Sonia Abian Rose
- César Cuevas
- Federico Merea
- Mónica Millán
- Verónica Navajas
- Ricardo Oliva
- Sergio Bazan
- Marta Bordenave
- Ignacio de Luca
- Yiyu Finke
- Blanca Iturralde
- Teresa Warenycia
I studied Visual arts and I have been a fellow at Antorchas Foundation and Trama. Currently I am attending the Macba Program of independent studies. I work at Barcelona and Posadas, Misiones. Some group exhibitions in which I participated recently were: Documenta 12, Kassel; Erotic art (Arte erotico) at Oficina Proyectista gallery; Project for open and close sculpture, Barcelona; Normality (La Normalidad), Palais de Glace.
Sights/ 01 Raval boulevard (Barcelona, 2006)
Two muslim women with Michelangelos Adam and David, among others, in the public space of the Raval boulevard, in Barcelona.
Aparatoángel is an art projekt based on four colonial paintings, Los Ángeles Arcabuceros, made by the "master of Calamarca" in Bolivia, in 1680. They represent angels armed with the same guns used by the spanish soldiers in the european wars during de 16th and 17th century. This pictures crate a new angel typus that was emulate in other series. We can find some of them in churches of Casabindo and Uquía in the province of Jujuy, in the north-east of Argentina. The names of the four angels of Calamarca are Gabriel Dei, Uriel Dei, Laeiel Dei and Letiel Dei.
To read the case/ Austria (2008)
Collage. Newspaper (“Fritzl could be given life sentence for leaving a baby die”, La Vanguardia 30-04-08 ), and illustration paper (Publicity, “Ashley, first time delicatessen” Hustler Nº179 Based on a design by Paul Balin, París 1863-98.
To read the case/ Austria (2008)
Collage. Newspaper paper (Der Fall Amstetten: "Das Grauen ohne Ende/The infinite horror" Frankfurter Allgemeine 01-05-08) and illustration paper ("Natalia Cruz, a perfect piece or art". Cherie, Nº 189). Based on a pre-Art Deco Design by Arthur Berger, Vienna, 1911-13.
Play, Boy. (2007)
The composition of "Play, boy" is based on "Still life and street", by M. C. Escher, 1937.
Sight 02/ Ferrán street (2006)
A sabine, from Ruben's painting "The rape of the sabine", acting as the victim nr.56 of gender violence in Spain.
Vision of art
This work is part of an on-going project: “To read the case (provisory title)”, [“Para leer el caso (título provisorio)”], which starts with the selection of gender violence cases mentioned in newspapers. My work consists in re-writing these articles, adding in this way an extra edition process. The general idea is that gender violence is not an effect or a consequence, but a social industry elaborated product through a whole process. It’s a product that circulates as a value, in different contexts and with different names. This controversial chapter – and the diverse supporting materials that compose it – is part of this process of distribution and communication. In the consuming moment, the necessary prime material take shape – people- for this product to be kept on being elaborated.
I place my work in a post-final step of this process, in which I aim to break down the visibility produced, and expose what this visibility is made of. Basic materials are both tracing and carbon paper, a reason, a newspaper article on a case, and two or more texts with similar, but apparently opposite topic, a needle, glue.
Arming and disarming process: Choose an article with the reason as a helper, which would be previously transferred on it, re-write it using the needle. The outcome will be two texts: one positive and one negative. There is no left over. In the past I’ve used other procedures such as copy, fictionalize, appropriation, from pieces of diverse artists. I used individual productions of: Raphael da Urbino, Miguel Ángel, Leonardo Da Vinci, Rubens, Mignard, Poussin, Brueghel, Fra Angélico, Boticelli, Van Eyck, Martin Schaffner, Escher, Wladyslaw Sivek, Jorge de la Vega, Ernesto de la Cárcova; and collective productions: such as the case of Amstetten (Austrian production), the Tejerina case and the supermarket lootings in 2001 (Argentinean production).
For example, national press has drop the Argentinean president her surname, she is called just Cristina now. This seems to be trying to highlight that the place of State Chief is being occupied by a woman, something we all know, but must suspiciously be remarked and differenced from other presidents. Why? No media has ever informed us that Raul traveled to be interviewed by the French president, or that Carlos approved a new law. Never the less, we are told that Cristina travels to be interviewed by Sarkozy, and that Cristina repeals a new decree. In this way the whole society, the role of Father, sets how the president should be (re)named. What other difference does this surname elimination points out?