26 Biennial of Graphic Arts
“Since the late 1960’s, Rimer Cardillo’s artistic career conveys not only astounding expertise in printmaking techniques and graphic processes, but also the artist’s ongoing concentration on specific political, cultural, and environmental themes. Through graphic work, sculptural objects, and large-scale installations, Cardillo presents viewers with his searching inquiry into relations across political borders and his rigorous investigation of continuities between historical epochs.” [Karl Emil Willers]
Rimer Cardillo is an Uruguayan visual artist and printmaker with an extensive international career residing in the United States since 1979. Since 2004 Proyecto´ace has carried out several projects with this multifaceted artist who has one foot in the United States and the other in Uruguay.
In his successful career, the artist has developed a varied series of works that include engravings, sculptures, and installations, where the study of nature and the preservation of his imprint has always been present. His sculptures and installations evoke archaeological sites that revalue the pre-Hispanic imaginary of Uruguayan territory with aesthetic representations – symbols of funerary mounds that allow recreating the collective memory, as well as the artist’s metaphorical return to his native land. His fascination with the primitive is also reflected in much of his graphic work, as well as an archeology of natural life in the transfer of forms of animals and plants that resemble fossils made of metal, ceramic, or paper, which reinforce the idea of permanence of culture beyond life and point to the intense trace of the ancestral and the recovery of the past.
His work is held by numerous public and private collections, including the Art Institute of Chicago, Bibliothèque nationale de France, Cincinnati Art Museum, Instituto Nacional de Bellas Artes y Literatura of Mexico, Museo de Bellas Artes and Museum of Contemporary Art in Caracas, New York Museum of Modern Art, Art Museum of the Americas in Washington, Allen Memorial Art Museum at Oberlin College in Ohio, and the National Museum of Visual Arts of Montevideo, the garden of which became home to his 1991 sculpture Barca de la crucifixion (Crucifixion Boat) in 2005.
1950 | Born in Montevideo, Uruguay.
He lives between New York, USA and Montevideo, Uruguay.
He is a Professor in the Fine Arts Department, State University of New York. New Platz, USA.
1971 | Postgraduate studies in Arts, Hochschule für Grafik und Buchklunst (Leipzig School of Graphic Arts). Leipzig, Germany.
1970 | Postgraduate studies in Arts, Weissensee Kunsthochschule (School of Art & Architecture). Berlin Germany.
1968 | MFA, National School of Fine Arts. Montevideo, Uruguay.
1966 | BFA, National School of Fine Arts. Montevideo, Uruguay.
2004 | Impressions (and Other Images of Memory), Samuel Dorsky Museum, State University of New York. New Paltz, USA.
2001 | Vanishing Habitats, Bernice Steinbaum Gallery. Miami, USA.
1999 | Ñandú, The Islip Art Museum, East Islip. New York, USA.
1998 | Rimer Cardillo: Araucaria, The Bronx Museum of the Arts. New York, USA.
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)
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)
With its 26th edition, the Ljubljana Biennial of Graphic Arts celebrates its 50th anniversary!
This year’s exhibition carries the title Sunek-Thrust. From 23 June to 2 October, eighteen international art institutions from all over the world will present eighteen separate shows in a single space, the Tobacna´s Factory, in an attempt to answer the question: What are the graphic arts -and consequently, what is art in general -in today’s world?
As one of the invited art organiaations, Proyecto’ace, is presenting “Cupí and Birds of Clay Oil and Ashes” an installation by Rimer Cardillo which deals with the concept of the north and south habitats of the Americas. Alicia Candiani, who was curator of the project says: “The installation of Rimer Cardillo at the Tobacna’s Factory hosts a large wall covered with hundreds of silk-screened images printed on paper with clay, oil and ashes. The prints establish a dialogue with a self-standing piece in the shape of a cone: a Cupí. This cone is made by hundreds of hand-made embossed papers woven between hundreds of threads that shape it. The appearance of the cone is of a white eggshell, fragile and delicate. Technically the work began with a negative impression taken by plaster molds from the birds’ corpses (negative printing), which generate other versions (positive printing) that evolve into pieces made of terra cotta, bronze or paper. Photographs of these pieces are digitally manipulated and finally silkscreen-printed in several layers on paper. The artist uses printmaking processes but disregards the edition, the traditional printing matrixes and inks. Instead, he uses plaster molds, acetates, petrol, clay or ashes, all of them elements that are part of the reality of our time”.
Candiani chose Cardillo as she wants work to explore the opening of printmaking technical and conceptual frontiers -as a necessary change to encompass the XXI Century political and artistic world transformations- while attempting to focus on Latin America as a territory of interrelated differences. The Uruguayan master Rimer Cardillo, who was a prize winner at the Seventeenth Ljubljana Biennial, in 1987 represents very well the contemporary Latin American artist involved in cultural displacements, who creates art “from” Latin America without necessarily living “in” Latin America. The artist was born in Montevideo and studied in his home city as well as in Berlin and Leipzig, Germany while currently lives between New Paltz and New York in the United States. He has been included in major international exhibitions such as Venice and Havana Biennials at the same time that he has participated in the printmaking circuit, displaying his works at Krakow, Norway, Taipei and Puerto Rico print biennials and triennials. Recently a retrospective of works on paper was exhibited at the Samuel Dorsky Museum of Art in New York.
SUNEK – The 26th Biennial of Graphic Arts Ljubljana
Rimer Cardillo´s installation
Cupí and Birds of Clay, Oil and Ashes
@ Tobacna’s Factory
Curator: Alicia Candiani
Invited art organizations
Bharat Bhavan International Print Biennial, Bhopal, India | Bibliotheque nationale de France, Paris, France | Birmingham Museums and Art Gallery, Birmingham, Great Britain | Brooklyn Museum, New York, USA | Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Madrid, Spain | Egyptian International Print Triennial, Giza, Egypt | Graphica Creativa International Print Triennial, Jyväskylä, Finland | International Centre of Graphic Arts, Ljubljana, Slovenia | International Print Triennial, Krakow, Poland | Istituto Nazionale per la Grafica, Rome, Italy | National Taiwan Museum of Fine Arts, Taiwan | Neue Galerie am Landesmuseum Joanneum, Graz, Austria | Novosibirsk Biennial of Contemporary Graphics, Novosibirsk, Russia | Proyecto’ace, Buenos Aires, Argentina | San Juan Poly/Graphic Triennial: Latin America and the Caribbean, Puerto Rico | Sezon Museum of Modern Art, Karuizawa, Japan | Sofia Graphic Art International Triennial, Bulgaria | Tallinn Print Triennial, Tallinn, Estonia | The Museum of Modern Art, New York, USA
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.
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