inauguración sábado 11 de Agosto
18.30 hs en galería Nora Fisch
hasta el 31 de Agosto 2012
De la serie Proverbio alquimista
círculos dorados
50 x 70 cm - 2012
Monday, August 06, 2012
Nunca se sabe - You Never KNow
en exposición en MAMbA Museo de arte moderno de Buenos Aires
28 de junio a Septiembre 2012
Friday, June 01, 2012
Premio Andreani: exposición itinerante: MAC Salta
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http://www.culturasalta.gov.ar/content/view/10569/320
Thursday, May 17, 2012
presentación catálogo URRA
catálogo Segunda Residencia internacional de artistas en Buenos Aires URRA Los esperamos para brindar en el Espacio BOCA RATÓN: Calle Hernandarias 1320, La Boca Buenos Aires,20 de mayo 14:00 a 18:00 hs.
Wednesday, May 16, 2012
Friday, May 11, 2012
Wednesday, April 04, 2012
Monday, March 26, 2012
LATIDO publicación de arte
Lunes 26 de Marzo 19 hs
presentación de LATIDO
URBAN STATION
El Salvador 4588, C.A.B.A.
Thursday, December 08, 2011
12 / del 21 de diciembre al 28 de febrero 2012
de la serie proverbio alquimista
1. turquesa -oro
2. cyan-plata
calado y pigmentos sobre impresión 2011
colectiva
galería Nora Fisch arte contemporáneo
calado y pigmentos sobre impresión 2011
colección privada
colectiva
galería Nora Fisch arte contemporáneo
Wednesday, November 02, 2011
Premio Fundación Andreani - itinerante
Premio Andreani en el Museo "Dr. J.R.Vidal" de Corrientesinauguración 16 de noviembre - 20.30hs
obra seleccionada: "Nunca se sabe / You Never KNow" instalación 2011
Saturday, October 08, 2011
Artnexus : Issue # 81 : x Eva Grinstein
Solo Show
Cynthia Kampelmacher
Issue #81 Jun - Aug 2011
The artistic career of Cynthia Kampelmacher (Buenos Aires, 1968), has unfolded with the same discretion that characterizes her work: without much noise, firm, industrious, and delicate. Timely detected by the educated eye of Guillermo Kuitca, she has experimented with several artistic approaches, but her most decided tendency belongs to a formalist tradition inclined toward details of order and/or color. In many of her earlier works, Kampelmacher worked on paper¿photographed or drawn¿that she etched, retouched, and wrinkled in a collage-like approach. Later on, in other pieces, she organized objects in the space and added a more conceptual touch, like in, for instance, her acclaimed work entitled Formación (Formation). It consists of a pile of windshield taken from crashed cars. The web-like design created by the crash on the glass¿s surface, afterward reappeared in the intervened photographs of combined landscapes. This pointed both to continuity as well as to a change in direction. Her experiments with form and space reached their highest point with an intervention at the Museo MACRO in Rosario. Not only Kampelmacher worked in the reorganization of the archives and documents in the production office¿as she turned a private area of the Museum into an aesthetically compelling space¿but was also able to develop a sculptural proposal from the leftovers that resulted from that ¿cleaning.¿
For her solo show at the brand new Galería Nora Fisch¿an Argentine who studied and lived in New York for 20 years and is now back in Buenos Aires, where she opened a small but interesting space¿Kampelmacher revisits some of her past themes and attempts new approaches with them. In one of her installations, fourteen paintings emulate wooded foliage¿based on the veined surface of the wood that supports the works¿to construct the evoked image through the superimposition of boards of various sizes that have been placed on the floor and that alter the observer¿s point of view.
In another work, a piece of furniture is dismantled, neutralized with black paint, and placed against the corner section of a wall also painted in black, something that accentuated a rare disappearance-through-the-use-of-volume effect. But it is in a third work, a drawing turned into a sculpture, where Kampelmacher performs her most intense gesture. A paper that measures 4 meters (13.12 feet) in length is meticulously drawn to recreate the illusion of a jungle. The translucent paper¿which the artist spent hours rendering¿is then subjected to an irreversible dimpling process by which the plane becomes an uneven mass, as the lines of the drawing disappear and are replaced by shadows and abrupt borders marked by the pressure of the folds. The volume covers the remaining parts of a drawing that becomes something else. Under the effect created by the lacquer applied to the surface, the work at times looks like a rock proud of its sinuous format. Sparkling with contradiction, this false and very light rock hangs from the ceiling over the viewer¿s head, as he/she is able to contemplate it but only from a certain distance. It is perhaps because of the sense of sacrifice conveyed by this work¿a notion also present in the disassembled built-in closet placed against the wall in the back¿that Kampelmacher¿s approach appears to be delving into new territory when compared to her earlier body of work. If the windshields were silent remnants of accidents that could be imagined without the need to witness, this paper was burdened with the responsibility of being the fossil of a drawing condemned to be destroyed the moment it was completed.
http://www.artnexus.com/Notice_View.aspx?DocumentID=23113
Cynthia Kampelmacher
Issue #81 Jun - Aug 2011
| Argentina, Buenos Aires Güemes 2967 PB |
| Institution: |
| Nora Fisch Arte Contemporáneo |
| Eva Grinstein |
The artistic career of Cynthia Kampelmacher (Buenos Aires, 1968), has unfolded with the same discretion that characterizes her work: without much noise, firm, industrious, and delicate. Timely detected by the educated eye of Guillermo Kuitca, she has experimented with several artistic approaches, but her most decided tendency belongs to a formalist tradition inclined toward details of order and/or color. In many of her earlier works, Kampelmacher worked on paper¿photographed or drawn¿that she etched, retouched, and wrinkled in a collage-like approach. Later on, in other pieces, she organized objects in the space and added a more conceptual touch, like in, for instance, her acclaimed work entitled Formación (Formation). It consists of a pile of windshield taken from crashed cars. The web-like design created by the crash on the glass¿s surface, afterward reappeared in the intervened photographs of combined landscapes. This pointed both to continuity as well as to a change in direction. Her experiments with form and space reached their highest point with an intervention at the Museo MACRO in Rosario. Not only Kampelmacher worked in the reorganization of the archives and documents in the production office¿as she turned a private area of the Museum into an aesthetically compelling space¿but was also able to develop a sculptural proposal from the leftovers that resulted from that ¿cleaning.¿
For her solo show at the brand new Galería Nora Fisch¿an Argentine who studied and lived in New York for 20 years and is now back in Buenos Aires, where she opened a small but interesting space¿Kampelmacher revisits some of her past themes and attempts new approaches with them. In one of her installations, fourteen paintings emulate wooded foliage¿based on the veined surface of the wood that supports the works¿to construct the evoked image through the superimposition of boards of various sizes that have been placed on the floor and that alter the observer¿s point of view.
In another work, a piece of furniture is dismantled, neutralized with black paint, and placed against the corner section of a wall also painted in black, something that accentuated a rare disappearance-through-the-use-of-volume effect. But it is in a third work, a drawing turned into a sculpture, where Kampelmacher performs her most intense gesture. A paper that measures 4 meters (13.12 feet) in length is meticulously drawn to recreate the illusion of a jungle. The translucent paper¿which the artist spent hours rendering¿is then subjected to an irreversible dimpling process by which the plane becomes an uneven mass, as the lines of the drawing disappear and are replaced by shadows and abrupt borders marked by the pressure of the folds. The volume covers the remaining parts of a drawing that becomes something else. Under the effect created by the lacquer applied to the surface, the work at times looks like a rock proud of its sinuous format. Sparkling with contradiction, this false and very light rock hangs from the ceiling over the viewer¿s head, as he/she is able to contemplate it but only from a certain distance. It is perhaps because of the sense of sacrifice conveyed by this work¿a notion also present in the disassembled built-in closet placed against the wall in the back¿that Kampelmacher¿s approach appears to be delving into new territory when compared to her earlier body of work. If the windshields were silent remnants of accidents that could be imagined without the need to witness, this paper was burdened with the responsibility of being the fossil of a drawing condemned to be destroyed the moment it was completed.
http://www.artnexus.com/Notice_View.aspx?DocumentID=23113
Monday, September 12, 2011
Premio Fundación Andreani
obra seleccionada: "Nunca se sabe / You Never KNow" instalación 2011
http://castagninomacro.org/info/2011/09/
gacetillas prensa:
http://www.puntobiz.com.ar/noticia/articulo/62120/Fundacion_Andreani_inaugura_muestra_de_arte_en_el_Castagnino.html
http://www.lacapital.com.ar/ed_senales/2011/9/edicion_145/contenidos/noticia_5034.html
http://www.elfisgondigital.com/fsgw/arte/nota72704
http://ftp.viarosario.com/arquitectura/notas/premio-fundacion-andreani-11-12-museo-castagnino-25782.html
http://www.logistica.enfasis.com/notas/20341-fundacion-andreani-inaugura-su-muestra-arte-
http://www.revistag7.com/noticias-mas-importantes/arte-itinerante/://www.artealdia.com/Argentina/Agenda/Exposiciones_Muestras/Premio_Fundacion_Andreani2
Thursday, September 01, 2011
expotrastiendas 2011
de la serie "Proverbio Alquimista" -cobre- 2011
de la serie "Proverbio Alquimista" -dorado- 2011
colección privada
revista La Nación 28 de agosto 2011
1 al 5 de septiembre : pabellón ocre La Rural : stand galería Nora Fisch
Thursday, July 28, 2011
Tuesday, July 05, 2011
Acido Surtido : par
participación en nro. 22 de esta publicación
presentación Lunes 11 de julio 20hs.
http://www.acidosurtido.com.ar/par/index.html
http://www.acidosurtido.com.ar/proyecto.html
Wednesday, June 22, 2011
Museo Palacio Ferreyra
Programa Colecciones 2011
colección José Luis Lorenzo
Museo Palacio Ferreyra, Córdoba, Argentina
inauguración : 1 de Julio
Thursday, May 19, 2011
Wednesday, May 18, 2011
arteBa 2011 stand B13 Nora Fisch
Libro de la Selva - políptico - 100 x 200 cm. 2010
Colección particular
Desvelo extensible en capas
Colección particular
mesa-trastienda intervenida 120 x 81 x 80 cm.
Maraña Neblina - grafito sobre papel - 100 x 70 cm. - 2011
reseñas prensa:
http://www.diarioandino.com.ar/diario/2011/05/24/artymana-estuvo-en-arteba-2011
http://www.ambito.com/diario/noticia.asp?id=583995
http://www.cronista.com/controlremoto/La-Rural-adquiere-obras-para-Coleccion-Impulsarte-20110519-0002.html
http://www.unirse.com.ar/2011/05/20/unirse-radio-del-19-05-2011-amcham-impulsarte
http://pandorama-art.blogspot.com/2011/05/arteba-2011-20-anos-de-la-feria-de-arte.html
http://www.diariocrecer.com/index.php?option=com_content&view=article&id=727:artymana-visita-arteba-2011&catid=49:notas&Itemid=19
http://apuntesdelnatural.com/content/la-feria-arteba-se-clausura-con-optimismo
http://www.artishock.cl/2011/05/lo-que-me-dejo-arteba/
arteBA 2011 stand IMPULSARTE La Rural colección
catálogo Impulsarte
de la serie "Proverbio Alquimista" impresiones caladas en 2 capas
adquisición 2010 del programa Impulsarte de La Rural
exhibido en el stand de la colección en arteBA 2011
link VIDEO IMPULSARTE La Rural / arteBA 2011:
http://www.youtube.com/watch?v=f9_DPXAtqjo
Saturday, May 07, 2011
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