Paula Senderowicz

Postcards in blue-Ostinato (2006)

The postcards have space to write on one side and images on the other side, these images are often seen in landscapes that move from place to place, away from their original territory they settle in another space.
The intallation simulates an accident, recreates a drop suspended in time, a frozen moment. The cards are falling from one of the bridge that were commonly used to compute the correspondence

The cards have been used for internal correspondence of the working group with other local and foreign artists, here we exchanged views about the working conditions of the artist.

500 x 250 x 150 cm aprox

Liquid Landscape on table (2006)

In this table I have ordered items such as: those lost and found, a debris
found along our de la Plata river which carries itself a
history (the color is that of a tile from the house to which
belonged), the legacy, glassware used by my grandmother
to cook and my grandfather for his medicine; those produced deliberately,
gypsum blocks which refer to the ice place in the refrigerator;
placed above the paper container of resonances, echoes
the colors obtained by combining water with these pigments, it
rests on the table which has some stains from the work.
This ordering of objects has produced a new landscape, which
concerns and revisit others.

Show Revisited, along with Trama and Bonadeo, El Borde Gallery.


Lovers in the distance. Intervention, direct take photograph (2006)

intervención, sábanas en el bosque, fotografía toma directa

Fragil landscape (2005)

It is a miniature landscape of ice, into a well of cold exhibitor in a sort of showcase. The top side of the freezer is open, and allows viewers to perceive the cold vapor emanating from the ice while traversing it. A recreation of a fragment of a territory which refers to the imaginary scale of an unspoiled and impassable landscape.
During the showing it was undergoing transformation in response to changes in temperature and the presence or absence of people in the room. It is a work that is exhibited not only temporarily but it implies its temporary condition. Museums often exhibit collections; in this case the museum exhibits for a month and a half an elusive work. The molds of the model had been prepared earlier in my studio; the whole frozen process including the final assembly was done at the museum. The assembly involved a risk: if power went off, the piece would fail. I always liked the feeling of risk and fantasize with surprises and unexpected situations.
The work refers to our relations with the territory, and our own frailty.
Collaborations: Museum MALBA

100 x 200 x 100 cm aprox.

Intervention for a day, Avenida de Mayo (2004)

Transitional Interventions.
Colored ice on grass, on concrete, on walls,
conduct a performance, in their own time.
Move, transpose the elements. Report.
Creating dissonance.
Each intervention was planned and designed in relation to the specific space.
The pieces are made with water color natural pigments, which also disappear when exposed to sunlight.

Barolo Passage. Open Studio.

300 x 100 x 200 cm variable,

Selfportrait (2004)

Work in process

Intervention for a day, Parque Avellaneda (2003)

Colored ice on grass, direct take photograph


Horizon Tuning (2002)

Vinyl records on amplitude sound wall, the word landscape emitted by 4 different voices

0,6 x 30mts.aprox

Argentina landscape (2002)

Vinyl on wall, sound that is the source of the image.

60 x 400cm.

On the threshold (2001)

Polyethylene and plaster


In Límine, paintings (2000)

Galería de Arte Contemporaneo Brodershon Martinez

50x 150cm, acrilico sobbre tela

Waterfalls in Deja VU (2008)

Acid rain - Expanded triptych or in déjà vu.
In this work the same motif is the source of three images created from different pictorial codes. The pieces strategically located in the path of exhibition space, are seen separately, producing the sensation of deja vu.
They are spaced from one another, so that when facing each work the viewer can make comparisons based on the memory of the referred moments ago in another painting and is invited to receive different qualities of internal time for contemplation.

Tryptich 200 x 100 cm each side

Tsunami free zone (2008)

A fragment of a large wave, with small peepholes in the area that allow another scenario to be seen inside of it, that of a floating box in the dark immensity.
In the outdoor landscape, the volume of the wave appears to cross the boundary wall of the room. Primes the blue bright color and it shins according to the light changes. The piece invites to enter its forms and ponder the internal landscape, which is made on another scale.
The word tsunami comes from the Japanese (TSU: port or bay, NAMI: wave), entered our vocabulary with a disaster, with the infinite amount of information about the tragedy, a graphic icon emerges, the famous wave of Katsushika Hokusai ( Japan ,1830-1832). The image freezes the beauty that lies danger, investigates the question concerning the nature, which continues to play indomitable and still awakes in us thoughts of the sublime when we recognize ourselves helpless and fleeting.
Through holes in the surface of the landscape, the eye spies, explores the details. The model inside reproduces a wooden structured shelter, translucent, floating and being reflected on the water surface in a sort of free zone.
Free zones are transitional areas where goods are not controlled or taxed by the payment of taxes. It is not allowed to inhabit, there are no geographic boundaries or cultural controls, yes freedom of criteria. At the heart of this wave, there is a small space for intimate immensity. Above, the wind, down, the water, the water vibrations dominate the vacuum.

work presented in Ba-Petrobras Art Prize 08 and in resorts on the munich Contemporanea, current General Directorate of Museums

3X 4 x 1.5 m approx. scrim foam, acrylic paint

Acid rain paintings (2007)

watercolor and gouache on paper

200 x 200 cm watercolor and gouache on paper

Submersible (2007)

90x160 acuarela sobre papel

Sound landscapes (2007)

The modulations of one same motif can be infinite, as in music. Let’s target repetitions because they will carry us through the melody, but do not let them distract us too, because the most important is behind them. Are the variations, negligible or sound like, which make up the texture of the narrative.
The reference to music is no accident when we speak of the paintings of Paula Senderowicz. Can you work with those things that a picture leaves out? A picture, a sound, time, motion? That’s the purpose of repeating these mountainous landscapes, the horizon, the gray skies and blue ice, to test the revelation of an experience that is not represented in the painting but that is painting. We should feel the works in terms of a ritual, a work in which a body is delivered ... from the speed to the halt, from the sudden enthusiasm to the long silence ... Gerhard Richter understood painting as the only doomed to struggle, worthwhile. (Excerpt from the text by Valeria Gonzalez)

65 x 170 cm

Transient shelter (temporary shelter, built in ice, making a direct photo) (2006)

Ice is building a small shelter in passing, made from blocks of colored water and frozen in molds that have been previously exposed to low temperatures of the open forest.
The materiality of the piece implies its temporary nature. During winter, many people visit the site when transiting the territory. With the arrival of spring, the part is melted and disappear.

Forest Banff, Canada, 2006


Snowy landscapes (2007)

acuarela y guache sobre papel
Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad