Viviana Zargón
b. 1958 in Buenos Aires, Argentina
Viviana Zargón
b. 1958 in Buenos Aires, Argentina
![09_Marchetti_ChromaKey_2017_Fotografíaco](https://static.wixstatic.com/media/c596bd_2680dcb3645941c3b92fe6a5d41a9f28~mv2_d_1800_1200_s_2.jpg/v1/fill/w_434,h_289,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/c596bd_2680dcb3645941c3b92fe6a5d41a9f28~mv2_d_1800_1200_s_2.jpg)
ARTISTS
LORENA MARCHETTI
1976, Buenos Aires, Argentina
Inhabit
Architecture shapes our experience, our way of assimilating and feeling the built environment. As a great visual archive, Inhabit questions about the current ways of inhabiting spaces by articulating a corpus of photographs with concrete objects from architectural practice.
Facade fronts with subtle details coexist with an arbitrary and loving selection of objects that human beings care for and treasure in a spatial way. Trace of the everyday, of the domestic.
Taking these scenographies as architectural pieces, Lorena Marchetti inquires about the ways we inhabit today.
CHROMA KEY
ChromaKey
The works raise a scenario of relationships between a man and the spaces he inhabits and that contains him. Stripped settings, panoramic views and high-rise architecture. Landscapes that are assembled and disassembled. It is recomposed and edited to be put back together. It is redefined, as an exhibition article, as data for the study, as a surveillance objective. Contemplation of an archaeogeography whose nature is exposed to an empty space.
The almost non-existent human presence can only be sensed by the uniform of a worker, an object or a control device.
Narrate a micro-story that talks about the human condition? Compose or shred pantones as if they were the still life of the 21st century?
A man travels three hours one way to work and three hours back, he takes care of a terrace with synthetic grass that nobody goes up to. He walks from one side to the other in silence. The sun slashes his forehead for eight hours. It is the eighth floor of the Museum of Contemporary Art of Sao Paulo, one of the best views of the megalopolis.
Cityscape data iconography.
PERIPHERIES
Peripheries
Since 2011 Lorena Marchetti has been working on series that record a kind of Latin American peripheries and landscapes. Although she was always dedicated to the registration of urban spaces and cities, these landscapes bring the novelty of the geographical point of view in height and the very particular choice of her chromatic palette. Everything expands and extends in height; as the bird's eye; like the traveling painters or the incidental tourist.
In her series Peripheries we observe different photographs taken in the city of Lima, Peru. According to the artist, this metropolis is “an incredible city with high contrasts in every way. Extremes of beauty and chaos. Coast and mountains. Coastal desert greens and rocks. Fog. Fuzzy limits. Social contrasts. Its demographic, urban organizational chaos and dissonances expand towards the desert rocks of the periphery, generating new urban everyday situations and neo landscapes that invite new reflections. The popular or new neighborhoods, which in the best coral style make up a reef, emerged from nowhere, become epicenters and informal settlements that are shaping the mosaic of the city creating very own landscapes. With a sandy, rocky color palette and a contrasting range, they make Lima a very particular city ”.
Verónica Sanchis, 2013
MICROELIEVES
A lover gives paint
Perhaps when José Pancetti painted the coast he thought of photographs. His works, like no other, turn the imperceptible aspects of the beaches in delicate brushstrokes. The superposition of the different qualities of sand, the clear water with a frothy fringe, the sun, the light that modifies each of these elements moment by moment.
Although the human mass and superimposed constructions are completely absent in Pancetti's oil paintings, they are very similar to Lorena's paintings. Perhaps the thousand subtleties of Pancetti are reflections of glass in Lorena. Perhaps it is more accurate to speak of painting than photography. Perhaps it is not necessary to talk about photography. Perhaps photography does not exist.
Lorena recounts her adventures as a traveling painter who climbs hotel terraces in search of the best point of view for her landscapes.
What is closer to those ipanema palms than the leafy glass of the newcomer to Brazil Antonio Parreiras?
But then, she paints on the remains of those landscapes, pieces of those constructions that in her paintings are immovable blocks.
The last romance. Because after the earthquake you have to continue painting.
Santiago Villanueva
October 2012
![ObjetoI_30x30cm_HABITAR_2019.jpg](https://static.wixstatic.com/media/c596bd_4a49d436f86747439e361a88dea72c91~mv2.jpg/v1/crop/x_0,y_7,w_482,h_482/fill/w_100,h_100,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/ObjetoI_30x30cm_HABITAR_2019.jpg)
LORENA MARCHETTI
EXHIBITIONS
1.9.17 - 30.9.17
Vertigo
Lorena Marchetti
Curating: Javier Villa
Sound work: Francisco Slepoy
1-30 Septiembre, 2017
The city is a huge Chroma Key
In 1898 Oscar Wilde dispatched against nature and in favor of lying. The Decay of Lying is, above all, an argument about how life imitates art. We are currently in an anti-mimetic era (or inverted mimesis?): No one would doubt that images design forms of life. Even several lives seem to be anchored in a specific pantone; an emotionality cataloged by a certain filter of the iphone. Life became a huge chroma key on which to superimpose our daily fiction (although nothing is printed anymore). And the city, for those of us who are cosmopolitan, in its complex scenography.
--- It is not a problem that there is no distance between fiction and reality. When my daughter asks me if unicorns exist, I answer that they do exist because she can imagine, describe or draw them; as I also tell her that it is true that ther are more and more people sleeping on the street because she can see them. Fiction used to be a field of the arts, today it seems to be a field dominated by politics. The problem is not having lost the area of specificity of our discipline, but to ignore the power that can cause the fusion between fiction and reality; a fusion that would allow, more than ever, to think about how from art something can be done to change the course of the general narrative. For those who make art with photography the situation is even more challenging. They will battle in the center of a ring full of social networks and applications, mass media, their satellites and drones, games of verisimilitude and manipulation of documents.
What is a photographer anchoring in if there is no longer a consistent mass of reality, but a crowded mass of fictionals? Trying to appeal to an emotional state shared by some? Narrate a micro-story that talks about the human condition? Compose or shred pantones as if they were the still life of the 21st century? ---
A guy travels three hours one way and three hours back to his work, he takes care of a terrace with synthetic grass that nobody goes up to. He walks from one side to the other in silence. The sun slashes his forehead for eight hours. It is the eighth floor of the Museum of Contemporary Art of Sao Paulo, one of the best views of the megalopolis.
At the time when she was building the House of Glass - in the middle of the 20th century - Lina Bo Bardi would say: "Until man enters the building, he does not climb the steps, he does not own the space in a 'human adventure' that develops over time, architecture does not exist, it is a cold, non-humanized scheme. Man creates with his movement, with his feelings ”. Could something similar be said today about photography? How to think about a human adventure from a fixed image that has become an everyday language? How to expand to photography in time and space, that the image causes movement or a physical sensation? We are used to looking at images on screens, projecting a still image would then make more sense than printing it. A projected still image can grow larger, wrap or turn into a chroma-key for you to project your own film. In the center of an empty space, this image could expand its ability to provoke the senses: the image could be entered not only from the visual sense, but also from the spatial sense, the sense of gravity or the auditory, the feeling of the city that breathes behind us or the proximity of the bodies that we are not seeing --- that image vibrates when a bus passes by the gallery street or moves slowly through the air that moves a body that passes through its side stand---. Looking for a body that feels like a worker on a terrace feels, like a terrace feels the city, like the image feels when moving. An image that is no longer fixed.
In 1990 W.G. Sebald wrote Vertigo. Master in verisimilitude production. He was a few years ahead of the era of fictions related by contemporary art from the archive or the document; biennial realism that exploded alongside the digital age and image manipulation (Sebald anticipated this too --- they are two sides of the same coin). His chroma wasn't green or blue,it was white. But he could still make you feel that what he was narrating in words had happened thanks to the inclusion of photographs. The lack of gap between fiction and reality can today give vertigo, and perhaps the photographic image is the most capable medium to provoke that physical sensation. Vertigo can be a simple subjective sensation, a fiction or a disorder, but the truth is that we feel -physically- how things begin to move. Paraphrasing Bo Bardi, that which surrounds man begins to exist.
Javier Villa, August 31, 2017.
Acknowledgments: Gachi Prieto, Javi Villa, Francisco Slepoy, Karina Acosta, Lihuel González, IvanWolovik, Joaquín Aras, Ceci Estalles, Hernán Soriano, S
![ObjetoI_30x30cm_HABITAR_2019.jpg](https://static.wixstatic.com/media/c596bd_4a49d436f86747439e361a88dea72c91~mv2.jpg/v1/crop/x_0,y_7,w_482,h_482/fill/w_100,h_100,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/ObjetoI_30x30cm_HABITAR_2019.jpg)
LORENA MARCHETTI
BIO
LORENA MARCHETTI (Buenos Aires, Argentina, 1976)
Through her photographic production Lorena Marchetti reflects on the relationship between man and the spaces he inhabits. Through its lens, scenes from the current kingdom, panoramic views and high-rise architectures become paradoxical portraits of overcrowded cities. In the same way, in all her series the chromatic palette always plays a leading role. Along with the saturation and exaggeration of colors, the artist achieves an intimate relationship with painting, thus overcoming the limits of the documentary photographic register. Marchetti finds great cultural wealth in the “ordinary”, and it is through her works that she invites us to think about the link between space, context and culture.
Lorena graduated from the University of Buenos Aires as a Graphic designer. She attended art clinic seminars dictated by Gabriel Valansi, Diana Aisenberg, Marta Zátonyi y Eduardo Stupía, among others. In 2013 she was selected to participate in the annual program for artists Proyecto Pac of Galería Gachi Prieto.
She featured her work in several national and international exhibitions such as: La Marca Original: arte argentino (Centro Cultural Kirchner, Buenos Aires, Argentina, 2019); Una comunidad imaginada (Casa Nacional del Bicentenario, Buenos Aires, Argentina, 2018); Desarticulaciones (#4 C.LAB Mercosul, Blau Projects Gallery, São Paulo, Brazil 2017); Vértigo (Galería Gachi Prieto, Buenos Aires, Argentina, 2017); Fiftyfity (50/50)... la Chimba! (PASTO Galería, Buenos Aires, Argentina, 2014) and Promesas sobre el bidet (Desborde Gallery, Bogota, Colombia, 2013).
Regarding awards and contests, she has been selected to participate in the 104º National Salon of Visual Arts and received the Third prize for the category Photography (2015). Additionally, she was a finalist in the Itaú Cultural Visual Arts Award in 2014 and 2012.
Since 2015, she has been a member of Foto Féminas Collective, a platform that promotes Latin American and Caribbean female artists. During 2016 and 2017, she was the Art Director of Escenario Prestado, an editorial project of Galería Gachi Prieto that articulates visual arts and literature. In 2017 she joined FOCO, a study group on contemporary photography coordinated by Natalia Fortuny at the Gino Germani Research Institute (Faculty of Social Sciences), in coordination with the Study Group on Art, Culture and Politics directed by Ana Longoni.
She lives and works in Buenos Aires.