The “Interior with Landscapes” pocketbook is a colorful, fully illustrated guide that goes hand-in-hand with Alejandra Seeber’s first solo exhibition and career survey in New York, which took place at the Americas Society from June 5 to July 27, 2024. This catalog dives deep into Seeber’s artistic journey, highlighting her bold use of color and dynamic compositions that play with the balance between representation and abstraction. It features thoughtful essays by Aimé Iglesias Lukin, Dean Daderko, and Mariano López Seoane, plus a foreword by Susan Segal from AS/COA. The book showcases a wide range of Seeber’s work, from the mid-90s to her latest pieces, and explores her knack for blending interior and exterior spaces as well as figurative and abstract elements. One of the exhibition highlights was an interactive mini-golf installation right in the gallery, giving visitors a fun, hands-on way to connect with the art. The pocketbook’s distinctive look was crafted in collaboration with КМЕС Books, a New York studio known for its art publications, working closely with Iglesias Lukin to nail down its visual and editorial style.
The exhibition will pair these paintings with Seeber’s contemporary explorations of the built landscape with an installation. This survey of her work is organized around a playable golf course installed inside the gallery space in which visitors will be invited to play golf as they walk through the show. The golf obstacles become active sculptures in the exhibition, creating porous boundaries between artwork and audience. This playful environment manifests the explorations of edges, doorways, windows, and borders in the artist’s painting. As they play, visitors will be able to trace Seeber’s artistic trajectory and see how her interventions in the form and practice of painting continue to this day.
To accompany the show, we will present a series of public programs and publish a pocketbook.
This exhibition is curated by Aimé Iglesias Lukin.
More information: https://www.as-coa.org/exhibitions/alejandra-seeber
Curada por Sonia Becce, la muestra despliega una serie de obras de reciente producción junto con otras realizadas durante los últimos quince años, que vuelven a una figuración humana. Los cuerpos, que se despliegan y repliegan, situados en escenas en movimiento, conviven con obras tempranas y excepcionales de Jorge Gumier Maier, para construir un espacio a mitad de camino entre el desfile y la coreografía. Así, convertida en una sala de ensayo, Danza Perfumi se expande en un programa de clases ‘Pasos y Poses’, coordinado por Rita Pauls, con la presencia de Emiliano Miliyo, Zezé Fassmor, Moli La Exilia y Gali DunDun como profesores.
Más información: https://www.barro.cc/es/muestras/1252/danza-perfumi-barro-buenos-aires
BUILDING presents, from November 8th, 2023 to 27th January, 2024, the group exhibition Glitch, an exhibition project curated by Chiara Bertola and Davide Ferri, which features a selection of twenty-four paintings by ten Italian and international artists from different generations: Simon Callery, Angela de la Cruz, Peggy Franck, Pinot Gallizio, Mary Heilmann, Ilya & Emilia Kabakov, Andrea Kvas, Maria Morganti, Farid Rahimi, Alejandra Seeber.
In the regular and even fabric of reality, stretch marks can sometimes appear, superficial tears that reveal the presence of another dimension. The saturated fullness of life suddenly breaks down, giving way for vents from which signals of “an energy of existence” seep in, as the philosopher François Jullien stated.
Something similar occurs in painting, when the precise correspondence between image and medium fails, or when the pure materiality of painting overflows, hinting at an unprecedented vitality. All of a sudden, this disjointedness gives rise to something that presents itself to the viewer with no warning; something that, although it might potentially go unnoticed, opens a chink, a breach that reveals another view and another nuance of thought. Therefore, the focus is aimed at a kind of painting whose truth does not lie in representationand its organicity, but rather in an the idea of the a painted image that negotiates with different media and formats, embracing its presence and material ramifications.
The exhibition, which includes both figurative and abstract works, refers to an idea of “mere painting” that plays with the idea of “real painting”, or the idea of truth in painting, which has always had a place in reflections about the medium.
The resulting suggestions may sink their roots in some pictorial research of the second half of the twentieth century, in particular the ones of) exponents of the 1960s current of post-painterly abstraction, and currents of the seventies (such us Radical Painting, Pittura Pittura and Support Surfaces), which reflected a widespread desire for objectivity, and the consequent disappearance of subjectivity (that is, the artist‘s disappearance to make way for the viewer), and reflections on the genre, regarding its key elements (format, size, medium, color – “color that does not embellish”, as Maria Morganti says), whose outcome is a painterly object that rejects any kind of narrative, representation or illusion character, and asserts its presence without signifying anything other than itself.
The exhibition shows painting in its pure essentiality, together with a fecund crack, a shift, caused by subverting our habitual, conventional and, way of seeing. This produces a gap that generates a sort of energetic vitality at a primordial level, in terms of the everyday – in the sense of the pace and daily traces of time – and craftsmanship – the pleasure of making things by hand.
If convention has never taken artistic practice very far, then seeking some kind of stumbling block in representation is a necessary condition for pushing art towards a dimension of vitality. A stretch mark in the saturated, compact system of what is known and predictable, can therefore turn out to be a fertile space of freedom, in which life can flow, roam, complete and renew itself.
Works as a background, or as a landscape of the spectator, where the viewer enters inside a set and where the work becomes a place to accommodate the things that may happen there. The works of Alejandra Seeber (Buenos Aires, 1969), for example, bring forth an unstable vision that can never be defined as univocal, staining her canvases to give the image another opportunity to react, lose its bearings and multiply.
More information: https://building-gallery.com/en/exhibitions/glitch/
Summer–Insert with selected works by Brigitte Kowanz (1957 – 2022) and Alejandra Seeber (*1968)
The complex and multilayered work of the Argentinian artist Alejandra Seeber focuses on the reinterpretation of everyday subjects through spontaneous painterly gestures. The use of collage or folding techniques, which similar to Rorschach tests produce random figures, underlines the idea of change, upheaval and redefinition that characterizes her paintings. Seeber’s works thus often bear evidence of disruptions: a delicate ink drawing suddenly collides with a black background which turns into an abyss, images overlap, and figurative elements unexpectedly emerge from abstract-expressionist images.
Curators: Omar Lopez-Chadoud and CJ Chueca
Opening Reception: Friday, June 9th, 2023, 6:00-10:00 pm
Exhibition Dates: June 10th – August 20th, 2023
Location: Sugar Hill Children’s Museum of Art & Storytelling,
898 St Nicholas Ave, New York, NY 10032
Hours: Saturdays and Sundays 10:00-3:00 pm, Thursdays 5:30-8:00 pm
NEW YORK –Mental Spaces I brings together eleven artists from Latin America that reside in New York City. The works exhibited present a scenario in which the viewer is seduced to engage with the art in a non-objective way. The curators have chosen the participating artists based on their multiple cross-cultural references in which the poetics of the absurd are at times embraced. This exhibition plays on the complex relationships that exist between the artist’s mind and its most intuitive form of visual expression, often manifested through some form of abstraction. Its multimedia, process-driven works allow for a dynamic stage in which multiple concepts collide to present the most essential elements, that of being human.
Through research, the curators found that “Mental Spaces” refers to the concept of cognitive structures that are used by people to represent and organize information in their minds. They are thought of as mental containers that hold information related to a particular topic, situation, or context, and can be accessed and manipulated as needed. They allow people to make inferences, draw conclusions, and create new meanings based on their experiences and knowledge. Overall, the theory of mental spaces provides a valuable framework for understanding how people organize and make sense of the world around them, and how language and thought are intertwined in complex and dynamic ways.
Alejandra Seeber (Argentina) is working on a series of rug paintings that draw inspiration from her research with an activist movement of resistance during the last years of the Argentine dictatorship known as “el siluetazo” or the silhouettes. A simple yet effective way to conjure the body, as a ghost, traced or whole, demanding accountability towards the government. It carries the burden of death, grief, and remembrance, now the artist appropriates these gestures and depicts the bodies boldly in her work. Working through her relationship to depicting bodies and their collective traumas, the use of the rug serves as a conduit to the body as a metaphor to the notions of rest, arrival, and home, while the artist explores the familiar whilst the uncomfortable feelings and memories it surfaces.
BARRO is pleased to announce Alejandra Seeber’s solo show at
EXPO CHICAGO. EXPOSURE Section is curated by Aimé Iglesias Lukin (Director and Chief Curator of Visual Arts at the Americas Society). EXPO CHICAGO 13–16 April 2023. Navy Pier, CHICAGO, USA. BARRO Booth 471
Alejandra Seeber presents a group of paintings of different sizes on a grid and some glass and ceramic sculptures.
Seeber’s paintings have a visual morphology in common. They are reticular images shaping different formations: knits, waves, spores, a brick- like structure, and a honeycomb-like structure.
The paintings are hanging on a network of uniformly spaced horizontal and perpendicular lines. The images are geometrical patterns of different types of net-like structures situated on a system of control operating entirely in the perception field.
The installation opens strange portals in the mind-stretching realm. The fragmental images replicate themselves into different works of art, using motifs such as body parts, bricks, and waves. In the paintings and sculptures, there are legs and backsides, shredded lakes, snippets of landscapes, formations of beings, and collapsed objects from multiple realities. For instance, she creates a bag with holes from which small plants emerge; the back of the sculpture resembles a brick wall.
Seeber traces a system of signification distorting the notion of space and its visuality. The paintings and sculptures display rare events, so you need a sharp and keen eye to understand what you see; for Alejandra Seeber, an extra dimension may exist close to our familiar reality. It means there is a much richer universe at some deep underlying level.
This March, for the 10th year, Norte Maar brings forth CounterPointe, the longest standing performance production exclusively featuring collaborations between female dance makers and visual artists. The performances will take place at Downtown Brooklyn’s Mark O’Donnell Theater at the Entertainment Fund Arts Center from March 24-26, 2023. Join us in celebrating CounterPointe’s 10th Anniversary!
https://www.nortemaar.org/news/meet-the-choreographers-and-artists-of-counterpointe9-3zcnl
The future past is the imagined future of past religious, political, philosophical, scientific, and artistic movements. Ideologies of the world around us were conceived by a future past. These have been used to imagine the emancipation of humanity.Today the future evokes feelings of imminent catastrophe and the dark idea of extinction. The spirit of the times is eschatological. Humanity as a species is destined of being-toward-death. Art is the design of future modes and, as such, provides new ways of being, seeing, interpreting reality, innovating artistic procedures, and thinking about humanity from a critical and creative perspective. Artists can bring light because art is the exercise of thinking about different ways of being and experiencing the future. Art gives us the space to talk about time, whether it exists or not. This exhibition explores different angles on life on a critically damaged planet around the notions of Social (Gabriel Chaile and Agustina Woodgate), Nature (Matías Duville), Language (Alejandra Seeber), and Sexuality (Amalia Ulman and Marcelo Pombo). The strategies are heterogeneous: humor, criticism, irony, joy, or allusion. The articulation between the media, the materials, the procedure, and the theme are singular, none supposes a direct relationship between the representational and the political. Art could be understood as a time granted by the passing of the last god. In this sense, artists can shape a new philosophy for collaborative survival because art is the opening on the horizon of possible worlds.
https://www.barro.cc/en/exhibitions/1228/futurity-barro-new-york
A partir de pensar y establecer una relación posible entre la obra de Seeber y ciertas lecturas-fuente, qué épocas y espacios compartidos hacen confluir, elaboré un índice de palabras clave que emparentan los procedimientos, elecciones y obsesiones de su trabajo con los que descubro en otros artistas y en mí misma.
Ese índice es el que enhebra y ordena, con el azar de la disposición alfabética, una compilación de fragmentos de obras literarias, ensayísticas y de divulgación científica que por momentos glosan y por momentos rastrean orígenes, que se atraen o se repelen y ambicionan ser una reunión de voces de distintos tiempos y lugares, panelistas que exponen lo que creen al respecto de asuntos como Espionaje, Centro, Demolición o Estratos.
No son definiciones –aunque algunas puedan funcionar como tales–, pueden sí ser contrapuntos que no avalan sino que cuestionan, pueden también usar la palabra a su antojo en medio de un vendaval conceptual de otra índole. Voces como las de Olga Orozco, Jacques Rancière, Laura Crespi, Mario Levrero, Diana Bellessi, Joseph Conrad, Alejandra Costamagna no se ordenan como coro, no armonizan, en cambio se desprenden, se superponen, se quiebran y generan alianzas arbitrarias para exponer fugacidades y permanencias que no dejan nunca de celebrar –al modo de un indicador Seeber, con esa forma de señalamiento– el torrente que ante los ojos murmura la existencia misma.
—Rosario Bléfari, 2020
Esta lectura se realiza en el marco de la exposición Fuera de serie, de las artistas Alejandra Seeber y Leda Catunda.
Se podrá ver a través de esta misma página y del canal de YouTube de Malba.
A oJO is a landscape made of scraps. A work in layers, fragmented. An intuitive calculation about how different parts can connect to form a whole. A mini golf circuit as personal, whimsical and strange as the selection of paintings with which Alejandra forms her own history of argentinian art. One Berni, De la Vega, Seeber over here, a Pettoruti, Yente and another Seeber over there. A modern and contemporary pictorial landscape surrounded by islets of grass and wood soaked with the light of a pink sunset.
POSTPONED UNTIL FEBRUARY 2021
This exhibit showcases a dialogue between two Latin American artists, who are united by their work and in their desire to redefine painting. Both are highly skilled painters and integrate urban culture, modern art, design and nature into their art. Leda Catunda (1961, São Paulo) and Alejandra Seeber (1968, Buenos Aires, based in New York) both absorb their entire surroundings into their work.
The rare beauty of their works can be found somewhere in the layers of their canvases, between the brushstrokes and the color fields. Sharing the ability to reveal such an aesthetic connects the artists even though the works in the show represent different cultural scenes and times. Of both artists, Malba will show both historic as well as contemporary paintings, sketches, studies and documents —with a strong focus on the 1980s and 1990s in the case of Catunda and a genesis occurring in late 1990s in Seeber´s work.
Within the framework of the exhibition, a public program of talks, workshops, and activities will be developed to think about the artistic models and discourses that were crucial in this genealogy of contemporary art.
One of a Kind is the first show framed in the new Program Paralelo 1//3
Paralelo 1 || 3 is a new program of exhibitions uniting two spaces in the museum –Gallery 1, located on the ground floor, and Gallery 3, on the second floor– placing them in dialogue.
The two galleries will be the sites for simultaneous exhibitions by two artists, intended to foster conversation between contexts, generations, and discourses; offering shared perspectives and points of difference. This way, the particularities of the works are shown, whilst suggesting common denominators; making connections between careers and aesthetics, and their respective view of the (art) world.
Works of art are not rootless: we encounter them in a context –galleries and halls of museums– which serves as a frame for interpretation. This program however proposes exercises in de-contextualization and de-hierarchization of the very categorization a museum itself generates. Paralelo 1 || 3 cuts into the codification of Malba’s own spaces, presenting an alternative route through the building and its exhibitions.The museographic design plays a central role in pairing the physically disconnected spaces for this new program. This is why studio Adamo-Faiden Arquitectos was asked to invent a special layout. The idea behind this intervention is to break with a museological presentation one is accustomed to by re-signifying the galleries as part of a larger narrative which questions its supposed objectivity and invites us to draw parallels between fragmentary visual narratives – filled with tension and poetry.
Alongside the dual presentations of Paralelo 1 ll 3, Malba will also launch a new series of publications in which the notion of dialogue both in format and content will be researched.
Esta comformada por diversos nucleos, La obra de Alejandra Seeber Ma-za esta exhibida en la seccion Folclore Urbano
Folklore urbano en imágenes
Antonio Caro, Jorge de la Vega, Antonios Dias, Rubens Gerchman, Wanda Pimentel, Alejandra Seeber, Claudio Tozzi, Cecilia Vicuña, Marisol, Marta Minujín, Victor Grippo, Liliana Maresca.
El folclore urbano en imágenes
Las décadas de 1960 y 1970 en Latinoamérica estuvieron marcadas por cambios radicales relacionados con el fin del desarrollismo, las transformaciones demográficas en las ciudades, las dictaduras militares y los movimientos insurreccionales impulsados por la revolución cubana. Brasilia fue inaugurada y la Ciudad de México se transformó en megalópolis. Mathias Goeritz, quien migró a México a fines de los años 40, elaboró una crítica al funcionalismo valiéndose del modelo de una arquitectura emocional. En este período también ocurrió una expansión de los medios de comunicación masiva que, según el crítico francés Pierre Restany, estimuló la búsqueda de un “folklore urbano” propio.
Con la incorporación de los cómics, la publicidad y los productos industriales de consumo masivo, muchos artistas imantados por el pop retomaron la figuración y buscaron abrir un debate sobre la definición ideológica de lo latinoamericano como cultura emancipada.
https://www.infobae.com/cultura/2020/11/24/que-nos-propone-el-malba-con-su-nueva-muestra-permanente/
On Saturday, October 24, the first room of the Crear Mundos exhibition opens virtually . With the academic advice of María Laura Rosa and the curatorship of Cecilia Jaime and Manuela Otero, the exhibition covers the production of more than fifty female artists who have been part of the history of Fundación Proa throughout all these years. Starting from the history of art and through different disciplines – such as video, photography, installation and performance-, the artists, reflect on problems associated with materials and elements of everyday life, the relationship with space, the subtleties of language and the place of the body –as support, material and metaphor– from different generations and cultures around the world.
In 2020 CREAR MUNDOS [MAKING WORLDS] will inaugurate in the exhibition rooms of Fundación Proa and Proa21. Encompassing the work of more than sixty artists from different generations and artistic practices, the selection of works recreates the history of Proa’s exhibitions, and offers a walk through these artists’ great contribution to the history of art. Thus, CREAR MUNDOS presents new geographies that sweep existing borders away and reveal both the unique and global nature of the problems that extend across the experience of women in art.
Links: https://www.infobae.com/cultura/2020/11/20/crear-mundos-una-mirada-contemporanea-sobre-las-mujeres-en-el-arte/
https://marieclaire.perfil.com/noticias/cultura/arte-muestra-mujeres-feminismo-fundacion-proa-nueva-normalidad.phtml
Barro presents a selection of unseen works in Buenos Aires. A labyrinthic installation that invites the visitors to discover different atmospheres in each corner to enjoy the intimacy of the works, in a dynamic that contemplates various proposals, spaces, artists and actions.
https://www.clarin.com/revista-enie/arte/instalaciones/encuentro-laberinto_0_nVkaEeHqu.html
https://www.telam.com.ar/notas/202010/521427-una-muestra-reune-obras-ineditas-de-mondongo-matias-duville-y-otros-artistas-contemporaneos.html
Non-profit arts organization TRANS> is pleased to launch THESE TIMES, a print and digital stamp project with contributions by 50 artists and 50 institutions. Curated by TRANS> founder Sandra Antelo-Suarez, the project is in response to the global pandemic and follows a call to artists to create artworks formatted in the design of postage stamps as a gesture that unites communities across New York City, Ibero-America, Spain, and Portugal. The 50 submitted stamp artworks from THESE TIMES will be distributed in the October 2020 issue of frieze magazine, bringing art directly into homes, and posted digitally on the THESE TIMES Instagram account @these.times.forever.
“I saw the devastation in New York and across Ibero-America, especially the disproportionate impact the pandemic has had on our culture and artistic communities, and wanted to find a way to bring artists and thinkers together to create a space for grief, but also for hope and action,” says THESE TIMES curator Sandra Antelo-Suarez.
THESE TIMES acts as a tribute and gesture of love, grief, and solidarity for the lives lost to COVID-19 and those facing difficulty in the current times. The stamps, marked with a symbolic currency of love, function as individual stickers that encourage poetic gestures of communication, especially crucial in this global moment that has deeply affected our communities. At its core,
the format of a stamp evokes the connection found through sending letters. Beyond exploring
this sense of interconnectedness, this project presciently underscores the link between voting through mail as a form of direct action, self-expression, and self-determination. To invite further collaboration, TRANS> invites everyone to submit their own designs on social media with the hashtag #TheseTimesForver and by visiting transmag.org
Each stamp artwork created for THESE TIMES features an original design with the name of the artist, the art institution or gallery where the artist currently has or had an exhibition, and the country. The 1.3 x 1.3 inch stamps include text in Spanish, English, and Portuguese.
OUR CIVIC DUTY TO VOTE IS ONE OF THE POWERS WE HOLD TO END INEQUALITIES AND INJUSTICES IN THE WORLD
The printed artworks will be distributed in the October 2020 issue of frieze magazine and the participating institutions.
to buy
THESE TIMES artists and institutions:
Arco | España | Portugal, Leonor Antunes, museu de arte de são paulo, Brasil. Fernando arias, museo de arte moderno de Bogotá, Colombia. Stefan Brüggemann, Museo Jumex, México. Paulo Bruscky, Nara Roesler, Brasil, USA. Vivian Caccuri, a gentil carioca, Brasil. Marcela Cantuária, a gentil carioca, Brasil. Alberto Casari, Mac Lima, Perú. Leda Catunda Fortes d’aloia & gabriel, Brasil. Feliciano Centurión, Americas Society USA. Lia Chaia Galeria Vermelho, Brasil. Gabriel Chaile, Proa21, Argentina. Marcelo Cipis, Bergamin & gomide, Brasil. Minerva Cuevas, Kurimanzutto, México. Mariana Castillo Deball Museo Amparo, México. Can, Embajada, Borikén (Puerto Rico). Luis Flores El Museo Del Barrio, USA. Regina José Galindo, Proyectos Ultravioleta, Guatemala. Felix Gonzalez-Torres, De La Cruz Collection, USA. Cristina Iglesias, Casa Del Faro Isla De Santa Clara, Donostia San Sebastián. España. Leandro Katz, Henrique Faria, Herlitzka + faria, Argentina, USA. Artur Lescher, Nara Roesler Brasil, USA. Laura Lima, A Gentil Carioca, Brasil. Diana López @accionlibertad Venezuela. Mateo López, Galeria Luisa Strina, Brasil. Gilda Mantilla, 80m2 Livia Benavides, Perú. Beatriz Milhazes, Museu De Arte De São Paulo, Brasil. Wynnie Mynerva, Ginsberg Galeria, Perú. Ernesto Neto, Fortes D’aloia & Gabriel, Brasil. Juan José Olavarría, Galería Municipal De Arte Pancho Fierro, Perú. Damián Ortega, Kurimazutto, México. Bernardo Ortiz, Casas Riegner, Colombia. Silvana Pestana, Ginsberg Galeria, Perú. Gala Porras-Kim, Rose Art Museum Labor usa México proa 21 Argentina. Leticia Ramos Mendes wood dm I Brasil Belgique usa. Ana Roldán, Instituto De Visión, Colombia. Anri Sala, Centro Botín, España. Francesco João Scavarda Mendes wood dm, Brasil, Belgique, usa. Alejandra Seeber, Barro, Argentina. Santiago Sierra, Helga de Alvear, España. Teresa Solar, Travesía Cuatro México España. Juan Sorrentino Fundación Proa Argentina. Daniel Steegmann Mangrané, Mendes wood dm I Brasil, Belgique usa. Mario Garcia Torres, Museo de arte contemporaneo de Monterrey, México. Oriol Vilanova, Kotaro Nukaga, Japan. Héctor Zamora, The Met, Labor, usa, México. Zona Maco, México.
THESE TIMES Team
Curator: Sandra Antelo-Suarez
In cooperation with Ana Sokoloff
Graphic Design: MattDeFrain, Florencia Lechin, Ana Winograd
Press Links
ARTISHOCK
Arte en tiempos de Pandemia ‘These Times’
By Leyla Dunia
14.10.2020
SP-ARTE 365 These Times By Barbara Mastrobuono
10.07.2020
https://www.sp-arte.com/editorial/these-times/
THE GUARDIAN ‘It’s up to people to change the system’: the artists using stamps as resistance By Nadja Savej
09.30.2020
https://www.theguardian.com/artanddesign/2020/sep/30/these-times-stamp-art-project
The Guardian Gentileschi’s shocking genius and Bruce Nauman’s Clown Torture – the week in art By Jonathan Jones Fri 2 Oct 2020
https://www.theguardian.com/artanddesign/2020/oct/02/artemisia-gentileschi-bruce-nauman-royal-academy-week-in-art?utm_term=8a4d258c60a92a73962d0729790e4a44&utm_campaign=ArtWeekly&utm_source=esp&utm_medium=Email&CMP=artweekly_email
FRIEZE MAGAZINE Current issue – October 2020 – Issue 214
https://shopcc.frieze.com/products/current-issue-october-2020-issue-214?utm_source=partner&utm_medium=insert&utm_campaign=t
ViceVersa Magazine TRANS> presenta «these times», sellos postales en formato impreso y digital
https://www.viceversa-mag.com/evento/trans-presenta-these-times-sello-postales-en-formato-impreso-y-digital/
PROA 08.24.2020 These Times: un proyecto por 50 artistas y 50 instituciones
http://proa.org/proanoticias/2020/08/24/these-times-un-proyecto-por-50-artistas-y-50-instituciones/
Clarín.com – Revista Ñ 08.27.2020
Arte en estampillas para este tiempo, un premio para el Museo Evita y el documental de Ai Weiwei sobre Wuhan Por March Mazzei
https://www.clarin.com/revista-enie/arte-estampillas-tiempo-premio-museo-evita-documental-ai-weiwei-wuhan_0_hBuViiucv.html
CLARÍN 17.09.2020 Proyecto global Un arte epistolar, pese al 5G
Por Pilar Altilio
http://clarin.com/revista-n/arte/arte-epistolar-pese-5g_0_vKqoTDRff.html
Alejandra Seeber. Leda Catunda: Fuera de Serie
John Yau… [et al.] – 1 edición bilingüe –
Ciudad Autónoma de Buenos Aires: Malba, 2020
108 p.; 28 x 22 cm.
Edición bilingüe: Español- Inglés.
Traducción de: Frances Riddle; Jane Brodie;
Socorro Giménez.
1. Arte Americano. 2. Artes Plásticas. 3. Artes Visuales.
I. Yao, John. II. Riddle Frances, trad. III. Brodie, Jane IV. Gimenez, Socorro, trad.
CDD 750.2
If interested click on link below:
https://www.malba.org.ar/en/catalogo-alejandra-seeber-leda-catunda-fuera-de-serie/
Join us for a conversation between Guillermo Kuitca and Alejandra Seeber, to celebrate the publication of Alejandra Seeber: Picture This. The conversation will be moderated by Aimé Iglesias Lukin, director and chief curator of Americas Society.
The publication is the first monograph on the New York-based, Buenos Aires–born Alejandra Seeber. In her often large-scale works, Seeber explores the possibilities of painting in-between figuration and abstraction. Her ambivalent pictorial language cannot be deciphered on a linear path, since in her colorful, shining paintings, out of nonrepresentational elements, narrative references suddenly emerge. There are allusions to subjects that dissolve instantly into expressive chromaticity and painterly dynamics. Seeber has characterized the act of painting as a journey with an undefined destination. Her work has been exhibited around the world, including the Bronx Museum of Art, Brazil’s Biennial Mercosul and the Kunstmuseum St. Gallen.
The book, edited by Alejandro Cesarco, includes texts by Karin Schneider, Inés Katzenstein, and Konrad Bitterli, and a conversation between Valentina Liernur and the artist.
Alejandra Seeber – Picture This Featuring the Artist in Conversation with Guillermo Kuitca:
Join us for a conversation between Guillermo Kuitca and Alejandra Seeber, to celebrate the publication of Alejandra Seeber: Picture This. The conversation will be moderated by Aimé Iglesias Lukin, director and chief curator of Americas Society.
NOV 7, at 6:30 , Americas Society
The publication is the first monograph on the New York-based, Buenos Aires–born Alejandra Seeber. In her often large-scale works, Seeber explores the possibilities of painting in-between figuration and abstraction. Her ambivalent pictorial language cannot be deciphered on a linear path, since in her colorful, shining paintings, out of nonrepresentational elements, narrative references suddenly emerge. There are allusions to subjects that dissolve instantly into expressive chromaticity and painterly dynamics. Seeber has characterized the act of painting as a journey with an undefined destination. Her work has been exhibited around the world, including the Bronx Museum of Art, Brazil’s Biennial Mercosul and the Kunstmuseum St. Gallen. The book, edited by Alejandro Cesarco, includes texts by Karin Schneider, Inés Katzenstein, and Konrad Bitterli, and a conversation between Valentina Liernur and the artist.
This program will be streamed live, please follow the this link https://youtu.be/
https://www.hatjecantz.de/alejandra-seeber-7463-1.html
From «Tablecloth», 1991 to «surfer», 2018, the book tracks the artist̕s aesthetic concerns and strategies as she negotiates and undoes a number of dominating structural binaries such as high/low, abstraction/figuration, modern/postmodern, and center/periphery. The book presents Seeber’s intuitive, rigorous, humorous, seductive, ever-changing painting practice – together with installations and objects – and includes a conversation between Valentina Liernur and the artist.
The publication was co-produced by Häusler Contemporary.
Ed. Alejandro Cesarco, text(s) by Konrad Bitterli, Valentina Liernur, Karin Schneider, Ines Katzenstein
English
2019. 176 pp., 134 ills.
20.30 x 25.40 cm
ISBN 978-3-7757-4495-9
https://haeusler-contemporary.com/alejandra-seeber_en/
https://haeusler-contemporary.com/alejandra-seeber-picture-this_en
26 JANUARY 2018 TO 29 JUNE 2018
Viewing the Other, Works in Glass: Tony Cragg, Mona Hatoum, Ki-Ra Kim, Raimund Kummer, Alejandra Seeber, Kiki Smith, Pae White.
Under the title, Viewing the Other, the Alexander Tutsek-Stiftung presents contemporary glass sculptures by international artists in the context of a series of thematic exhibitions. The title of the exhibition plays with the double meaning of the words. The artists look at things from (an)other perspective and at the same time address their interest in the “other”: the self versus the other (person), the internal versus the external body, civilization versus wilderness, earth versus cosmos, life versus death. They are interested in perceiving the other, in the relationship between contemplation and recognition, in understanding.
Many contemporary artists have rediscovered the magic of the material. They work with materials that are generally allocated to the crafts, to the functional, or to decoration. They value the immediacy and haptic qualities of the material, the physical and emotional effect on the viewer and the historic, intellectual, and spiritual meanings. “The appreciation of the material glass has increased significantly in contemporary art,” says Dr. Eva-Maria Fahrner-Tutsek, Chair of the foundation. She wanted to dedicate an exhibition to this phenomenon and has brought together significant works by renowned international artists.
What aspects of glass fascinate artists who come primarily from painting such as Alejandra Seeber, or those who work with bronze, marble, or wood such as Tony Cragg, or with video such as Mona Hatoum and photography such as Raimund Kummer? Is it the play of light inherent to glass; its reflections, fragility, and translucency, its technical possibilites, tradition and history, its narrative quality? With these questions the exhibition, Viewing the Other, also contributes to the discourse on glass in contemporary art.
The selected works by seven artists are all pieces of exceptional quality and cultural significance. As different as they may be, the thirteen works come together as a narrative: The Speech Bubbles (2014) floating in space by the Argentinian artist Alejandra Seeber (b. 1969), Gespräch unter drei Augen (1990) by Raimund Kummer (b. 1954), or the couple of Listeners (2015) made by the British artist Tony Cragg (b. 1949); the wall piece Glass Feathers (2015) by the Korean artist Ki-Ra Kim (b. 1959), Korb V (2014) with two red cell-shaped vessels by the London-based, Palestinian artist Mona Hatoum (b. 1952); Ashen (2010) by the New York artist Kiki Smith (b. 1954) in which glass flowers grow from a wooden sculpture resembling a coffin, or Overserved (2017), a wall built of reflecting deep-blue glass bricks by Pae White (b. 1963).
The installations create a poetics of space. They transform the house of the foundation, an Art Nouveau villa and once a sculptor’s studio, into a space that draws the viewer into contemplation and reflection.
From January 26 to June 29, 2018, Alexander Tutsek-Stiftung, Munich, Germany.
In this impressive, cave like setting, Seeber presents among others her latest series of works, »Taxi« and »Knitt«.The paintings in the»Taxi« series are dynamic, colorful and, as is often the case with Seeber, characterized by different pictorial elements.
INAUGURACIÓN . OPENING
Autoamerican — ALEJANDRA SEEBER
Organized as if it were a collage, Alejandra Seeber’s installation took shape over several months with the same method that artist uses to create her paintings: by embracing new influences, collaborations and motivations, all of which make the exhibition a totally polyphonic experience. Autoamerican takes the name of the Blondie album of the 80s as a déjà vu. With the city in the background, Seeber examines what it means to live in a generic, imprecise America, from which she takes scraps and observes generalities in order to recompose her own version, or collection of unpredictable personal snapshots.
In Autoamerican, Alejandra Seeber works with Barro as if the space were a giant display. On entering the gallery, there is a walkway of flowerpots that replicate those that Seeber saw in the hall of the Guggenheim in New York, a city where she has lived for more than 15 years. From the museum she also brought to the gallery a drawing of the brass joins in the paving stones, like golden circles that will gradually disappear with the passing of time. By means of a system of montages, in which she combines elements as dissimilar as a work by Richard Serra, rationalist buildings in the United States or the hexagonal shape of the landing stage of the lake at Chascomús, Seeber copies, translates and pastes different spaces and moments, taking from them anything that attracts her attention. Some of the logic of the collage is also transferred to the ten paintings and the video that complete the room. In them she imposes “methods” in painting on herself: she takes random slips of paper containing slogans that determine the composition of the picture; her idea is that production of a piece of artwork should last as long as a day; or she side-steps the recognition of any form as she paints. With names like Get away (a “couple of brushstrokes and off I go”, like a weekend getaway) or Tutti frutti, she’s dealing with the rules that she has drawn up over the years, which she combines or uses as a starting point for her work. They are excuses to systematise her daily personal relationship with painting in a game. The exhibition also contains her first video-installation: filmed on Beacon Day in New York, the slow motion sound invades the room suggesting a rhythm of contemplation for painting. The title Autoamerican is a reference to the Blondie album of the 80s. In a photo recreating the album cover in which she poses as Debbie Harry, with the city in the background, Alejandra Seeber hits back at the America that takes possession of everything. To quote Sonia Becce, Autoamerican is areference to “what it means to live in a generic, imprecise America, from which Seeber takes scraps and observes generalities in order to recreate her own America (…) as a collection of unpredictable personal snapshots”.
BARRO
ARTE CONTEMPORANEO
CABOTO 531 LA BOCA
C1157ABI BUENOS AIRES
+54 11 4978 3759
GALERIA@BARRO.CC
WWW.BARRO.CC
We are delighted to present at Haus 2226 in Lustenau Argentinian painter Alejandra Seeber whose works received wide recognition at the 2009 Biennial of Mercosul in Porto Alegre (BR) and at the Kunstmuseum St.Gallen’s important exhibition «Ambigu» in 2010. Selected works from the past four years and examples from a whole new series show how multilayered and refreshing Seeber approaches the traditional medium.
In her often large-scale works, Alejandra Seeber (*1968, Buenos Aires, BR, lives in New York, US) explores the diverse possibilities of painting in between figuration and abstraction. Her ambivalent pictorial language cannot be deciphered on a linear path, since in her colorful shining paintings, out of nonrepresentational elements, narrative references suddenly emerge. There are allusions to subjects that dissolve instantly into expressive chromaticity and painterly dynamics. These dichotomies and the encounter of different motives let her works become many-faceted and surprising.
Seeber entitles her exhibition in Lustenau «Getaways». This title refers to her correspondent work series from 2014/15 some examples of which are presented in Lustenau, but it also references a particularity of the artistic work in general: Seeber perceives the process of painting as a journey with undefined destination.
The works from the «Getaway» series and the related «Escape» paintings that are also on view in Lustenau are characterized by a comparatively calm way of painting and by earthy colored planes. A singular and large abstract form often dominates the composition of these pictures, and often this abstract element also adopts features of an object. In «Getaway 4» for example, the main figure reminds of a sculpture, maybe a bust, in »Escape 1« one might recognize an hourglass. For this series, Seeber imposed self-made conditions on her way of painting that she terms »elegant palette and no conflict«. The artist as well as the viewer can dive into contemplation when facing these paintings. As suggested by the title, they allow for an escape into a meditative and balanced color space.
In contrast, the works of the new series «Taxi», which Seeber has been working on for the past year, are dynamic, colorful and – as is often the case with Seeber – structured by different pictorial elements. In most of the works from this series a part-brick wall appears, giving support to the otherwise freely floating motifs: water, a hint of sea landscapes, fruits, naked bodies or pink colored, amorphous planes that are readable as a reminiscence of the skin. Also Seeber entangles in this series graphic and painterly games.
Thus, our show offers a representative overview of Seeber’s work of the last four years and illustrates the characteristic power, diversity and innovation of her painterly approach.
Deborah Keller, Häusler Contemporary
Biographical Information
Alejandra Seeber’s work is regularly shown in international solo and group exhibitions. The artist, who among others studied painting with David Reed, became widely known for her contribution to the Mercosul Biennial in Porto Alegre (BR, 2009) and her participation in the important painting exhibition «Ambigu» of the Kunstmuseum St.Gallen (2010). In 2017 she was prominently represented in the exhibition «Ultramar: Fontana, Kuitca, Seeber, Tessi» of the Museo Thyssen Bornemisza in Madrid. For 2018 Fondazione Querini Stampalia is planning a major solo exhibition in Venice.
Well-known collections such as the Museum of Modern Art in Buenos Aires or the Staatliche Graphische Sammlung in Munich have works by Alejandra Seeber.
INAUGURACIÓN . OPENING
Autoamerican — ALEJANDRA SEEBER
Organized as if it were a collage, Alejandra Seeber’s installation took shape over several months with the same method that artist uses to create her paintings: by embracing new influences, collaborations and motivations, all of which make the exhibition a totally polyphonic experience. Autoamerican takes the name of the Blondie album of the 80s as a déjà vu. With the city in the background, Seeber examines what it means to live in a generic, imprecise America, from which she takes scraps and observes generalities in order to recompose her own version, or collection of unpredictable personal snapshots.
In Autoamerican, Alejandra Seeber works with Barro as if the space were a giant display. On entering the gallery, there is a walkway of flowerpots that replicate those that Seeber saw in the hall of the Guggenheim in New York, a city where she has lived for more than 15 years. From the museum she also brought to the gallery a drawing of the brass joins in the paving stones, like golden circles that will gradually disappear with the passing of time. By means of a system of montages, in which she combines elements as dissimilar as a work by Richard Serra, rationalist buildings in the United States or the hexagonal shape of the landing stage of the lake at Chascomús, Seeber copies, translates and pastes different spaces and moments, taking from them anything that attracts her attention. Some of the logic of the collage is also transferred to the ten paintings and the video that complete the room. In them she imposes “methods” in painting on herself: she takes random slips of paper containing slogans that determine the composition of the picture; her idea is that production of a piece of artwork should last as long as a day; or she side-steps the recognition of any form as she paints. With names like Get away (a “couple of brushstrokes and off I go”, like a weekend getaway) or Tutti frutti, she’s dealing with the rules that she has drawn up over the years, which she combines or uses as a starting point for her work. They are excuses to systematise her daily personal relationship with painting in a game. The exhibition also contains her first video-installation: filmed on Beacon Day in New York, the slow motion sound invades the room suggesting a rhythm of contemplation for painting. The title Autoamerican is a reference to the Blondie album of the 80s. In a photo recreating the album cover in which she poses as Debbie Harry, with the city in the background, Alejandra Seeber hits back at the America that takes possession of everything. To quote Sonia Becce, Autoamerican is areference to “what it means to live in a generic, imprecise America, from which Seeber takes scraps and observes generalities in order to recreate her own America (…) as a collection of unpredictable personal snapshots”.
BARRO
ARTE CONTEMPORANEO
CABOTO 531 LA BOCA
C1157ABI BUENOS AIRES
+54 11 4978 3759
GALERIA@BARRO.CC
WWW.BARRO.CC
Alejandra Seeber: »Tutti frutti«
Opening: Thursday, 4 February 2010, 6–8 pm
With the second instalment of »New Positions«, continues its series of first-time presentations of young international artists in Switzerland. The exhibition »Tutti frutti« is dedicated to the work of the Argentine artist Alejandra Seeber .
Alejandra Seeber’s solo presentation is centred around her recent series of large-format paintings, which were shown to great critical acclaim at last year’s Bienal do Mercosul in Porto Alegre, Brazil, and are here presented for the first time in Europe. The installation of these dynamic-expressive works at the Biennale evoked a cabaret setting complete with stage and backstage areas. The title of the Zurich exhibition, »Tutti frutti«, refers to the great variety of colours, motifs and approaches that characterises the artist’s work, which concentrates on the artistic process rather than on a specific subject or theme.
The work of Alejandra Seeber, who lives and works in New York and Buenos Aires, comprises both abstract and figurative components. Seeber’s abstract-expressive compositions are frequently populated by figurative elements, thus staging an apparent contradiction which, along with the combination of a wide diversity of motifs, accounts for the multiple layers and depth of field in her paintings. This specific series is informed by a series of »case studies« deriving from an in-depth research on chance procedures. In some cases the paintings have been executed by following a score written for an unknown grid, which contains the various visual elements. The use of collage or folding techniques similar to Rorschach tests allows the artist to obtain chance motifs, thus further underlining the notion of change, instability and transformation inherent in her work.
»My paintings do not explain themselves«, confirms Seeber. »Rather, I prefer to leave questions open, presenting viewers with a decisive point of entry.« Instead of focussing on the actual result or providing definite explanations, the artist’s work explores the possibilities of painting through other disciplines, languages and questionings.
