CASA was part of A PLACE IN TIME, an exhibition in Nirox Sculpture Park, in the Cradle of Humankind, curated by Helen Pheby, curator of the Yorkshire Sculpture Park, UK in 2016. The piece is now part of the Park's permanent exhibition.
Casa is a meditation on home.
The piece confronts the viewer with the paradox of an inaccessible refuge: a warm and permanenlty lit wooden house that tempts the viewer to go inside, but there are neither windows or doors.
The piece is meant to be built in different places around the world, each reflecting on different idealizations of home.
It has been built in the Cradle of Humankind, South Africa (Nirox Sculpture Park) and Buenos Aires (Argentina). Next construction will be in Detroit (United States).
Aprox. Size: 500 cm x 400 cm x 400 cm high.
Materials: Local recycled wood, lamps.
BIRD was presented in A PLACE IN TIME, an exhibition in Nirox Sculpture Park, in the Cradle of Humankind, curated by Helen Pheby, senior curator of the Yorkshire Sculpture Park, UK in 2016.
A still, faraway dot. As it gets closer, the eye can see the bird, its yellow and green feathers, its shine. The eye is able to imagine the softness deriving from its touch.
The bird lies on its back, suspended, its legs recoiled, still. No sound can be heard.
“Bird” explores man’s ability for empathy.
The distance between man, his surroundings, and fellow men.
Without a glass to determine a limit between the bird and its onlookers, the artistic intention is to reflect upon the possibility to amend this apparent separation.
Standing opposite the bird, the human hand wonders weather to approach or touch it. The eye becomes restless, comes closer to find the inanimate creature and suddenly wonders whether there is still any trace of warmth. The eye perceives all the beauty enclosed in that fragility.
A bird; On a small shelf, just for one day; afterwards it shall return to nature, where it would originally have been found lifeless.
The possibility of empathy has a limited window of opportunity.
This piece reflects upon compassion and our ability to put ourselves in the place of any being with whom we share the essence of life.
Victoria Gessaghi, Anthropologist
Archival ink on Cotton Paper.
Size: 50 x 40cm
historia, memoria y silencios was Guillén Vaschetti's first book, published by Schilt Publishing, Netherland and by Postcard Edizioni, Italy in 2011. The book was selected among the best books of the year by PhotoEspaña and PDN.
As photographs they have been widely exhibited. Archival ink on cotton paper. Sizes are 145 x 105 cm and 15 x 10cm for historia, memoria y silencios and 40x40 cm for Unopened.
"It is all in the past" my mother said when she let me know she had thrown away all family slides. I was able to recover only one small box containing slides: some were loose - which I photographed leaving most details out of focus- others were wrapped in small packages, which I decided to keep un-opened.
Between silences, secrets and oblivions there are many stories and with them we can built and rebuilt our own, and with it, our identities.
Un-opened negative cans, slides wrapped in small packages, tiny pieces of paper. Part of my family record my mother decided to throw away.
Between silences, secrets and oblivions there are many stories and with them I built and rebuilt my own.
historia, memoria y silencios was published by Schilt (Neatherlands) 2011 and Postcart edizioni (Italy) in 2012.
The book was distinguished by PhotoEspaña 2012 and PDN, United States, as one of the Best Books of the Year.
Qu'import la victime si le test est beaux (Laurent Tailhade, 1893)
The relationship between victim, violence and beauty has existed in the history of culture since antiquity and its presence within aesthetics changed over the centuries. Nowadays it is a displeasing and yet paradoxically attractive comfort zone.
In Qu' importe la victime si le geste est beau, the combination of photographic images of details of old master's paintings together with alternative photo based work, provide a mirror to explore this complex relationship.
Aprox size : 110 x 230 cm (43'' x 90'').
The paradox of dancing tango without physical contac. An exploration on men and women's relationship.
Painted Rituals was Lorena's first widely exhibited series, photographed in Australia in 2004.
The text is by Facundo Cabral.