The Passion according to Jiménez
Micaela (Mica) Trocello is an Argentine artist born in Cordoba, who is carrying out a visual investigation work about the quartet culture. She is continuing with her project and the 2nd part of her residence in ´ace that originally began in April.
Micaela is part of the new program for Argentine artists that lasts for over six months with physical artist assistance for the production of work in our workshops one week at a time and the monitoring of the project is carried out the rest of the time.
The technical process and the production of graphic work is of vital interest to Micaela, who during her residency was interested in deepening her acute knowledge on the photopolymer technique. She also investigated waterless photolithography which she later incorporated in her work. She experimented with gold leaf painting, a language that added layers of content and readings to her work.
ABOUT THE PASSION ACCORDING TO JIMÉNEZ
This is a work that could be called “artistic – anthropological” which addresses the poetic universe that involves Carlos “La Mona” Jiménez; Cordoban popular icon and benchmark of the Argentine quartet.
As in many of her works, Micaela immerses herself in everyday domestic situations and also in “extraordinary” situations such as the Baile de La Mona, investigating a conceptual plot that finds an intimate relationship between the lyrics of the quartet’s songs and the recurring theme of the artist: The Woman, linked to love, passion, idolatry, but also hate and sin.
1978 | Córdoba, Argentina.
Lives and works in Río Ceballos, Córdoba, Argentina.
2009 | Bachelor in Printmaking, Universidad Nacional de Córdoba. Argentina.
2003 – 2004 | Photography, Escuela Municipal de Berazategui. Buenos Aires, Argentina.
Fictional constructions, everyday spaces, Josefina Cangiano Gallery. Cordoba, Argentina.
Over glitter and other obsessions, Obispo Mercadillo. Cordoba, Argentina.
Photographic Incisions, Zonadearte Quilmes. Buenos Aires, Argentina.
2010 – 2012 | Atlante Award. Honorary Mention II and III. Coruña, Spain.
2009 | Salvador Caputto Acquisition Award. Santa Fe, Argentina.
2011 | 14th International Small Format Printmaking Biennial. Ostrow, Poland.
2011 | 10TH Lessedra World Art Print. Bulgaria.
2011 I Gravura Santos International Biennial. Brazil.
Book and national magazine illustrator. Fine Arts teacher in the Instituto de Niños Músicos, Fundación Herbert Diehl. Cordoba, Argentina.
2008 – 2006 | Completed studies on Problematics in Art and Design and Implementation of Educational Projects in the C. C. R. R., Universidad Nacional de Buenos Aires. Argentina.
Technical Research Grant
One of Fundación´ace’s mission is to provide Argentinean artists with the opportunity to do research and art production. Following this, we have granted a scholarship to the artist Micaela Trocello (Córdoba, Argentina), who was an artist-in-residency within the ´acePIRAR program during the month of July 2016.
Micaela used the time, space and the guidance of the ´ace team to experiment with new technologies and research within the photopolymer technique. This also allowed her to explore new ways to develop her work, which is characterized by a strong presence of the feminine understood from the point of view of popular cultures, minorities and approached through historical figures of Argentina. Loaded textures, Latin American baroque and imbricated narratives are constant features in the work of Trocello.
The Passion according to Jiménez
THE PASSION ACCORDING JIMÉNEZ (by Alicia Candiani)
The Passion according to Jiménez is an “artistic-anthropological” project that addresses the poetic universe that involves Carlos “La Mona” Jiménez, a popular icon from Córdoba and a reference in the music of “quartets” from the Province of Córdoba in which Micaela Trocello was born, studied and currently lives.
There is a popular graffiti that can be seen in various neighborhoods of Córdoba Capital and the interior of the province that says: “My religion is the quartet, my temple is dancing and my god is Mona”. The discourse of this painting hints at the constitution of a geography, an area of interaction where the characters with their stories are represented under a cultural phenomenon: the quartet.
There is more or less a common agreement in locating the origin of this music in the hybridization between the Italian tarantella and the Spanish pasodoble performed in rural areas that later migrated together with the peasants during the 1950s and 1960s to the city of Córdoba to become in the music that animated the dances – in the neighborhood clubs to which the proletarian families used to go – to become today the music that is produced for and consumed by young people and adolescents from the popular sectors of the interior of the country .
In the series of works presented in relation to the XVII Open Encounters – Festival of Light 2012, the artist is inspired, among others, by the lyrics of the song Arma Blanca which says:
when he said yes, he pounced
broke into the room and with a stab struck his heart
when he said yes, he never imagined
that his faithful lover’s threats were carried out today.
with a knife, with a knife
he stained the white dress she wore
with a knife, with a knife
He stained the wedding and what was love yesterday ended in pain,
with a knife, with a knife …
The songs of “la Mona” are stories that involve people who live in slums and are exploited, subjects who are in prison waiting for a letter to arrive, women in love with a priest, extramarital relationships more passionate than the marriages themselves, incests, dropouts, suicides, gambling, losses, searches, disappearances, confrontations.
The Cordoba quartet culture is a masculine music to the extreme, which exalts heterosexuality and places women in two antagonistic places: that of the pure and sacrificed mother or that of prostitute-instrument of perdition.
As in many of her works, Micaela immerses herself here in everyday domestic situations and also in “extraordinary” situations such as the Baile de la Mona, investigating a conceptual plot that finds an intimate relationship between the lyrics of the quartet songs and the recurring theme from the artist: the Woman linked to love, passion, idolatry, but also hate and sin.
The Fold @ Buenos Aires
This exhibition, presented in the July 19th, 2017 ´aceNITE, was the result of the 3rd International Project of Graphic Interaction and Printing, The Fold / Double Unfolded, with the participation of 17 artistic, training, creation and research centres from 11 countries (Argentina, Belgium, Canada, Denmark, Spain, United States, France, Mexico, Portugal, Serbia, Taiwan). With a total of 224 artworks in the form of a sheet of paper, this project seeks to promote the cultural circulation that allows graphic editing across borders, revalorizing the format of the book from its basic module: the fold.
The Fold/ Double, Unfolded was organized by the dx5 Group of the University of Vigo in Pontevedra, Spain in collaboration with the Department of Philosophy and Arts of the University of Quebec in Canada. Proyecto´ace was one of the participating centers of this project. In 2016, ´ace invited 19 artists to produce their works by intervening a sheet of paper folded in 2, using print media and / or other resources that generate multiple images and editing them in several prints.
STATEMENT The Fold/ Double, Unfolded
The space of The Fold is meant as a whole fragmented into four separate linked spaces, in which opposition relationships, reflexivity, contiguity and sequencing are established. The fold, like the book, opens and closes, withholds, shows and hides at the same time. The bonding of different folds makes a book; a device that works as a nest through its emergency zone and the matching that is the fold, which acts like as an unfolding hinge.
Roma Blanco | Cecilia Candiani | Telma Castro | Mariela Constant |Lorena Diaz | Cristina Duro | Germán Gaspari | Beatriz Gratta | Flora Hubot (Belguim) | Adriana Moracci | Elinor Peiretti | Laurel Ponturo | Robin Romansky (Germany) | Laura Savio | Cristina Solía | Micaela Troccello | Loruhama Valdez | Norma Villareal | Gabriela Zelentcher
The Fold: making of
Artists in dialogue
Proyecto´ace has been invited as one of the participating centres for the international project EL PLIEGO / doble desdoblado, the 3rd Project of creation and international exchange between universities and educational centres in the graphic arts and international edition, organised by the Grupo dx5 of the Universidad de Vigo in Pontevedra, Spain in collaboration with the Department of Philosophy and the Arts, University of Quebec in Canada.
This project aims to continue the promotion of cultural movement across borders that printmaking allows (such as multiplication, versatility and transportability), revaluing the book format from its base module: the fold.
Artists, teachers and art students participate in a project that aims to reflect on the idea of the fold, taking the space of a sheet as the starting point and the encounter that these fold causes.
COLLABORATIVE WORK (by Adriana Moracci)
What is The Fold and how to approach and shape not only an image, but a concept that called Proyecto ´ace to be part of an International Project.
During intense days of work and reflection, 19 artists were selected to work collaboratively in the ´ace workshop, creating editions of the works that made up what was sent.
The themes that were developed from the simple and profound idea of The Fold were enriched and shaped by the most varied visions in this regard. Thus, the specification referring to the body, the identity, the memory, the absence, the infinity, the prayer, the plots, the trace were all giving shape to the works produced. The meetings and video conferences prior to the edition days in the workshop were a stimulus and reason for reflection for the group of artists called.
The project opened the possibility of collaborative work not only between the participating artists in each venue, but also provided the opportunity to extend the communication networks between those who participated in it, showing once again that from the simplest ideas, multiple voices can emerge.
Adriana Moracci, masterprinter
Artists in AR1 group
Roma Blanco | Telma Castro | Cecilia Candiani | Mariela Constant | Lorena Diaz | Cristina Duro | Germán Gaspari | Beatriz Gratta | Flora Hubot (Belgium) | Adriana Moracci | Elinor Peiretti | Laurel Ponturo | Robin Romansky (Germany) | Laura Savio | Cristina Solía | Micaela Troccello | Loruhama Valdez | Norma Villareal | Gabriela Zelentcher
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