[Blank Space] 3

In May 2018 we hosted the third session of [Blank Space], a collective residence that is unique and different each time. The three artists who participated in this occasion, each from a different point of Argentina (Tucumán, Necochea and CABA), approached painting also from distant points of view, a group of artists that affected and inspired each other. The collective residences are a space and time that we consider very suitable for the creative development of each participant.

Circular Existence (by Regina Calcaterra)
During the residency, I developed a laboratory to study the fruit of the walnut tree in order to understand its symbologies. I worked with the shell of the nuts, tracing their textures, painting them and tracing paths on paper, studying their cracks and their fingerprints. I explored the collective sounds by rolling them together and accumulating them and their particular sound by opening them in different ways (with the hand, the foot, a hammer). The research process resulted in an audiovisual work in which, with the use of walnut oil, I wrote a series of phrases that appear on paper as the recordings of the sounds quieten down. Work on the ephemeral, that which is not possible to be grasped and with the desire to reintegrate as an individual.

Ethereal (by Elsa Nievas)
My proposal to work in the residency was to deepen in the search of the casual color that arises in the painting using watercolor. The fortuitous mixture, the subtle stain due to the effect of water and pigments.
I projected landscapes filmed in the city of Necochea, they were repeated automatically and I painted in movement. The spots moved away from the figurative representation, painting on the projection produces dizziness and you can not control what is painted. That loss of control gives rise to the casual, the speed in the watercolor offers the remote possibility of materializing the transience… somehow… A dialogue with the ethereal…

Experiences with Piquetero Oil (by Sol Rodríguez Díaz)
Implementing an interpretation of the Borgean concept of translation, I reproduce a work by the artist from Tucuman Luis Lobo de la Vega, a material with pretensions of protest, an oil painting made of soot from the burning of gums, a piquetero oil painting. My interest is to question and interpellate the networks of power that enable legitimization within the field of art, in Tucumán and in Buenos Aires. The translation as an act of peripheral resistance.