R.A.R.O. en RED / Invited Artist -Curator
As part of the virtual program that we propose, we invite Mariana Rodriguez Iglesias (Argentina), independent curator, Almudena Blanco García España), curator and director of R.A.R.O. Madrid, and Andrés Matías Pinilla (Colombia), artist and independent manager, to provide a conceptual look at the work of the participating artists.
Mariana Rodriguez Iglesias
Almudena Blanco García
Andrés Matías Pinilla
* Mariana Rodríguez Iglesias (Buenos Aires, 1982)
She is an independent curator and freelance art writer. Holds a Master Degree in Arts (History and Research, U.B.A.) and used to be helper of professor, Dra. Andrea Giunta, in load of the pulpit of History of Contemporary Latin American Art. She followed a post degree programme on relation between the history of art and conservation. In 2016, she was chosen to travel to Kiev, Warsaw and Prague in the research program for curators CPR: 2016 - Eastern Europe. In 2013 she was selected and awarded a scholarship for the Artists Program of the Torcuato Di Tella University, to participate as a critic / curator. She is called as a jury of prizes that encourage local production and its development, such as: Central Bank National Painting Prize (2017); Itaú Visual Arts Award (2017); C.Lab # 4 - Mercosur (San Pablo, prize for curators); Galleries selection jury for FACA (2017 and 2018); Oxenford Scholarships (2016) She has been working in the curatorial practice since 2006, starting with The unusable Cities hosted in Galería Appetite. She incursions in non-traditional formats, such as the realization of the exhibition Crack-up (2015) developed in 25 minutes, in video format. She was the curator at MACBA of Fundamental Interactions of a Starry Sky (2016) with works by Silvia Gurfein, Julia Masvernat and Carla Bertone. Together with Florencia Battiti, they curated the new edition of arteBA Focus Galerías (2016), a first experience of this contemporary art fair that privileged the works, rather than the grid of the stand. During 2011, together with Pía Landro, she designed the Curatorial Education Program for the Faena Arts Center. She was the Coordinator of Curatorial Educational Department for the Museum of Contemporary Art of Buenos Aires, in which she made numerous experiences that cross education in museums with other ways of perceiving and reflecting on contemporary art. She has coordinated editions 50 and 60 of Ramona. Art magazine without images’ "Poéticas Contemporáneas" (Buenos Aires, 2005 and 2006). She produced Snow Ball project for Fundación Telefónica when it began to be something more than a concept. She leads horizontal workshops of reflection, a theoretical-practical format for deepening, debate and practice of writing on art. She designed courses specially requested by the Malba’s Fried Association, which function as introductory prologues for artists and problems to the institution community. She works and lives in Buenos Aires, Argentina.
Almudena Blanco García.
Almudena Blanco García, R.A.R.O. co-founder and director of the Madrid branch, she has a degree in Art History from Universidad Complutense of Madrid and a Master in Art Commissariat of New Media from the Ramón Llull University of Barcelona. She has worked on artistic projects both in Spain and in Latin America, always focusing on the design and production of exhibitions and on the accompaniment of artists during their production and creation processes. ]She has worked at MACBA (Barcelona), Proyecto Ace (Buenos Aires) BSM Art Building (Buenos Aires), MACBA (Buenos Aires) and collaborated in various festivals: MADATAC 06 (video art and installation festival) and Festival Circular (urban art festival) and continues her work as director and coordinator of R.A.R.O. residences Madrid.
Andrés Matías Pinilla.
Migrant artist, freelance writer and project manager.He lives and works between Bogotá and Buenos Aires. Between 2005 and 2010 he studied art at Universidad de Los Andes in Bogotá, with an emphasis on Cultural Projects, Electronic Media and Time-based Arts. In 2019 he attended the Artistas x Artistas program of El Mirador Foundation in Buenos Aires. With his work he proposes a holistic vision of human knowledge in recognition of the ethnic, sexual, racial, religious and philosophical plurality of our species. He insists on the imminent decolonization of language and territory as the main path towards a genuinely global, plural and united world. In 2012, he was the winner of one of Bogotá's IDARTES creation scholarships with his project 'I am not a rockstar, I am a househusband'. He continually goes to the visual production of different moments in history to relate what we understand as high culture and popular culture; and the way they read, understand and consume each other. Topics worked in the projects “A la memoria del muerto” (2014) and “Welcome to Parime” (2016). In 2017 he was the winner of the EnObra award at ArteBA in Buenos Aires. In 2018 he was invited to URRA Tigre residency where he culminated the production of the first phase of his Conceptual & Paranormal project, which crosses religious themes, astrology, "magical herbology", medieval history and mestizo thought. His interest in historiography, architecture and semiotics lead him to combine various techniques and objects in living experiences and installation, sculpture or ephemeral intervention projects, which invite different audiences to interact or activate the works. Topics addressed in projects such as “Aguirre / Agarra” (2017) and “Animal Crackers” (2018). In 2015, he carried out an action to protest the great loss of artisans of the 10th Mercosur Visual Arts Biennial, Messages from a New America, in Porto Alegre, Brazil, infiltrating the opening ceremony along with a flag made from his own pants. Co-founder and director of «Lanzallamas», an itinerant contemporary art project that fosters exchange and dialogue between a wide range of cultural and social audiences to expand and create new ways of thinking and producing in the contemporary diaspora. His work is located in private collections in different countries and in public collections such as the National Museum of Colombia and the Rio Grande Do Sul Museum in Portoalegre, Brazil.