Andrés’ main areas of development are his own work as an artist, the management of cultural and artistic projects, and art-oriented pedagogy. From these different roles, he collaborated with and participated in public and private institutions such as the Department of Culture of the British Council and 432Hz, Solyanka State Gallery (Moscow, Russia), Faena Art Center Buenos Aires, Wiener Festwochen (Vienna, Austria), Experimental Centre of the Colón Theater, the Kirchner Cultural Center and the New Opera Festival Buenos Aires, among others.
His artistic career began in photography, and later he also began to use video, installation and performance as expressive means in his works—currently, his practice revolves around the creation of participatory performative installations that intersect with social practices and take elements of different artistic languages. As a teacher, his research focuses on image theory and its contemporary uses, both within art and in everyday life settings. Currently, he’s presenting his Thesis for two postgraduate degrees: a Specialization in Objects Theater, Interactivity and New Media and a Master’s in Performing Arts, both at the UNA—National University of the Arts, Buenos Aires. HE divides his time between his artistic production, pedagogy and Fundación´ace para el Arte Contemporáneo, where he works as General Coordinator for all its programs and activities.
His task as General Coordinator at Fundación´ace para el Arte Contemporáneo gives Andrés the possibility of nurturing all the areas of his professional work which he cultivates, connecting with international artists from different mediums to help them carry out their artworks, managing cultural projects and contributing to the growth of a small, united, generous and heterogeneous team from which he constantly learns.
The goal of art is not to change things—they are changing themselves all the time anyway. (Boris Groys)
Art –I think– must bear witness to reality, so as not to become a clumsy form of onanism, since there are better ones. (Rodolfo Fogwill)
My current artistic practice has elements of both spatial installation and performative action. I usually make use of tools that may come from other artistic languages and include the five senses as part of the experience that the participants and / or the public live. I am interested in taking everyday social dynamics and transferring them to the artistic context to explore possible ways of making the aesthetic experience that shapes and contains my works more porous to the non-artistic sphere, or, to look at it from the other perspective as well, possible ways of making the everyday world more permeable to art’s strategies.
1983 | Buenos Aires, Argentina
2021-2022 | Master’s Degree in Performing Arts, National University of the Arts—UNA, Bs. As., Argentina
2020-2021 | Postgraduate Specialization in Objects Theater, Interactivity and New Media, National University of the Arts—UNA, Bs. As., Argentina
2019 | Action Laboratory, Buenos Aires Theater Complex, Argentina
2019 | Program for pedagogical reflection and innovation, Faculty of Communication and Design—University of Palermo, Bs. As., Argentina
2018 | Blind art, haptic art workshop for the blind, Museum of Modern Art, Bs. As., Argentina
2017 | The School of Everything, Paul B. Preciado, Joulia Strauss and Sotirios Bahtsetzis at Documenta14, Kassel, Germany
2015 | Cheating, seminar on art, politics and activism, Center for Artistic Research—CIA, Bs. As., Argentina
2010 | History of the exhibitions and curatorial models, Artists’ Program at Torcuato Di Tella University—UTDT, Bs. As., Argentina
2010 | Documentary experiences, Artists Program at Torcuato Di Tella University—UTDT, Bs. As., Argentina
2009 | Museographic lighting, Ars Lux, Bs. As., Argentina
EXHIBITIONS & PERFORMANCES
2021 | National Salon of Visual Arts 2020-2021, Mention of the Jury in the Installations and new media category. Casa Nacional del Bicentenario: Buenos Aires, Argentina
2019 | DISIDENTE. UV Estudios: Buenos Aires, Argentina
2018 | Perfuch 3D. UV Estudios: Buenos Aires, Argentina
2017 | United States of Russia (curatorship), Solyanka State Gallery: Moscow, Russia; Elektra’s Ballet, Austrian Performance Season, in collaboration with Elisabeth Von-Samsonow, Solyanka State Gallery: Moscow, Russia
2016 | P∞. Wiener Festwochen: Vienna, Austria
2014 | Fyodor’s Performance Carousel, Faena Art Center, Buenos Aires, Argentina
2009 | Curriculum 0. Ruth Benzacar Gallery: Buenos Aires, Argentina
2005 | Selected works in photography. C. C. Ricardo Rojas: Bs. As., Argentina
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