Isabel Peña

aberturas- Arteba Art Fair (2009)

This was a site-specific installation, a work comissioned for the Site-specific Award 2008 winners.

Special thanks to Cristian and Alejandra (portraits)

fake door and window dimensions

2cubrimiento (2007)

(dis-coverment) Isabel Peña 2007. Curator: Esteban Alvarez
Video-painting site-specific de 4min, in CCEBA Centro Cultural de España en Buenos Aires

DosCubrimiento is a discovery, but a discovery for the second time: ambiguous dialogue or discussion between the fine brushes and the “brochas gordas”, a work in collaboration to make a permanent reminder of a temporary mark. The artist firstly paints on a wall a painting born ephemeral, since after of days the painter of the CCEBA will again cover the wall in white. The video projection of the time of the whitening on the same wall, is shown in an inverted version that is, backwards

Finally we have two or more authors, and an as fleeting as permanent painting, a sort of double video painting projected on the wall that never ends of being painted nor being whitened.

Esteban Alvarez

Esteban Alvarez, Pablo ( CCEBA paintor), CCEBA staff

4 minutes loop. site-specific video-painting (life size)

carlos (2007)

Retrato y Videos

dimensiones variables videos de 3 minutos cada uno

rodolfo (2007)

Retrato y Videos

dimensiones variables videos de 4 minutos cada uno

Esquina2, (Cornered) Isabel Peña 2006 Site-specific installation in X Award Klemm a las artes visuales (2006)

(Corenered) installation, 2006. X Premio Klemm a las artes visuales
Esquinados inteded to reactivate dead spaces of the Klemm Foundation installing backlights with photos which represented those same spaces, and its inhabitants.
I took pictures of these places and I also took (not without subtlety and vertigo) photos to the guards, people living in these spaces in its own way, in constant contact with works and the public. The idea was transforming each unused space pointed out by its own characteristics, enhanced by that small light box representing it.
I was interested in also bringing together in the award group show these spaces that not typically used for the exhibition of works. I this case, I decided to situate myself in this gap between the invisibility of these places and a concrete attempt to incorporate them. A wish to arguably recognise me inside and outside.

Security staff at Fundacion Klemm, Panchi and Alberto x 2

Stroll around unoccupied spaces in Fundacion Klemm through 8 Photos in backlit light-boxes installation 40x30x15 cm each

jorge (2006)

Jorge Isabel Peña 2006, Ruth Benzacar Gallery

Jorge is the librarian who worked at the bottom of the room in the gallery where i did an exhibition. I wished to integrate this space to the rest of the room. Installing a large photo on tracing paper with a double portrait of Jorge in life-size on glass, the library functioned as a great light box. Representation ( the real situation frozen and multiplied in a semi transparent way) added layers to this unnoticed situation, to the constant presence of Jorge in the place.

Isabel Peña

estado del sitio II (2005)

fotopintura sobre papel vegetal

92 x 96 cm

estado del sitio (2005)

Desde 2004 comencé a incorporar imágenes fotográficas, como capas de la pintura. Si bien yo tomo las fotos, estas me interesan como parte del diálogo con la representación pictórica. Como un modo de intensificar la diversidad de registros perceptivos y afectivos involucrados en mis pinturas. Aunque muchas de estas tomas tienen un carácter performático (cuando trabajo con mi propio cuerpo), esta performance también queda envuelta en la acción de la pintura.


coronita (2006)

Backlight de fotopintura

90 x 56 cm

Me cansoN (2005-6)

intervencion sobre muro, foto, fotopintura, dibujo y video

tecnicas bidimensionales mixtas y medidas variables

nosenadaR (2005)

150 x 150cm

wakeful state (2009)

“Wakeful State” was a stroll around a shopping mall, pointing out the real security guards who work there. Making an exchange which evolved in portraits of them insitu, and printing them on vinyl to present them on mirrored surfaces, I intended to play with the tension of the visual noise of the place, using publicity strategies but also painting on these photos.

RICARDO (waiter)

variables (escala site-specific)

for-rest of fragility (2007)

In 2007 I travelled to London to make an exhibition in Macondo, an art space in Hoxton Square. I spend a month connecting to different people around the square in order to instal photos and photo-paintings onto their windows.
In this case, works were recicled and born from the process of relating to people who lent their windows and created for each specific place in order to be gathered together in a circuit. The idea of such stroll around would explore diversity and representational ensembles apart from revealing authobiografphical facts.

white cube, applied works, pongees, bluu, kasmataz, hoxton cars, geller house, macondo

site-specific images, solo exhibition at Macondo and stroll around Hoxton Square, London

height works-isabel peña-galeria ruth benzacar (2006)

I made this video-painting on an unused space at the art gallery where I was making a solo exhibition. The videos in loop represented work actions of diverse workers on city sceens. The painting represented an urban point of view gathering different situations.

Spacial thanks to the workers who with consent, collaborated performing their jobs

video-painting 160 x 200 cm- videos in loop

wall paintings (2005-2007)

1 x 3 mts

cartografectiva (2005)

mixta sobre papel vegetal


separadores de materias (2005)

pintura sobre plastico contenedor de separadores de materias, intervencion
Centro Cultural Recoleta 2005

21 x 40 cm cada una
Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad