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GUIDO YANNITTO

1981, Mendoza, Argentina

Guido Yannitto_Brealito_ Lana_ 270 x 420

ARTISTS

GUIDO YANNITTO

1981  Mendoza,  Argentina

Guido Yannitto_Algo que siempre se escap

GUIDO YANNITTO

WORK

SOMETHING THAT ALWAYS ESCAPES

algo que simpre

Something that always escapes

Something that always escapes is a series of collages that Guido Yannitto has been working on for four years. They are made with wool glued on canvas. The designs are made from the bars of the houses of the cities that he inhabits. The project began in Bogotá where the artist spent a year doing the Flora scholarship. The interest in the artisan and anonymous work of bars in the city was a starting point to think about these collages and link them with ceremonial masks from the Chocó region in Colombia and the Cholets, a type of Bolivian architecture typical of the Alto de La Paz zone in Bolivia. These combinations and hybridizations of both conceptual and formal resources result in these collages that recall aerial views of territories, as well as a type of system or imaginary concept maps.

BREALITO

Brealito

Brealito

The tapestry arises from superstitions around a lagoon located in the Salteños valleys: the Brealito lagoon. Many things are said about this lagoon, one of them is that there was a submerged city, replicating the history of the city of Esteco (a city that was located near the city of Salta and that in the 16th century was destroyed by an earthquake and flooded). The geometric pattern used in the tapestry is the same as in a tapestry by Pajita García Bes, an artist from the 1960s from Salta, the tapestry is called "Mermaid of the Swamp". I was interested in this reference because in the Brealito lagoon it is also said that there are mermaids, so I took this pattern that represents water and with the weaver we worked on it from the concept of "Glitch" or error as a system failure, referring to the translation problems I have whenever I work with weavers, someone who technically translates a design that I propose, I am interested in these communication processes that produce a new and out-of-plan image.
The video is a more direct reference to the myth of the mermaid. The sound, the music and the images have a hypnotic character that ends with the last scene with a hive of wasps that for me refers to a tragic end of death.

HEMISPHERE

Hemisferio

Hemisferio (Hemisphere Project)
Hemisphere is a project made in Antartica. It refers to a dialectical, geographical (North/South hemisphere), mental (right/left hemisphere) situation. With Antarctica being a radical environment that could be considered as a geographical shift, Hemisphere is presented as an undefined state where the body is located in an idea of territory and landscape and also in an undetermined state of mind.
Initially, my project consisted in research about the use of fresh water at the military bases. The fact that Antarctica is the largest fresh water reservoir in our planet was related to works I have been developing where water was conceived as an essential material. “Hacer agua” (making water) is an expression used by people who work at the bases to refer to the activity of producing the water to be consumed, because, despite the fact that it is the largest water reservoir, it is hard to obtain. I filmed this video, while the members of the base were performing this activity.

Initially, my project consisted in research about the use of fresh water at the military bases. The fact that Antarctica is the largest fresh water reservoir in our planet was related to works I have been developing where water is conceived as an essential material. “Hacer agua” (making water) is an expression used by people who work at the bases to refer to the activity of producing the water to be consumed, because, despite the fact that it is the largest water reservoir, it is hard to obtain. I filmed this video, while the members of the base were performing this activity.

 “Avistaje” (sight, view) is an abstract drawing made from footprints while walking on the slope of a volcano where the directions of the lines are marked by mirrors left on the ground. They also work as spontaneous nodes of direction. The audio in this video is the live recording of the statics produced by the radio at the military base. 
 

INSTALLATIONS

Instalaciones

Through his artistic production Guido Yanitto explores how and why the very medium that spawned the digital’s historical advent, textiles, so aptly serves as the post-digital medium and message to unpick it. The similarities between textiles and digital technologies are uncannily pronounced. Parallels begin with their shared vocabulary: grid, network, web, thread. The genesis of digital terminology is the language of the loom. Thus, a return to this very apparatus, the loom as a symbol for textile craft, aids in grappling with the nature of an all-consuming digital existence, and digital technology comes full circle. The digital mirroring of textile methods that underpin the concept and structure of the internet is refracted back from the virtual realm by this artist who has grown up parallel to its inception.

Guido Yanitto,  is now reclaiming textile practices to reinstate their own (humanly flawed) identities, relationships and connection to the world by subverting technological control through textile practices. Meaning is both inscribed and derived through the inherent tactile nature of textiles as they forefront a post-digital consciousness in contemporary art. Will hard tech be smooth enough to replace genuine touch and our tactile desire as creatures that need to come together for survival? It is here that this series counters what the digital realm has widely forfeited: touch and texture. It considers this turn to the digital, contemplating how textiles—marked by the touch of human error, laced with the scent of the human body, and inscribed with memories of the human experience—can usurp our techno-utopia one pierce of the sewing needle at a time.

Exhibiciones
Guido Yannitto_Algo que siempre se escap

GUIDO YANNITTO

EXHIBITIONS