Brochure - Rolf Art

Transcripción

Brochure - Rolf Art

M i l a g ro s d e l a To r re, B u l l e t p ro o f ( m i l i t a r y ) , a rc h i v a l p i g m e n t p r i n t o n c o t t o n p a p e r, m o u n t e d o n a l u m i n u m , 1 0 0 x 1 0 0 c m
SP-arte . SHOWCASE. Booth # C08
PA R Q U E I B I R A P U E R A
2 - 6 ABR 2014
BRODSKY / SACCO / DE LA TORRE
POS ADAS 1 5 8 3 P B “A” . C P1 1 1 2 . B U E N OS AI RE S . A R G E N T I N A . T+ 5 4 . 1 1 . 4 8 0 4 4 3 1 8 . M in fo@ rol f ar t. co m. ar . W w w w. ro lf ar t. com . a r
SP- a r te 2014. S ao Paulo. B razil
0 3 . 04.14 I 06. 04. 14
R o l f Ar t B o o th # C08
Showc as e s e c tio n
R o l f Ar t ’s exhi bition projec t for SP-ar te s h owc a s e s ec t i o n ex p l o res p h o to gra p h i c m e d i a
a nd i ts bou ndar ies, present in g t h ree es tabl is hed v is u al ar tis ts f ro m Latin Am er ic a: MI L A G R O S D E LA TORRE, GR ACI ELA SACCO and MAR C E LO B R ODS KY.
The c urator ia l appro ach is based o n the q u es t fo r an indis s o l u bl e u nio n bet ween c r i t i c a l
d e n s i t y and a est h et ic value wit h in co ntem po rar y ar t. Co ns ider ing defi ned indiv i d ua l
i d enti ti e s, the ar t ist ic sen sit ivit y an d the fo r m al s trategies that ar tis ts em pl oy, this ex h ib i t i on proje c t raises quest io n s o n t he co des o f repres entatio n. Thes e co des reg ard t h e
s o ci a l, poli ti c al an d eco n o mic co ntex t o f ar tis tic pro du c tio n as a dec is ive f ac to r fo r t h e
i nter pre tati on o f ar t.
Thes e thre e a r tists lo o k fo r ward to the q u es t o f a new beau t y, w hic h thro u g h thei r te n s i o ns and ambiguit ies, ap peal to t h e sens es and feel ing s o f the v iewer. They rel y o n s e n s i t i vi t y ( ai s thë s i s) as a mean o f t ran sfo r m ing o r q u es tio ning the ways in w hic h we perce i ve
a nd i nhabi t re alit y (an d t h e images) t hat s u r ro u nd u s. I f their ar t is po l itic al, it beco m e s
s o by the mater ials an d met h o ds ch o sen. I f we f ree o u r s el ves f ro m the M anic haean d i vi s i o n of pra c ti ce an d t h eo r y we can gras p the idea that pho to graphy c an be a m o d e l o f
t hought; and t h in k in g can b e p o lit ica l ac tio n. Al l in al l, their ar t is po l itic al bec au s e i t i s
p res e nte d as a decisio n -mak in g place; a m is e en s cène o f s u bj ec tive al ter natives w h i c h
a re able to de fy st an dardized o r p redi c tabl e as pec ts that co ns titu te dail y o bs tac l es.
The exhibition presents a dialo gue be t ween the ins tr u m ents o f attac k , dis pl ayed in G ra c i e l a S acco pho to in st allat io n s, o pp o s ing the ins tr u m ents o f defens e fo u nd in the wo r k by
M i lagros d e la Tor re. I n the middle o f this s pec tr u m o f v io lence, is M arcelo B ro d s k y ’s
M emor y, which puts ac tio n to th e co nt ra s t i n g co n ce p t s o f t h e o t h e r t wo p h o to gra phe r ’s
wor ks. The conte mpo ra r y s pe c t ato r fi nds him /her s el f f ac ing this s itu atio n, res titu tin g t h e
m e ani ng not only f ro m t h o se referen ces that the ho r izo n prov ides him /her, bu t al s o f ro m
b ei ng c ha lle ng ed to reflec t o n h is/h er ow n co nflic tive pl ace in the inev itabl e pres ent. Th e
c i t i ze n c a n be b o t h vic t im an d p redato r.
R o l f Ar t ’s g o al for SP-ar te 2014 is to en g a g e a n d exc i te t h e v i ewer i n co n cep t u a l wo r k s
t hat ope n up a dialo gue to cr it ique an d reco ns ider the real ities that we inhabit.
PRODUCTORA DE ARTE . POSADAS 1583 PB “A” CP1112 . RECOLETA . BUENOS AIRES . ARGENTINA . T+54.11.48044318 . M [email protected] . W www.rolfart.com.ar
M I L AGR OS DE LA TOR R E
M ilagros de la Tor re was bor ned in 1965, Lima, Peru.
M ilagros de la Tor re has been wor k ing with photography since 1991. She studied Communication S ciences at the Universit y
of Lima a nd rece ive d a B.A . ( Ho n s) in Ph o to gra p h ic Ar ts f ro m th e Lo n d o n Co l l e g e o f Pr i nti n g. H e r fi r s t s o l o ex hi bi ti on,
curated by R ober t D elp ire, wa s p resented at t h e Pa la i s d e To k yo, Ce ntre N ati o n a l d e l a Ph o to gra ph i e, Pa r i s. Af te r a n ar ti st
residence gra nt from t h e Ci té d e s Ar t s, Pa r i s ( 1 9 9 5 ) , s h e re ce ive d th e R o cke fe l l e r Fo un d atio n Ar tist Gra nt a n d wa s awa rded
th e R ome o M a r tine z Ph o to gra p hy Pr ize a n d t h e Yo u ng I be ro a me r i c a n Cre ato r s Pr i ze fo r h e r s e r i e s Th e Lo s t Ste ps. She was
par t o f the 'Contempora r y Ar t ist ic Pra c t ices' resid en ce at Th e G e tt y R e s e a rc h I n s ti tu te, Lo s An g e l e s. I n 2 0 0 3 , h e r a r ti st book
Trouble de la Vue (Pa r i s : To l u c a Ed i t i o n s ) wa s p u b l i s h e d w i t h tex t by J o s e M a n u e l Pr i e to a n d d e s i gn by Pi e r re C h a r p i n.
D e l a To r re re ce ive d the Gu ggenheim Fellowship in Cre at i ve Ar t s, Ph o to gra p hy i n 2 0 1 1 a n d t h e D o ra M a a r Fe l l ows hip from
The Brown Foundatio n i n 2 0 1 4 .
Her wo r k ha s been exh ib ited ex ten sively a n d is p a r t of pe r ma n e nt mu s e u m co l l e c ti o n s i n c l u d i n g Th e Ar t I n s ti tu te o f C hi c a go, I l lino is; M use um o f Fin e Ar t s, Ho u sto n , Texa s; El M u s e o d e l B a r r i o, N e w Yo r k ; H a r va rd Ar t M u s e u m, Ca mbr i d g e, M assach us et t s; Ya le Universit y, New Yo r k ; D ia n e a n d Bru ce H a l l e Co l l e c ti o n , Ph o e n i x ; Wo rce s te r Ar t M u s e u m, M a s s a c husetts;
Fonds N at i o n a l d ’Ar t Contemp orain, Par is, France; M u s e o Na c io n a l Ce ntro d e Ar te R e in a S o fi a , M a d r id, Spa in ; E s s ex Col l ec tion of Ar t fro m Latin Am er ica , Co lch ester, U.K .; M u s e o d e Ar te Ca r r i l l o G i l, M ex i co ; M u s e o d e Ar te d e L i ma , Pe r u ; M useo
Naciona l de B ella s Ar tes, Bu en o s Aires, Argent in a a mo n g o th e r s. Two i mpo r ta nt mo n o gra ph s h ave be e n re ce ntl y pu b li shed,
‘M i l agro s de la To r re. Ph o to gra p h s 1991- 2011’ by To l u c a Ed i ti o n s ( Pa r i s ) , R M Ed i to r i a l ( M éx i co /B a rce l o n a ) a n d Ed i c i ones
Lar iviére (Arg ent ina ) wit h a tex t by M a r t a Gili, Direc to r o f th e J e u d e Pa u me M u s e u m i n Pa r i s a n d ‘O bs e r ve d ’, co -pu b li shed
by the Amer icas S oci e t y, N e w Yo r k a n d t h e M u s e o d e Ar te d e Lima , MALI w ith tex ts by G a br ie l a R a n g e l, Pro f. Ed wa rd J.
Sul l iva n a nd M ig uel Lo p ez a lo n g wit h a n inter view be t we e n th e a r ti s t a n d An n e Wi l k e s Tu c k e r, Th e G u s a n d Lynd ell
Wor tham Curator of Photography at the M useum of Fine Ar ts, Houston.
B o r n in L im a , Pe r u, de la Tor re now lives and wor ks in N e w Yo r k .
Th e wor k of MILAGR OS DE LA TORRE star ts for m a close and detailed obser vation of the stilln e ss of
objec ts and archives. To acieve her pur pose, the ar tist makes use of photography as a tool that
fixes and detains, even as it fragments and construc ts an alter native account of realit y.
D e la Tor re, regis te rs the appare nt sile nce of things in order to o ffer a poetic account in wh ich
displacements and metaphors coexist with evidence and proofs. I n this sense, the ar tist conceives
her photographic prac tice as a strategy to bypass the perceptive processes that organize before hand the wor ld that sor round us, mak ing it possible to for mulate an alter native account.
Th e ser ies Bulletpro of (2008) is compr ised of representations of apparently innocent, unsuspec ting
ever yday pieces of clothing. Suspended in vacant white spaces, depic ted in high detail, these
well- craf ted gar ments conceal their real pu r pos e : to prote c t the we a re r from atta ck by firear ms.
Emblematic of our times, charac ter ized by increasing militar ization and violence, new habits of
con sumptio n a re being rapidly assimilated. Not only used by politicians or the r ich and famous,
ar mored clothing is being widely adopted by ordinar y citizens in cr ime -afflic ted nations wor ldwide.
Bulletpro of includes eleven images of different pieces of clothing designed for different genders,
st yles and age groups. Each image is life -sized and pr inted on cotton paper with a tex ture s imilar
to that o f the fa br ics used for their manufac ture.
A rmored (2000) is a se r ie s of five p hotographs which presents, in the st yle of a “classic three - quarte r por trait,” the evolution of different qualities and physical charac ter istics of ar mored vehicles, a
commo n mea ns of transpor t in M exico Cit y. The small, intimate photographic pr int br ings the
viewer physically close, generating a more comfor table relationship than the one nor mally for med
whe n encounter ing one of these vehicles on the street, where the first reac tion, provoked by the
high- caliber wea pons of the people dr iving them, is simply to get out of the way. These enc yclope dic, fi le -like images provoke a change in the perception of danger.
MILAGROS DE LA TORRE
De la serie ANTIBALAS_2008
Sin título
Impresión digital de archivo sobre papel de algodón
adherida a aluminio
100 x 100 cm.
Edición 7 + AP
From the series BULLETPROOF_2008
Untitled
Archival pigment print on cotton paper
mounted on aluminum
100 x 100 cm
Edition 7 + AP
R OLF A R T . P R O DU C TO R A DE AR T E . P O S A DA S 1 5 8 3 P B “A” . C P 1 1 1 2 . RECOLE TA . BUENOS AIRES . AR GENTINA . T+54.11.48044318 . M info@rol f a r t. co m . a r . W w w w. ro l f a r t. co m . a r
Sin título
adherida a aluminio
100 x 100 cm.
Edición 7 + AP
Untitled
mounted on aluminum
100 x 100 cm
Edition 7 + AP
Sin título
adherida a aluminio
100 x 100 cm.
Edición 7 + AP
Untitled
mounted on aluminum
100 x 100 cm
Edition 7 + AP
De la serie BLINDADOS_2000
Sin título
Impresión de plata sobre gelatina
10 x 14 cm.
Edición 7 + AP
From the series ARMORED_2000
Untitled
Gelatin silver print
10 x 14 cm
Edition 7 + AP
Sin título
10 x 14 cm.
Edición 7 + AP
Untitled
10 x 14 cm
Edition 7 + AP
Sin título
10 x 14 cm.
Edición 7 + AP
Untitled
10 x 14 cm
Edition 7 + AP
Sin título
10 x 14 cm.
Edición 7 + AP
Untitled
10 x 14 cm
Edition 7 + AP
Sin título
10 x 14 cm.
Edición 7 + AP
Untitled
10 x 14 cm
Edition 7 + AP
GR ACIE LA S ACCO
GR ACIEL A SACCO was b o r n ed in 1956, S a nt a Fe, Arge nti n a .
As a visua l a r t ist with a p ro m in ent p o sit io n in t h e co nte mpo ra r y a r t s ce n e, G ra c i e l a h a s re pre s e nte d Arg e nti n a i n several
inter nat io na l bie nnia ls in c lu d in g S h a n gh a i Bien n ia l ( 2 0 0 4 ) , Ve n i ce ( 2 0 0 1 ) , L a H a ba n a ( 1 9 9 7 a n d 2 0 0 0 ) , M e rco s u r ( 1 997), S ao
Pablo (1996), 1st Bie n n ia l o f Ph o to gra p hy in Vigo ( 2 0 0 0 ) , Th e U r b a n Ar t Fe s t i va l To u l o u s e ( 2 0 0 2 ) , a m o n g o t h e r s. She has
been awa rded wit h va r io u s d ist in c t io n s a n d h a s rece i ve d ma ny i nte r n ati o n a l a cco l a d e s i n c l u d i n g Ar ti s t o f th e ye a r, by the
Arg e nt ine a n Asso ciat io n o f Ar t Cr it ic s ( 2001) , Ko n ex awa rd ( 2 0 0 2 - 2 0 1 2 ) a mo n g o th e r s. S h e h a s pu bl i s h e d n u me ro u s book s
such a s M2 Volúmen I ( 2009) , S h a d ows fro m t h e S o u th a n d th e N o r th ( 2 0 0 4 ) , I má g e n e s e n Tu r bu l e n c i a : M i grac i ones,
cuer pos, memor ia (2000) , Esc r it u ra s S o la res ( 1994) . Sh e h a s be e n fe atu re d i n l e a d i n g pu bl i c ati o n s s u c h a s Ame r i c a’s S oc i et y
M agazine, B omb, Ar t Nexu s, Ar t News, Ar t in Am er icas a n d th e N e w Yo r k Ti me s. H e r wo r k s h a s be e n s h ow n i n s o l o a nd group
ex h i bit io n s in Arge nt in a , En gla n d, G er m a ny, Fra n ce, Sw i tze r l a n d, I s ra e l, U n i te d State s, M ex i co, B ra z i l, Cu ba , Pe r u. Today, her
wo r k is p ar t of natio n a l a n d i nte r n at i o n a l co l l e c t i o n s such a s M use um o f M o d e r n Ar ts MAMBA ( Bue n o s Aire s, Arg ent i na ),
M useum of Contemp o ra r y Ar t s fro m R o sa r io – MAC R O ( R o s a r i o, B u e n o s Ai re s ) , B ro n x M u s e u m ( N e w Yo r k , E E U U ) , M useum of
Fin e Ar ts - MFAH (Ho u sto n , EEU U ) , M u seu m o f Ar t s Fo r t L a u d e rd a l e ( L a u d e rd a l e, E E U U ) Th e M i c ro s o f t Ar t Co l l e c t i on ( Wash in gto n, E EUU), Ca p ito lio Po lic u lt u ra l ( Po r to Alegre, B ra z i l ) , E s s ex U n i ve r s i t y (Co l c h e s te r, E n g l a n d ) , a mo n g o th e r s.
Sh e lives a nd wor k s in R o sa r io, Argent in a .
Th rough photographic images embodied in di fferent ar tistic media, GR ACIELA SACCO demands a
contemplation t hat delves into a cr itical reflec tion. Her pieces func tion as latent devices, ac tivated
through the reading of images that emerge from them, which build in ever y ar t wor k , a space for
thought. I n her ar t wor ks, photography is used as a resource on the ar tist´s constant inter pretation
of her environment. Her wor k has always enquired on the interstice where personal space a nd the
fate of crowds converge, together with the ontological exper ience of each human being and
collec tive events, both crossed by sociopolitical frustrations.
Graciela S acco selec ts photographic images and operates with them by ex tending, reframing, pr in ting and fragmenting them. Each of these ac tions help her to transfor m the or iginal piece, at the
exac t moment where the or iginal nar rative is broken into a new one. The fragmentation of the
sur face (a group of people dur ing a r iot, on transit, resisting) breaks the similar it y, adds complexi t y and imposes the rear rangement of what i s vi s i ble to the e ye. The vi e we r i s e ncou ra g e d to find
meaning by reversing the readabilit y and proposing another one which is the result of the addition of the par ts. These par ts are similar but not equal. I n each wor k images are pr inted on a sur fa ce, o r emerge th rough the resources of light and shadows. M emor ies housed on the images; memo r ies embodied in obje c ts a nd mate r ials, a re found in her ar t wor ks to detonate re flec tions about the
present.
Tec hnique, aesthe tic s a nd politic s conve rge in the par ticipator y poetics of S acco. I n her wor ks, t h e
histor ical images reveal the ac tive latenc y of time, the dr iving force where the past can inter rogate
the present. Her wor k invites the viewer to par ticipate within the represented setting. Hence, it is
challenging for the obser ver to create a distant relation to the content of the images. We are
forced to face dar k par ts of social realit y and contemporar y modes of exclusion. The power of
Graciela S acco's compelling wor k lies in the unique abilit y to suggest the weight of social combustibilit y.
GRACIELA SACCO
De la serie CUERPO A CUERPO_1996-2014
Barrera
Instalación
Incrustación fotográfica sobre 22 fragmentos de madera
200 x 270 cm.
Edición única
From the series BODY TO BODY_1996-2014
Barrier
Installation
Photographic inlay on 22 pieces of wood
200 x 270 cm
Unique edition
GRACIELA SACCO
De la serie Sombras del Sur y del Norte_2001 - 2013
VICTORIA
Instalación lumínica sobre pared
Fotoserigrafía sobre 10 fragmentos de acrílico y luz
Dimensiones variables
From the series SHADOWS OF THE SOUTH AND NORTH_2001 - 2013
VICTORIA
Light installation on wall
Photoserigraphy on 10 pieces of plexiglass and light
Variable dimensions
GRACIELA SACCO
De la serie TENSIÓN ADMISIBLE_2001/2012
Retrato
Instalación lumínica
Impresión sobre espejo, cuchillo y luz
Dimensiones variables
From the series ADMISSIBLE TENSION_2001/2012
Portrait
Light installation
Print on mirror, knife and light
Variable dimensions
MAR C E LO BR ODSKY
MAR CELO BR ODSKY was bor ned in 1954, Buenos Aires, Argentina.
Vis ua l a r t ist a nd photographer. Brodsk y has represe nte d Arg e ntin a in se ve ra l inte r n atio n a l bie n n ia l s suc h a s S a n Pa b lo
( 2 010), Va le ncia (200 7) , R o t terd a m ( 2000) , Ph o to S p a i n ( 1 9 9 9 ) , a mo n g o th e r s. H e h a s be e n awa rd e d w i th d i s ti n c ti ons and
rece ived ma ny accola d e s, s u c h a s Th e H u m a n R i g ht s Awa rd by Bn a i Br ith O rg a n iz atio n ( 2 0 0 3 ) , S a l ó n Na cio n a l d e l as Ar tes
Award B u e n o s Ai re s, Arg e nt in a ( 2000) . H e h a s p u b l is he d n u me ro u s b o o k s s u c h a s Tre e Ti me ( 2 0 1 3 ) ; Vi s u a l Co r re s p o ndences
( 2 009); Cor responden ces Pa b lo O r t iz M o n a ster io – M a rce l o B ro d s k y ( 2 0 0 8 ) ; Co r re s po n d e n ce s M a r ti n Pa r r – M a rce l o B rod sk y
( 2 008); G o o d M e mor y ( 2006) ; Vislu m b res ( 2005) ; Th e s o u l o f th e B u i l d i n g s w i th H o r s t H o h e i s e l, An d re a s K n i tz a n d Fulv i a
M olina (2004); Buena M emor ia (2003); M emor y Wor ks (2003); Nexo (2001); Buena M emor ia (2000); Palabras (1986); Parábola
( 1 982), a mo ng ot he rs. He h a s b een feat u red in im p or ta nt l e a d i n g n ati o n a l a n d i nte r n ati o n a l s pu bl i c ati o n s. H i s wor k has
been shown in numero u s so lo a n d gro u p exh ib it io n s i n Arg e nti n a , S pa i n , Fra n ce, Au s tr i a , G e r ma ny, I s ra e l, Sw i tzer land,
Un ited States, Bra zil, Co lo m b ia , C h ile, Pa ra gu ay, a m on g o th e r s. N owa d ays, h i s wo r k i s pa r t o f i mpo r ta nt n ati o n a l a n d i ntern atio na l co llec t io ns s u ch a s Nat io n a l M u seu m o f Fin e Ar ts - M N B A ( B u e n o s Ai re s, Arg e nti n a ) , M o d e r n Ar t M u s e u m o f Buenos
Ai res - MAMBA (Bue no s Aires, Argent in a ) , Bib lio t h è q u e N ati o n a l e ( Pa r i s, Fra n ce ) , Th e Ce ntre fo r Cre ati ve Ph o to graphy,
Un ive rsit y o f Ar izo na Fo u n d at io n a n d A S U Ar t M u se u m (Ar i zo n a , U n i te d State s ) , Spre n g e l M u s e u m H a n n ove r (G e r many),
M useo de Ar te de las Amér icas, OEA, ( Washington DC, United States); Contemporar y ar t collec tion from S alamanca’s Univer sit y ( S pa in), Pina coteca fro m S a n Pa b lo ( Bra zil) , U n ive r s i t y o f E s s ex Co l l e c ti o n o f L ati n Ame r i c a n Ar t ( U n i te d K i n g d o m ), TATE
Collec tion (London, United K ingdom), among others.
He l ive s a nd wor k s in Bu en o s Aires, Argent in a .
MAR CELO BR ODSKY ’s wor ks o ffer a subjec tive nar rative in which photography ac ts as a memor ial.
While many ar tists of te n a p p rop r iate a nd redefine public images with a personal touch, Brodsk y
takes the opposite path. He uses a pr ivate, personal video and uses snapshots from it to register
photographs as public testimony.
Brodsk y ’s G ood M emor y projec t is centered on Argentina’s Dir t y War, dur ing which the state of
Argentina s ys tematically tor tured and executed thousands of its citizens, who became k nown as
Los D esaparecidos ( The Disappeared). Led by G eneral Jorge R afael Videla, a militar y dic tatorship
took power in 1 976 and maintained its op pressive rule until 1983.
R etur ning from exile in Spain to his homeland of Argentina at the age of for t y, Brodsk y used h is
family photographs as a star ting point for a group of wor ks that seek to communicate the trauma
of the exper iences he had. The wor k Playing to Die depic ts a scene in which the ar tist and his
brother, both in childhood, are shown playing a fighting game with bows and ar rows. They fall
clumsily to the ground, and die almost at the same time. B y pressing the past against the present,
this sequence of wor ks appears to anticipate the fate of the t wo brothers since Brodsk y ’s
soon-to -be “disappeared ” younger brother, Fer nando, was taken from his home in 1979 at the age
of t went y-t wo.
B y transposing familia r mate r ials and pe rsonal testimony into the public sphere, Brodsk y ai ms to
mak e viewers identify with his personal exper ience. H is wor k explores the capacit y of photography
to p rovide a meditative space bet ween collec tive histor y and pr ivate memor y. The images wor k on,
and reac t to themes such as identit y, disappearance, death, gr ief and testimony.
“...We are at Yeip orá, at Billy ’s weekend house. M y brother is on the lef t and I am on the right. We
pretend to k ill each other with b ows and arrows. The arrows hit their marks precisely. We fall clumsily
to th e g ro und, a nd die almost at the same tim e, th ough I die first. We could not guess that in just ten
years one of us wou l d real l y di e.
Twent y t wo is no age to di e.
W hen, at t welve, we pretend to die, we thought we were immor tal...”
Marcelo Bro dsk y
MARCELO BRODSKY
De la serie BUENA MEMORIA_1996
Jugando a morir
Copia digital color, tomada de video stills
51,5 x 71 cm.
Edición 5 + AP
From the series GOOD MEMORY_1996
Playing to die
Digital color print, taken from video stills
51,5 x 71 cm
Edition 5 + AP
R O LF AR T G ALL ERY P R OF I LE
R o l f Ar t, loc ated in Buenos Aires since 2 0 0 9 a n d fo u n d ed by Fl o ren c i a G i o rd a n a B ra u n ,
fo cus e s on contemp o rar y Argent in ean visu al ar ts. The galler y featu res wor ks expl o r i n g
p h o tographi c media an d it s bo un dar ies. The s el ec tio n o f ar tis ts co ns ider s pieces w i t h a n
i n di s s oluble u nio n bet ween co n cept u al, c r itic al dens it y and aes thetic val u e.
O u r propos a l ap pe a l s to e n g a g e t h e viewer to q u estio n the co des o f representation an d
i nter pre tati on o f t h e ar t wo r k s an d t he expl o ratio n o f m ater ial s and the is s u es reg a rd i n g
t he contex t of ar t ist ic p ro duc t io n .
We com m i t to a selec t gro up o f establ is hed ar tis ts pro m o ting them o n a natio na l a n d
i nter nati onal basis. We supp o r t t h ei r ar tis tic pro du c tio n to g ether w ith edito r ia l a n d
a u di ov i s u al projec t s.
The goa l of the galler y is to co ntr ibute to the pro du c tio n and apprec iatio n o f co nte m p o ra r y ar t a n d to pus h t h e bo un da r ie s of v i s u al ar ts.
A B OUT R OLF A R T
R o l f ar t i s a co mpany of ar t. I ts struc tu re i n h erent l y co m b i n es a n AR T G AL L E RY, a P R O D UC E R a nd an a rea o f o ut reach an d EX T E N S ION s er v ices to ar tis ts, co l l ec to r s and in s t i t ut i o ns.
R o l f Ar t G A L L ERY is focused on the ma n a g em ent a n d p ro m o t i o n o f a r t wo r k s p ro d u ce d by
a s e le c t grou p o f Argent in e co ntemporar y ar tis ts o n a natio nal and inter natio nal ba s i s.
PR OD UC E R i s respo n sible fo r t h e guidance, direc tio n and financ ial s u ppo r t o f co nte m p o ra r y ar t i s t s’ c are e rs, to ge t h e r wit h t he p ro d u c ti o n and p ro m o ti o n o f thei r wo r k s i n progre s s and e d i tio n s in different fo r mat s.
E X TE N SIO N d e als wit h R o lf Ar t ’s relatio ns hips towards ar tis ts and entities o u ts ide R o l f
Ar t ’s s tr uc ture. This is the area of AR T S E R V I C E S i nten d ed fo r co l l ec to r s an d i n s t i t u t i o n s
t hrou gh s trate gic allian ces, research a nd co ns u l ting tas k s.
Thes e thre e a reas are in per man ent interac tio n, feeding eac h o ther to enhance R o l f Ar t ’s
overa ll ope rati o n an d to mar k a difference w ith o ther s tr u c tu res w ithin the ar t wo r l d.
A R TISTS E XH IBI TED I N SP AR TE’ 14
Grac i e la S a cco / M ilagro s de la To r re / M arcel o B ro ds k y
A R TISTS R E PR ESENTED
M i lagros d e la To r re / Ananké Asse ff / J acq u es B ed el / L au taro B ianc hi / M arcel o B ro d sk y /
Fac undo D e Zuv ir ía / G ra cie la S a cco / R E S / G abr iel Val ans i / Viv ian G al ban / S ant i a g o
Por te r / L i v i o Gio rda n o / Tat ia n a Pa rcero
ROLF ART . POSADAS 1583 PB “A” . CP1112 . RECOLETA . BUENOS AIRES . ARGENTINA . T+54.11.48044318 . M [email protected] . W www.rolfart.com.ar

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