Tag: argentina

Feliciano Centurión

The Textile Art of Feliciano Centurión

Born in the city of San Ignacio, Misiones in March of 1962, Feliciano Centurión was a Paraguayan artist known for his painting and textile work that incorporated painting, knitting, crocheting and embroidering. He was raised in a matriarchal household where he was taught the traditional crafts normally associated with women’s work.

Feliciano Centurión’s family fled to Formosa, Argentina to escape the military dictatorship of Paraguayan President Alfredo Stroessner. He received his initial art education in the visual arts at Formosa’s Oscar R. Albertozzi School of Fine Arts. Centurión permanently relocated to Buenos Aires where he studied painting at the Ernesto de la Cárcova Superior School of Fine Arts and the Prilidiano Pueyrredón School of Fine Arts. He earned the National Professor and Superior Professor of Painting degrees. 

Centurión incorporated ordinary household items into his artwork, such as blankets (frazadas), handkerchiefs, and pillowcases which he purchased at local street markets. His textile work followed the weaving traditions held by the indigenous Guaraní people of the interior regions of South America, particularly those of Brazil, Argentina, Paraguay and Bolivia. Centurión also integrated the technique of ñandutí, an intricate method of lace weaving that was traditionally taught from mother to daughter. His design motifs included images of both flora and fauna as well as diaristic texts. 

After surviving the dictatorships in both Paraguay and Argentina, Feliciano Centurión thrived in Argentina after the collapse of the country’s authoritarian regime in 1983. He became associated with the Centro Cultural Ricardo Rojas, a cultural center operated by the University of Buenos Aires, where he became acquainted with the work of other young artists. Centurión incorporated the kitsch references and queer aesthetics of these artists into his painting and embroidery work now being done on inexpensive, patterned blankets. Established as an artist, he participated in thirty-one solo exhibitions in Argentina and Paraguay between 1990 and 1996. 

Diagnosed with HIV in 1992 at a time when no accessible treatments were available, Centurión began chronicling his declining health by weaving texts into increasingly smaller and more intricate fabrics. At a time when government policies and media reports stigmatized the virus and its victims, he expressed humanizing, sentimental notions of comfort and intimacy into his fabric work. Centurión’s works were composed of bright colors and animals, such as snails and crocodiles, remembered from his childhood. His blankets celebrated both his matriarchal upbringing and Paraguay heritage; he used his embroidered work to express his queer identity and elevate the status of textile art. 

Feliciano Centurión had his first solo exhibition in 1982 at the Estimulo del Belles Artes in Asunción, Paraguay, and represented Paraguay at the fifth Havana Biennial in 1994. His final works, a series of embroidered pillows, were made while he was hospitalized. Centurión died on the seventh of November of 1996 at the age of thirty-four in Buenos Aires. 

A retrospective of Centurión’s work was exhibited in 2018 at the 33rd São Paulo Biennial in Brazil. The Americas Society/Council of Americas (AS/COA) held the first solo exhibition of his work in the United States from February to November of 2020. Held at its Park Avenue gallery in New York City, this exhibition received the support of the WaldenGallery, Galeria Millan, and Cecilia Brunson Projects as well as the City of New York. Centurión’s work is included in the current 2024 exhibition, “The Power and Politics of Textiles in Art”, at London’s Barbican Art Gallery until the 26th of May.

Notes: The exhibition catalogue “Feliciano Centurión: Abrigo” from the Americas Society/Council of Americas’s 2020 exhibition, which contains the exhibited work and an extensive biography, can be located at: https://www.as-coa.org/sites/default/files/archive/FelicianoCenturionPocketBook.pdf 

The Visual AIDS site has a tribute page to Centurión which contains a short biography and an online collection of over fifty images of his work: https://visualaids.org/artists/feliciano-centurion

Second Insert Image: Feliciano Centurión, “Flamencos”, circa 1990, Acrylic on Blanket, 42 x 53 cm, Private Collection

Bottom Insert Image: Feliciano Centurión, “Surubí”, 1992, Acrylic and Varnish on Blanket, 200 x 190 cm, Private Collection

Andres Barbiani

Andres Barbiani, “Stairway”

Andres Barbiani is a photographer from Venado Tuerto, Santa Fe, Argentina. In 2008 he started his photographic work with his friend Federico Luppi. At the end of 2009, one of his words was awarded a Jury Mention in a national contest of two thousand entries. Barbiani had an exhibition of photographs entitled “El Berretin de Lee Debord” in the city of Venado Tuerto during the month of February 2010. In August of 2010 one of his photographs was selected for the book “En Blanco y Black” by the Spainish publisher ArtGerust.

Nicolás Campodonico

Nicolás Campodonico, Capilla San Bernardo Nicolás Campodonico (Saint Bernard’s Chapel), Cordoba, Argentina

Located in the Pampa plains area of Cordoba, Argentina, Saint Bernard´s Chapel rises in a small grove, originally occupied by a rural house and its yards. The rural house and its yards were both dismantled in order to reuse their materials, especially its one-hundred-year-old bricks. The site does not have electricity or any other utilities.

In the limit between the trees and the open country, the chapel´s volume opens up towards the sun, capturing the natural light of the sunset in the interior. Outside, a vertical and a horizontal poles are placed separately and projected towards the interior. As a result, every day all year round, the shadow of these, slides along the curved interior, finishing its tour overlapping with each other. The crucifixion is conceptually completed with the reunion of both poles, recreating the cross. Every day, the shadows of the poles make their way separately to finally meet and recreate the cross.

Architect: Nicolás Campodonico
Architect collaborators: Arq. Martin Lavayén, Arq. Soledad Cugno, Arq. Virginia Theilig, Arq. Gabriel Stivala, Arq. Tomás Balparda, Arq. Pablo Taberna, Arq. Gastón Kibysz.

 

Eduardo Catalano

Eduardo Catalano, Stainless Steel and Aluminum, Buenos Aires, Argentina

Inaugurated in April 2002, this gigantic flower by Buenos Aires-born Eduardo Catalano  has become one of the latest icons of Buenos Aires. Officially the flower goes by the name of Floralis Generica, but since nobody seems to be able to remember that ‘scientific’ name, it usually gets called the Steel Flower. The solar flower is 23 metres high and weighs 18 tonnes. When the petals are open they span 32 metres and when closed only 16 metres.

One of the fascinating features of this sculpture is that it acts like a real flower in that its gigantic petals are open during the day and then close for the night with a red glow emanating from within. There are four special nights a year where the petals remain open: 25th May, 21st September and the 24th and 31st of December.

The Steel Flower is made of stainless steel and aluminium and sits in the centre of a pool of water which reflects the flower and also protects it from vandals.