Julieta Anaut

Fear of the abyss (2018)

80 x 80 cm.

Evocation and matter - Video (2017)

Film still

6:50 minutes

Gazing into space - Video (2014)

6:40 minutos

Native Incarnation (2013-2015)

Halfway between fiction and performance, poetry emerges from an experimental way to tell of different realities that intertwine: A birth at the Natural Science Museum and an open landscape that was altered. A woman surrounded by embalmed animals, extinct species and classified life, goes through a symbolic situation of a sought-after past or a devastated future where nature only exists in a conservation space. In an attempt to go back to the origin, she decides to go back to the bond with the rugged landscape that claims for her.

100 x 70 cm.

Latent Fauna (2012 - 2013)

This way, the goddess's fertile force became a serpent, a dog, a fish, a butterfly, a bee and other so many epiphanies. The birds appear once and again in Julieta's photos, perhaps as a metaphor of the soul that takes flight, although there are more precise symbols, as the owl, an attribute belonging to the wise Palas Atenea. Iguanas, dogs, crows and some other animals move around in Latent Fauna, in Julieta's photos appear peers of the woman as the same and not as beasts created by God to be dominated by mankind, as established by the Genesis. Julieta's works have made it possible that landscape, woman and fauna recover that mystic union that integrated us into the universe, the alchemists' "unus mundus". Julio Sánchez (fragment)

80 x 80 cm.

Endless desert (2012)

Sinopsis: Videoperformance que surge como una adaptación al mito de la Difunta Correa, centrado en la imagen de la mujer que atraviesa un desierto conmovida por la pasión y el sufrimiento que, sin saberlo, luego originará más vida. El aire, la tierra y el calor relatan la ausencia del agua, como exaltación del nexo eterno de los elementos que mantienen la armonía.

5 minutos

Simbolism Allegory (2011-2012)

"According to these symbolism allegories proposed by Anaut, the woman recognizes herself again as a peer of animals, plants and seas. Once more, united with nature, the woman runs through pagan myth and religious beliefs, not anymore as spoken tales but as a lived reality in which she is the protagonist." Ana Clara Giannini (fragment)

80 x 80 cm.

Arrival of wild women (2011)


100 x 75 cm.

Sea Exile (2009)


70 x 100 cm.

Offerings (2008)

80 x 80 cm.

Ophelia in the crystalline stream - Video (2008)

4:25 minutos

Installations (2007-2018)

Medidas variables
Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad