#tania candiani

[mentaltimetraveller]

Tania Candiani, Cierre Libertad (Securing Libertad), 2008

mixed-media, found materials, United States/Mexico border fence. Installation view, Tijuana, Mexico. From the series “Reinterpretación del paisaje” (Reinterpretation of the Landscape), 2008.

[lapipaylafuente]

Sala10: Tania Candiani

The Sonorous Object [El objeto sonoro] El interés por la materialidad del sonido ha llevado a Tania Candiani, entre otras cosas, a transformar máquinas y aparatos anticuados en objetos sonoros. Sin embargo, su interés en la tecnología pasada no tiende a la nostalgia: se trata de una arqueología de los medios que, en el pensamiento de la artista, resiste a la noción de obsolescencia.

[henridelaposte]

Tania Candiani

Lipo

embroidery on fabric

320x120 cm

2005

[mumuumu]

Sobre el tiempo

Tania Candiani 2008 Installation of 3000 alarm clocks clicking at unison, and two single channel videos. Cairo Biennial, Egypt.

[artelsewhere-blog]

Nothing to Hide, the Feminine Landscape of 12 Latin American Artists, at Kinz + Tillou Fine Art in New York City

(Image: Carolina Caycedo, Offerings, screen printed devotional candles)

Silvina Arismendi (Uruguay), Monika Bravo (Colombia), Tania Candiani (Mexico), Carolina Caycedo (Colombia), Nicole Franchy (Peru), Voluspa Jarpa (Chile), Regina José Galindo (Guatemala), Mariana Juliano (Brazil), Jessica Sofia Mitrani (Colombia), Milagros de la Torre (Peru), Cecilia Vicuña (Chile) and Manuela Viera-Gallo (Chile) / Curated with Monika Bravo and Manuela Viera-Gallo

March 1 - April 18, 2015

Kinz + Tillou Fine Art 59 Cambridge Place Brooklyn, New York 11238

NOTHING TO HIDE: The Feminine Landscape of 12 Latin American Artists is an exhibition of emerging, mid-career and renowned artists, two of whom have been invited to represent national pavilions at the 56th Venice Biennale in 2015.

These women reflect and project their feminine perspectives on the social landscape based on a contemporary society that has deep roots in ancestral cultures that to this day still survive in rituals, beliefs and traditions.

Their works point to an orphanhood in a society dismantled of sense, a society that is contradictory and fraught with violence. They reveal the failure of colonialism and its illusion of eliminating diversity by forcing the assimilation of a corrupted, complex identity that is difficult to decipher or be represented. In building their own visual representations, these attuned artists embody cultures that want to so loudly and openly speak out. It is a social instinct shaking Latin America's communities in various ways--a cry of a society in turmoil that aims to overcome social exclusion and discrimination. They channel the whispers of immigrants and young girls with no hopes on the horizon, and the lamentation of indigenous people living between the asphalt and the vertigo.

(Image: Installation view, Monika Bravo, Nicole Franchy, Carolina Caycedo and  Manuela Viera-Gallo)

As such, the works of these artists assume a melancholy and poetic weight while remaining direct in their decry. Delving into secret female perceptions, and the primitive mystery of Mother Earth, they contain layers of meanings and readings. They evoke the waterfalls and deep rivers coming from the snowcapped mountains, conjuring the fatigue of the people to leave a mark in the high moors and endless deserts of loneliness and desolation of our society. In Latin American capitals where millions of people are living inorganically in densely concentrated structures lacking any urban planning, they summon a female energy within as a strategy of survival to the constant disappointment of its capitalist system.

(Image: Installation view, Milagros de la Torre, Jessica Mitrani, Regina Jose Galindo, Silvina Arismendi and Voluspa Jarpa)

(Image: Installation view, Monika Bravo, Nicole Franchy and Manuela Viera-Gallo)

These works challenge the visitor to decode this social X-ray and compliance of "that what is"--a crude reality confronted with the utopia of a discovered Latin American "continent", a "continent" that desperately wants its own identity. They express the pain and abandonment, and the long and arduous road towards healing and recognition of a future with more possibilities of integration. Balancing energies of both surrender and action (as there is power in surrendering and acceptance in action) is the first step towards change, and these women from fiery lands offer a vital visual voice that is fully part of the contemporary discourse.

We have nothing to hide, nothing to hide.

- Manuela Viera-Gallo & Monika Bravo

Cecilia Vicuña, Vaso de Leche/ Glass of Milk, Bogotá, Colombia, 1979 performance documentation 

Manuela Viera-Gallo, Broken Promise #1, #2, #3 (from the Domestic Violence series), 2015, ceramic plates, rope, dimension variable

Regina José Galindo, still from Big Bang, performance video documentation, 2014

Mónika Bravo, URUMU_Weaving_Time_Vertical, 2014, animation, media player, 50 in. vertical monitor, black wall, duration 5 min. variation 1 of 3

Nicole Franchy, Diptych Many Changes 1, 2013, Digital print on cotton paper,  59 x 44.5 in.

Silvina Arismendi, Untitled, 2012, Chinese ink on canvas, dimension variable

[actegratuit]

Tania Candiani

The conceptual axis of the project Five Variations of Phonic Circumstances and a Pause is rooted in poetic actions regarding machines, language, codification and the audible texture of narration. Each work, in its singularity, positions itself as an organ forming part of a larger complex system: a discourse surrounding the culture of listening—the audible, acoustic technologies, the gesticulation of narration, the audible texture of the voice. In speaking of “poetic actions in regard to machines (...)

[archivocallejero]

Refranes, Tania Candiani

DF México

[herrundhund-blog-blog]

Tania Candiani's awesome work - http://www.taniacandiani.com/

Photos by Héctor Freijanes.