collaborative work and expanded print media, even in small sizes.
Special thanks to artist and participant Juan Canavesi for having commissioned this public exhibition and head the guided tours in this stunning museum. We continue to be very proud of this project!
Artists in the Pandora Project
Amy Appel (USA) | Silvana Blasbalg (Argentina) | Silvia Brewda (Argentina) |Juan Canavesi (Argentina) | Alicia Candiani (Argentina)
Rimer Cardillo (Uruguay, USA) | Bob Capozzi (USA) | Alexandra Davis (USA) | Sebastián García Huidobro (Chile) | Luca Giovanopoulos (USA) | Siri Hanja (USA) | Susan Jenkins (USA) | Dylan McManus (USA) | Carly Still (USA)
Cycles @ Bs As
By the Law of Periodical Repetition, everything which has happened once must happen again and again and again-and not capriciously, but at regular periods, and each thing in its own period, not another’s, and each obeying its own law…the same Nature which delights in periodical repetition in the skies is the Nature which orders the affairs of the earth. Let us not underrate the value of that hint.
For the first ’aceNITE of the year, named Memory, an International Project developed during 2014 with the participation of 25 artists from Argentina, Australia, Canada, Spain, USA and New Zealand, called Cycles, was exhibited.
Cycles was an initiative through which we were able to make spaces available for work in print media to be created, as well as spaces for the interaction among artists from different nationalities. Each of the participants created a print inspired in the idea of [cycles] from their own multiple perspectives, alluding to the idea of movement, rotation, beginning and end, of mythical return of what was and ended, what opens and closed or what is repeated indefinitely leading to multiple visual interpretations.
After this project, 28 portfolios had been made, were 25 of them were donated to the artists, and the rest, were donated to two public collections at Frogman´s Print Workshop in the USA and the Talleres Nacionales de Gráfica in Mexico, as well one portfolio is part of the Fundación ´ace Art Archives.
Anne Heyvaert (Spain) | John Hitchock (USA) | Barbara Putnam (USA) | Toni Mosley (New Zealand) | Carlos Scannapieco (Argentina) | Silvana Blasbalg (Argentina)
Carla Beretta (Rosario, Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canadá) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Julie Krone (New Zealand) | Alexandra Leeds (Portland, USA) | Nöel Loeschbor (Argentina) | Nico Mazza (Brooklyn, USA) | Adriana Moracci (Argentina) | Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Viviana Sierra (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
Cycles | Ciclos
[CYCLES] Portfolio exchange – Caja Gráfica is an initiative that seeks to open spaces for the creation of graphic work, the interaction of artists of all nationalities with our neighborhood, the opening of places for exhibition and dissemination of work as well as interact with international artists. In this way [CYCLES] proposes the creation of a graphic portfolio-box with engravings / graphic pieces of each one of the participating artists and guests and offers the opportunity to exhibit that work both in Argentina and abroad.
The selected artists developed a one-week micro residency to develop their work in the Foundation’s ´ace workshop. Each of the artists will have a portfolio box with the work of all the participants at the end of the project. The works carried out and the box-portfolio will be exhibited at the Foundation in 2014. Some boxes will be donated to international collections and will start a traveling exhibition.
For the Royal Spanish Academy [cycle] it is a period of history that is considered finished, the set of phenomena or operations that are repeated in an orderly manner, a group of epic traditions concerning a certain period of time or a series of phases through which a periodic phenomenon happens. On the other hand, the prefix “cycle” means “spins”, “spins”.
All disciplines, from anthropology to engineering, have cycles. As well as the cycles appear as processes that always follow the same phases in the same order. In this project we are inspired by the idea of [cycles] from multiple perspectives, alluding to the idea of movement, of turning, of beginning and end, of mythical return, of what left and ended, of what opens and It flourishes or repeats indefinitely giving rise to multiple visual interpretations. Beginning and end, return, stages, movement … will be some of the possibilities that artists can visually explore in this portfolio.
Silvana Blasbalg (Argentina) | Carla Beretta (Rosario, Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canadá) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Anne Heyvaert (Spain) | John Hitchock (USA) | Julie Krone (New Zealand) | Alexandra Leeds (Portland, USA) | Nöel Loeschbor (Argentina) | Nico Mazza (Brooklyn, USA) | Adriana Moracci (Argentina) | Toni Mosley (New Zealand) | Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Barbara Putnam (USA) | Carlos Scannapieco (Argentina) | Viviana Sierra (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
[CYCLES] @ University of Nebraska, USA
Cycles Portfolio was selected through an open call for exhibition during Frogman’s 35th Anniversary Print Workshop. The exhibition was featured at the University of Nebraska Omaha’s Weber Fine Arts Building . After the exhibition, the portfolio was donated by Fundación´ace to the Frogman´s Print Workshop collection.
ABOUT FROGMAN´S PRINT WORKSHOP
Frogman’s Print Workshop began humbly back in 1979 when Professor Lloyd Menard led five school teachers from Sioux City, Iowa to the Black Hills of South Dakota, USA, for a drawing class. Prints were first introduced in 1981 and the workshops evolved into the Black Hills Print Symposium which took place at various sites in Western South Dakota, USA.
The Black Hills set an amazingly beautiful backdrop to the workshops, but by 1996, the workshops had outgrown the confines of the Hills and were moved to Beresford, South Dakota, home of Frogman’s Press & Gallery. The workshops would only spend two years based out of Beresford before moving to nearby Vermillion and the University of South Dakota. Frogman’s would call USD home for nearly twenty years.
Later on, in 2016, Frogman’s made the big leap to Nebraska and the University of Nebraska at Omaha, where the Frogman took his first ever print class over 50 years ago. Currently, Frogman is directed by Lloyd Menard´s son, Jeremy Menard who is also University of Nebraska at Omaha as their Curator & Visual Resource Manager.
ABOUT UNO (University of Nebraska)
UNO is Nebraska’s metropolitan university — a university with strong academic values and significant relationships with its community that transforms and improves the lives of those on a local, regional, national, and international level.
UNO is dedicated to the city and state of Nebraska. As the University of Nebraska’s metropolitan university campus, no fences or barriers separate students from the opportunities offered by the greater Omaha area. It addresses real issues, providing relevant learning opportunities that uniquely prepare our graduates as professionals and active members of their community.
Gallery Talk | July 8, 2016
Silvana Blasbalg (Argentina) | Carla Beretta (Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canada) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Anne Heyvaert (Spain) | John Hitchock (USA) | Julie Krone (Australia) | Alexandra Leeds (USA) | Nöel Loeschbor (Argentina) | Nico Mazza (USA) | Adriana Moracci (Argentina) | Toni Mosley (New Zealand)| Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Barbara Putnam (USA) | Viviana Sierra (Argentina) | Carlos Scannapieco (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
On Sunday May 20th, 2012 and as part of the 21st arteBA Contemporary Art Fair in Buenos Aires, Argentina, a panel with free admission will take place at 4:30 pm:
FROM OBJECT TO EXPERIENCE: ARTIST RESIDENCIES AS STRATEGIES FOR PRODUCTION IN CONTEMPORARY LATIN AMERICAN ART
The panel is organized within the schedule of conferences and activities at the auditorium of the fair as part of the Open Forum 2012 program.
residencias_en_red [iberoamérica] will present artist residencies as strategies for production in contemporary Latin American art. This panel has been organized by Alicia Candiani director of ´ace (who will also be the moderator) and Kadija de Paula (residencias_en_red manager). The event will feature the participation of Lorena Cardona (El Levante, Rosario), Julia Tamagnini (Casa13, Cordoba), María José Trucco (Centro Rural de Arte, itinerant project in Argentina) and Aixa Sanchez (Oficina # 1, Caracas, Venezuela).
The proposal for the discussion will focus on the possibilities that the model of the artist residency can offer in the contemporary Latin American art scene. Understanding the diversity of agents involved in the system of art, from artists, public and private managers, as well as independent initiatives, the model of artist residencies has generated alternatives to traditional production models for works of art. It will be noticed how these possibilities hold new tools for the artistic system and propose a new way of giving value to artistic practices, from what has been called “the collecting of place”.
The ´ace artist residency program is a part of residencias_en_red since March 2011 and is pleased to invite all of you to this event.
residencias_en_red [iberoamérica] is an Ibero American platform of spaces working with research, production and exhibition of contemporary art and culture, connected particularly through its residency programs. It brings together different formats of art residencies and enhances its diversity. It is formed by private or public-private initiatives with various administrative and legal structures. The network was created in 2008 through an aspiration for Latin American integration and a desire for collaboration and collective work among its members so to strengthen representation and communication at the micro and macro level of international cultural policy.
Lithography in Other Contexts
Artists in Dialogue
Saluting the 1st International Lithography Encounter that took place on November 16, 17 and 18, 2017, Proyecto´ace held a reception in conjunction with the opening of the exhibition Lithography in Other Contexts. Argentinean and international artists –who participated as speakers or guests in the event– gathered together for dinner in celebration of lithography. The exhibition, curated by Alicia Candiani and Adriana Moracci, was the result of a selection from the works coming from Fundación´ace‘s collection. The pieces were made in litho techniques over the years by artists in residency within our international residency program.
ABOUT THE 1st INTERNATIONAL LITOGRAPHY ENCOUNTER
Organized by La Cárcova Museum, with the general coordination of Lorena Pradal in charge of the Lithography Workshop, the meeting had the goal of favoring the exchange of technical and conceptual aspects related to printmaking, especially the lithographic technique, the incorporation of new resources and the dynamics of their teaching in art institutions.
The 3-days meeting offered lectures, panels, exhibitions of prints and theoretical-practical workshops around the role of printmaking today and their functions within the expressive linguistic repertoire in the visual arts, and involved the participation of researchers, specialists and both national and international artists. Alicia Candiani, director of ´ace, was invited to participate in one of the panels. Her lecture’s topic was About the non-specificity of contemporary graphics: lithography in other contexts, with special focus on the projects in litho procedures made by the artist in residence among the ´acePIRAR program.
Adriana Moracci | Adriana Sposito | Alicia Candiani | Anne Solitander | Beth Grabowski | Bruno Patyn | Camila Farina | Eirini Boutasi | Elinor Peiretti | Emmanuel Santos | Enrique Leal | Helena Kanaan | Javier Barrera | Jeff Sippel | Jessica Simmons | Julie Krone | Kenneth Batista | Maritza Dávila | Meredith Setser | Micaela Trocello | Rachel Tanugi | Sara-Aimee Verity | Shaurya Kumar | Sophie Hoyle
International Projects, Site Specific
Moving Targets [Bs As]
Objetivos Móviles/Moving Targets-Buenos Aires was a co-curatorial project co-organized by the artist John Hitchcock (Director of the Printmaking Department and Associate Professor at the University of Wisconsin-Madison, USA) and the artist Alicia Candiani (Projecto´ace Director) framed in the residence that Hitchcock made with us from February 15th to March the 6th, 2008.
With the institutional support of the Ministry of Culture of the Municipality of Buenos Aires and Metrovías company partnership, Objetivos Móviles/Moving Targets-Buenos Aires results in an urban artistic action involving Colegiales neighborhood and displayed on the Metrovias Trains System in Argentina on Friday February 29, 2008 (a unique day in a leap-year!). The print action took place between the Federico Lacroze Station in the City of Buenos Aires and Fernández Moreno Station in Buenos Aires Province of the railroad Gral. Urquiza. These two stations united Proyecto’ace in Colegiales, Buenos Aires City and Centro de Edición. Directed by Natalia Giachetta, this is a litho workshop and gallery located in Saénz Peña, Buenos Aires Province. A group of 25 Argentine artists lead by John Hitchcock and Alicia Candiani, carried large banner prints through the train cart system. Each banner had several images of North America, South America and Caribbean artists’ works. 50 young up and coming artists (25 from South America and 25 from North America) and 50 established artists were invited to participate.
The banners, as large flags, were exhibited in two spaces in Argentina: the Proyecto’ace Studios and the platforms of the General Urquiza Train in front of Centro de Edición in Buenos Aires Province. Later they were exhibited in Pyramid Atlantic Art Center´s Main and Kunst Vault galleries from August 1 – October 3, 2009 in the United States.
ABOUT MOVING TARGETS INTERNATIONAL PROJECT
As a concept, Moving Targets involves presenting the print medium in a specific and meaningful way. It ties to the rich tradition that printmaking serves as a vehicle for expression of discontent and critique.
As an international print project reflecting social concerns moving via public transportation across borders, it aims to address on how public transport can become a means of cultural dissemination while emphasizing the historical tradition of graphics as a democratic vehicle for the communication of ideas.
The first action-exhibition was originally presented as Cultural Transport / Moving Target on a train between Berlin (Germany) and Poznan (Poland), co-organized by Keith Christensen and John Hitchcock within the framework of IMPACT IV in Germany. The title Moving Targets, expresses the difficulty in stopping something (shooting down–in military terms) that exists when trying to stop something or destroy it when it is in movement. The project uses trains, means of public transport, to disseminate cultural actions, thus the vehicle is literally the means of expression. Under the metaphor of what is in motion cannot be shot down, actions have been planned on the trains with printed works, also referring to the capacity of prints as agents that promotes reflection and change.
Emerging Argentine artists participating in the performatic action |Buenos Aires Daniela Karol, Magdalena Arnaud, Lucía Miranda, María Julieta Arnaut, Félix Torrez, Carolina Sosa, Josefina Zuain, Federico Signorelli, Juan Natch, Sofía Quirno, Fernanda Castelo, Valeria Zamparolo, Ignacio Luis Ravazzoli, Nicolás Monti, Isabel Gruppo | Córdoba Sergio David Alvarez, Gisele Rodriguez Polich, Maximiliano de los Ríos, Lucia Mendez, Ana Belen Saldias Lopez, Mariana Pavan, Iván Vianello, Micaela Damico Bossio | Santa Fé Javier Cazenave | Tucumán Martín De Negro.
Objetivos Móviles / Moving Targets
A John Hitchcock´s original project
Co-organized and co-curated by Alicia Candiani
in partnership with Centro de Edición Taller Galería
Director Natalia Giachetta
Selected and invited artists
NORTH AMERICA | Kim Ambriz, Plinio Avila, Michael Barnes, Marwin Begaye, Lisa Bulawsky, Keith Christensen, Justin Diggle, Timothy Dooley, David DuBose, Wanda Ewing, Bill Fick, Jill Fitterer, Ruthann Godollei, John Hancock, Dusty Herbig, Mike Houston, Hybrid Press/202c (Hitchcock & Busich), Drew Iwaniw, Anita Jung, Angela Lopez, John Lysak, Barb Madsen, Justin Maes, Nichole Maury, Phyllis McGibbon, Dylan McManus, Dennis McNett, Anna Moisiadis, Traci Molloy, Ayanah Moor, Johanna Mueller, Ashley Nason, Meghan O´Connor, Nancy Palmeri, Miguel A. Pena, David Raine, Curt Readel, Kathryn J Reeves, Derrick Riley, Jason Ruhl and Amy Newell, Humberto Saenz, Jenny Schmid, Neal Ambrose-Smith, Satan’s Camero, David & Kassie Teng, Daryl Vocat, Heather White, Aaron Wilson, Melanie Yazzie, Imin Yeh.
SOUTH AMERICA AND THE CARIBBEAN | Sergio David Alvarez, Magdalena Arnaud, María Julieta Arnaut, Romina Biglieri, Silvana Blasbalg, Sergio Blatto, María Bonomi, Silvia Brewda, Juan Canavesi, Alicia Candiani, Rimer Cardillo, Fernanda Castelo, Hugo Cava, Javier Cazenave, Mariela Constant, Micaela D´amico Bossio, Maximiliano De los Ríos, Martín De Negro, Sebastián García Huidobro, Isabel Gruppo, Daniela Karol, Ana María McCarthy, Lucía Mendez, Patricia Miani, Ricardo Migliorisi, Lucía Miranda, Nicolás Monti, Adriana Moracci, Juan Natch, Mari Mater O´Neil, Néstor Otero, Mariana Pavan, Sofía Quirno, Ángel Ramírez, Ignacio Luis Ravazzoli, Rafael Rivera Rosa, Gisele Rodriquez Polich, Ana Belén Saldías López, María Mercedes Salgado, Carolina Salinas, Garvin Sierra, Federico Signorelli, Carolina Sosa, Félix Torrez, Rafael Trelles, Julio Valdez, Ivan Vianello, Patricia Villalobos Echeverría, Valeria Zamparolo, Josefina Zuain.
Portfolio reviews Alicia Candiani
6:40 Artist Book
On Friday November 30th, from 4pm to 6pm, the portfolio reviews activity for MIMB III 6:40 Artist book will take place in the Políglota Room of the Proyecto ’ace house. For this meeting we will invite artists who participated in the workshop Books “al fresco” held in January 2012 and anyone who wants to present his or hers artist book or witness the activity.
Those interested may participate in this activity in any of the following ways:
1) AS A PRESENTER: The artist will present his artist book or a series of them in a way:
1.a- DIGITAL: a powerpoint of up to 20 slides in a period of less than 6 minutes and 40 seconds.
1.b- PHYSICS: bringing the real books, although you must respect the exposure time of 6:40 minutes.
2) AS AN OBSERVER: face-to-face mode, does not present work but can participate in the discussion.
Aimed at artists / writers in general who have worked, are working or are interested in artist books.
Taking inspiration from the method Pecha-Kucha (“Pure Talk” in Japanese, originally created in Tokyo as a meeting place for young designers so they could show their work and make contacts) 6:40 is part of our Portfolio Review program. Its format allows the presentations to remain short and the dynamic of the meeting to remain informal, fun and flexible in addition to providing a space for interaction that encourages creativity and critical analysis of artistic production itself.
6.40 Artist Book to share and publicize the purposes and the work of participating artists by very concise presentations, informal meetings and promoting the dynamic between creative people coming together to share their work, ideas and difficulties, being moderate and receiving a refund by the guest curator.
Each artist will release his artist book through a short presentation in Powerpoint 20 images x 20 seconds exposure each, making a presentation total of 6 ’40” minutes. At the end of all presentations will be an individual and collective curator´s review, as well as a space for reflection for all participants.
Since November 30, 2013, the Critical Mass exhibition was on display for 2 months in ´ace Foundation for Contemporary Art’s Sala Políglota, an International Exchange of portfolios organized by Nathaniel Stern (Professor of Art and Design at the School of the Arts at the University of Wisconsin – Milwaukee, and Research Associate at the University of Johannesburg College of Art, Design and Architecture Research Center) and Rhianna Andrews from the University of Milwaukee in the United States.
The portfolio includes forty artists, all published in Richard Noyce’s books Printmaking at the Edge (2006 | 2008) and Critical Mass: Printmaking Beyond the Edge (2010). The portfolio “explores the evolutionary techniques and approaches, strategies and materials that are used in and with contemporary forms of printing. It is a project of artists – explorers who put hands to work: with ink, metal and stone, with politics and pop culture and characters, and in the bits, bytes and code of new technologies. Artists cross borders with new ways of thinking, doing and collaborating. “
Critical Mass exhibition itinerary:
SGCI Conference PRINT:MKE
Milwaukee, Wisconsin, USA.
Organización Nathaniel Stern y Rhianna Andrews
in.print.out Triennial, University of Applied Arts Vienna
Organización: Michael Schneider / Michael Wegerer
Little Gallery, Department of Art, University of Calgary
Organización: Marjan Eggermont
Estampa Print Fair. Madrid, Spain
Organización: Anne Heyvaert
Diciembre 2013 a Enero 2014
Sala Políglota. Fundación´ace. Buenos Aires, Argentina
Organización: Alicia Candiani
Little Art Parlour Gallery. Novi Sad. Serbia
Organización: Jelena Sredanovic
GaleRica, Makarska, Croatia
Organización: Lina Rica
Fundación CIEC. Centro Internacional de la Estampa Contemporánea. Betanzos, Spain
Organización: Anne Heyvaert
Rebecca Beardmore | Scott Betz | Lisa S. Bulawsky | Alicia Candiani | Wayne Eastcott | Marjan Eggermont Joscelyn Gardner | Chiara Giorgetti | Joan Hall Christina Hallstrom | Valgerdur Hauksdottir | Adriane Herman | Anne Heyvaert | Helena Horalkova | Liz Ingram | Naoji Ishiyama | Brian Jones | Bodo Korsig | Dorothy Krause | Mirta Kupferminc | Leonie Lane | Jessica Meuninck-Ganger | Suzuki Michiko | Richard Noyce | Ardan Ozmenoglu | Maria Parolin | Michael Reed | Brian Reeves | Lina Rica | Xenofon Sachinis | Michael Schneider | Ruta Spelskyte | Jelena Sredanovic | Amy Sterly | Nathaniel Stern | Sandy Sykes | Patricia Villalobos Echeverria | Michael Wegerer | Klavs Weiss | Barbara Zeigler
International Projects, Fairs
FIG Bilbao 2020
Artists in dialogue
After the landing of ´ace at FIG Bilbao2019, with Argentina as the guest country and the will of both organizations to expand their international networks, we have signed a collaboration agreement between both institutions: FIG BILBAO and Fundación´ace. Alicia Candiani, director of ´ace, becomes part of the Management Committee of Open Latin America with the aim of giving mobility to artists and their works on an international level. Also, this year we have once again been invited to participate in the fair, for which a prestigious group of international professional artists has been selected.
The International Fair of Printmaking and Art on Paper (FIG Bilbao) has positioned itself as one of the most important in Europe. This year, FIG Bilbao celebrates its 9th edition and, although it cannot aspire to attract more than 11,000 visitors in four days as happened last year, it has not hesitated to reinvent itself in an online format and, furthermore, it does not neglect face-to-face proposals insofar as their possibilities. Today the digital platform www.figonlinefair.com will premiere, offering 50 galleries and more than 500 artists that will be active throughout the month of December.
The works cover a wide range of prices and visitors will be able to enjoy the free and personalized advice of expert Elisa Hernando, who is in charge of the Approach online service. Among the creators present in this edition, it will also be possible to pledge on emerging talents such as Juan Escudero and Kepa Garraza, or already established such as Joan Miró and Eduardo Chillida.
Three containers have been installed next to the Bilbao Fine Arts Museum. Inside, all the works from the fair catalog will be projected on led screens that will change their content every 15 minutes. Until December 14 (from 11 a.m. to 2 p.m. and from 5 p.m. to 8 p.m.) they will be available to passersby. These are spaces that fulfill the function of the stands of FIG Bilbao, adapted to the restrictions imposed by the pandemic, and are complemented by the QR codes of each gallery that will allow access to the digital platform.
Alicja Habsiak-Matczak (Poland)
Guy Langevin (Canada)
Bárbara Madsen (USA)
Cecilia Mandrile (Argentina, lives in New York)
Kestutis Vasilinius (Lithuania)
Zhang MinJie (China)
Alicia Candiani (Argentina)
Organized by the Argentine Center of Cartography and framed by the Sixth Congress of Cartographic Science, Alicia Candiani has been invited for a second time to present a keynote lecture about the relationship between Cartography and Contemporary Art. The conference is scheduled to be held on the opening day, Wednesday June 27th at 5.30 pm, at the headquarters of the center located at Av Cabildo 381, City of Buenos Aires.
ACTIVITIES – VI CONGRESS OF CARTOGRAPHIC SCIENCE
Conferences – 27, 28 and 29 June
Roundtables – 27 and June 29
• History of Cartography.
• Quality of cartographic data
Workshop Introduction to OrtoSky – June 27
Geologic Mapping Symposium – June 28
Technical Sessions – 27, 28 and 29 June
GeoInquietos Meeting – June 28
Shows and exhibitions:
Exhibition of posters with technical and institutional work
Photo exhibition related art Cartography.
Themed art exhibition Mapping
Exhibition of old maps
Mapping the Road to San Juan 2010 – CEFOCCA – UNSJ
Technological and commercial exhibition
Latin American music group T’Andando
CARTOGRAPHIC IMAGINARY II
About imagined maps in Contemporary Art
Contemporary art has used maps and mapping in general, to design new spaces and re- define limits by blurring boundaries and plotting new ones. In this sense,by using cartography, artists not only perform a critical geopolitics but, adopting the notion of mapping, also reflect on the limits and dimensions of their own artistic practices in a changing world.
Puntos de Fuga
Invited by the Pilar and Joan Miró Foundation in Mallorca, Alicia Candiani is currently in Palma de Mallorca, Spain, directing Punto de Fuga: graphic field practices expanded one of the three Graphic Workshops that the Fundación Miró developed during 2012. With Spanish artists from Madrid, Barcelona, Tarragona, Alicante, Seville and Palma de Mallorca, the group is working on the Joan Miró engraving workshop at Son Boter under the magic of the place and the spirit of the artist.
Vanishing Point is a collaborative work that covers various theoretical and technical aspects related to contemporary graphics using as pivot the new techniques of dry photolithography (waterless) and its hybridization with digitally printed images, with the aim of expanding the creative possibilities of the participants within what has come to be called “expanded graphics”, that is, its extension to other formats, media and processes, this time the appropriation of the offset commercial reproduction media (photo- dry lithography) and digital printing.
ABOUT THE MIRO FOUNDATION’S GRAPHIC WORKSHOPS AT MALLORCA
The Fundació Pilar i Joan Miró a Mallorca was founded following the donation by Joan Miró and his family to the city of Palma, in 1980, of the four studio workshops where he had worked intensely from 1956 until his death, so that they could become a stimulus for future generations of artists.
Miró expressed a desire for the spirit of creativity and transgression to live on after his death and the dream came true with Son Boter. The workshops have conserved that desire to act as a springboard for experimentation in a wide diversity of artistic fields. Year after year, in this privileged setting, young artists and other more established ones carry out projects,exchange ideas and share their creative experiences.
PUNTO DE FUGA @
JOAN MIRO’S GRAPHIC WORKSHOPS
Joan OLIVER y Julio LEON
Nora ANCAROLA (Barcelona)
Mercedes ANDREW (Madrid)
Rosana ANTOLI (Alicante)
Nadal CRESPI (Mallorca)
Carlos DANUS (Mallorca)
Mar HERNANDEZ (Madrid)
Rosa MASCARO (Mallorca)
Aurea MUÑOZ DEL AMO (Sevilla)
Diego PEREZ GALINDO (Sevilla)
Aina PASTOR (Mallorca)
Francesc ROIG ZARATE (Tarragona)
Marga XIMENEZ (Barcelona)
International Projects, Exhibitions
The World IN a Handkerchief
The World IS a Handkerchief : El mundo es un pañuelo
A Wandering Genealogy curated by Claudia DeMonte & Cecilia Mandrile
The World IN a Handkerchief : El mundo en un pañuelo
Guest Curator, genealogy Proyecto’ace: Alicia Candiani
Exhibition of pieces
selected from the Fundación´ace´s collection and Alicia Candiani’s personal collection of the participating artists in “The world IN a handkerchief”
For a month and a half, the Políglota Room is hosting three exhibitions on a rotating basis. From March 23 to April 1, “The world IS a handkerchief” and “The world IN a handkerchief: the genealogy of ´ace” were exhibited simultaneously, paying special tribute to the Argentine artist Graciela Sacco. While the original series returned to New York from where it will soon travel to England, the ‘ace genealogy collection was joined by a new exhibition of large format pieces of the participating artists, some belonging to the Fundación’ace collection and others to the private collection of Alicia Candiani.
The World IS a Handkerchief is a travelling exhibition rooted in the Spanish saying ‘el mundo es un pañuelo,’ which translates into English as ‘this is such a small world’. The project traces serendipitous encounters, moments of discovering personal connections in distant places or unexpected contexts. The project began with the meeting of Claudia DeMonte and Cecilia Mandrile as a mentor and student respectively at the University of Maryland, United States in 1995 and has expanded through an international collaborative network between mentors, students and
The World IN a Handkerchief is a new chapter of the project, a graphic, soft and traveling portfolio curated by guests artists from the core genealogy. Artist and curator Alicia Candiani, essential mentor of this genealogy, Founder and Director of Proyecto´ace, has been invited to curate this new collection that reflects her close creative family.
ABOUT THE WORLD IN A HANDKERCHIEF by Cecilia Mandrile
Handkerchiefs have accompanied people in celebrations and farewells in many cultures for centuries, offered bodily protection and coverage, and sustained expressions of political tenets and spiritual beliefs. In this project, handkerchiefs become vessels of memories and itinerant narratives; containers of emotions; translators of wounds, signals of ideological resistance. Each piece epitomizes a soft space that holds disappearing recollections of homeland as well as reflections on displacement and identity that can be carried as a tangible memento. In times when touch appears as a dangerous sense, every single printed handkerchief means a meaningful testament of the continuous nurturing mentorship among artists and educators, reminding us that the soft touch remains both an intimate and universal need of communication.
To celebrate this constant and sustained creative dialogue, in 2019 the curators developed a portable exhibition of 50 handkerchiefs that explored the meaning of belonging and interconnectedness that this Spanish saying so tangibly evokes. In the reconstruction of this alternative family made up of artists and collectives from different latitudes and generations during the last two decades, both printed an edition of 25 handkerchiefs, and sent a printed handkerchief along with a blank handkerchief to 50 invited artists to intervene with their own reflections
on home, identity and belonging. From this exchange a “wandering genealogy” was born, a tribute to the strong threads that have woven this shared territory as itinerant artists and educators.
A limited edition catalogue including the work of 50 invited artists was published by Impact Press, Bristol, UK and includes an essay by Gill Saunders, Senior Curator of Prints, Victoria & Albert Museum, London. Currently, the catalogs of workshops and portfolios remain as digital publications, thus allowing to document the constant growth of this genealogy. Chris Knollmeyer, a sound artist in residence at ´ace at the same time, composed for this exhibition a special piece: “Sound of the Handkerchiefs”. The piece is a piano study made up of 25 melodies. Just as the handkerchiefs are tied to each artist’s history and sense of home, Chris feels a connection to the piano.
March 23, 7PM. Sala Políglota
April 27th, 1PM
The World is a Handkerchief |El mundo es un pañuelo
2019 | London Print Studio Gallery, London, UK
2020 | Galería Blackburn 20|20, Elizabeth Foundation for the Arts,New York, USA
2021 | IMPACT11, Hong Kong, China
Catalogues | Instagram |Vimeo