Importa un pepino, 2017

Galeria HACHE

Curaduria de Guido Ignatti

Fotos/ Photos: Ignacio Iasparra

Importa un pepino

¿Qué lugar ocupan las personas en la vida de una pintura? Superados los conflictos yoistas, superadas las preguntas introspectivas –que no conducen más que al autoconocimiento y a veces al autoengaño–, superado el diván de la pintura; puede que haya llegado el momento de preguntarse qué es lo que uno puede hacer por ella además de contemplarla. Comprender que la vida sigue su curso, aun cuando no estemos presentes, es una de las experiencias más intensas que puede atravesar el ser humano. Todas las cosas que transcurren en el plano material nos recuerdan la finitud de la carne ¬–y quizá también la del espíritu–. La pintura es, entre otras cosas, la manifestación de esa vivencia. El retrato y el paisaje, la personas y su entorno, el glóbulo ocular y el deseo de seguir existiendo cinco minutos después del último aliento. ¿Cómo nos plantamos entonces ante la imagen? ¿Importa para alguien más lo que suceda en este acto privado?

Importa en tanto sigue existiendo el pasaje de lo privado a lo público. El eterno dilema de salir del estado reflexivo para ir al encuentro del otro y entablar un diálogo a pura imagen, a viva voz. Una de las grandes discusiones que se iniciaron a fines de los 60 y continúa hoy, aunque ciertamente de otro modo, es la incidencia del contexto en la manifestación de la obra, y la posibilidad de que esta logre proyectarse independiente desde y sobre el espacio que viene a ocupar. Resulta paradójico que, en la era global del multiculturalismo ultra hibridado, la globalización y el artista migrante, para Quirno sea importante el concepto del estudio. Los talleres suelen ser hoy espacios transitorios, descartables, anodinos, pero, así y todo, revisten importancia no por lo que son sino por lo que permiten ser ahí, y sólo ahí. La potestad no radica en su arquitectura, en su materialidad, sino en la capacidad potencial de que cosas extraordinarias puedan suceder.

La obra presente en la galería parece operar directamente sobre el espacio de exhibición, lo que se dice un sitio específico, aunque de algún modo lo que en realidad hace es “importar” otro sitio: el taller. Santo lugar de intimidad. Así, las pinturas peregrinas son sostenidas por una trama personal que nos envuelve en una experiencia retiniana que activa los actos, los gestos, la performance de la contemplación.

Bruce Nauman dice: “Tuve la impresión, que todo lo que hice en el estudio pudo ser arte, por ejemplo, solo caminar por ahí”. Quirno utiliza lo cotidiano como una forma de entablar un diálogo con la otredad que hoy pretende amalgamarnos en la globalidad, y así logra que expresiones simples, como “caminar por ahí”, transmitan las formas más sutiles de sensibilidad.

Recorriendo esta sala me pregunto qué puede hacer uno por la pintura. Toda esta materialidad desplegada puede entenderse como un autorretrato instantáneo del autor y por qué no, del que mira. La pintura como reflejo de nuestra mortalidad, un espejo que estalla en el acto de mirar.

~ La exhibición de Sofi Quirno en Hache plantea un escenario posible sobre las relaciones aleatorias que se dan entre las personas, los objetos y los espacios que los contienen. La obra se proyecta como un todo fluctuante en donde la pintura funciona como catalizador de la experiencia de estas relaciones habituales que, segundo a segundo, vemos e ignoramos con igual esmero. Las pinturas de Quirno exploran lo cotidiano con una paleta reducida, concisa, y con un trazo decidido que pone especial atención en lo mínimo. La instalación, que toma las dos salas de la galería, integra las pinturas en el espacio de exhibición con proyecciones, TVs, intervenciones murales, objetos y modificaciones en la arquitectura para dar lugar a la performance de la contemplación y la experiencia pictórica.

*Pintura, instalación, video y performance en conversación con el público en las salas de la galería.

Guido Ignatti

 

Obras:

Mi libro de Jun Kaneko y yo

Mi libro de Jun Kaneko y yo

For Starters, 2017

For Starters was a one-night event featuring an installation by Sofia Quirno and performance by Jonathon Haffner at Emily Harvey Foundation 
 


For Starters is the beginning of an argument.
A conversation. 
A body in space is a sound in space. 
A step.
Interaction follows. 
 
Invited artists: Dalius Naujo and Oren Barnoy.
 
Sofia Quirno is a visual artist that works layering drawing, painting and video into site-specific installations, playing with the idiosyncrasy of the space she is working at. For this opportunity she is producing a piece that engages with the Emily Harvey Foundation gallery’s architecture, making a multimedia stage set for a series of collaborations with Jonathon Haffner and his band. The group composed of Jonathon Haffner, Dalius Naujo and Oren Barnoy will be featuring sound and dance. Long time friends and collaborators Jonathon and Dalius have worked in New York City for years playing many of the downtown clubs and Brooklyn venues in the creative and improvised music scene.  Recently they have been performing alongside Oren Barnoy as a way to explore music and movement. Here the sound does not accompany the dance and the dance is not a reaction to the music but all three act together as a trio, as if the dancer were in the band.
 
Jonathon Haffner was raised in Southern California where he began playing saxophone at an early age and studied with Phil Sobel. Since moving to New York City Jonathon has performed/recorded with Butch Morris, Kenny Wollesen, Bill Frisell, Jason Moran, Steven Bernstein, Medeski, Martin, and Wood, Uri Caine, Jim Black, Eddie Henderson, Chris Potter, Sex Mob, Cindi Lauper, Jesse Harris, Brazilian Girls, Brian Blade, Graham Haynes, Jonas Mekas, The Nublu Orchestra, Ilhan Ersahin, Elliott Sharp, Art Baron, David Binney, Rickie Lee Jones, Wadada Leo Smith and Red Baraat. Jonathon also co-lead the group 'Himalayas' with drummer Kenny Wollesen, and performed in the ensemble 'Now We Are Here' led by Jonas Mekas. He lives and works in NYC
www.jonathonhaffner.com

http://www.emilyharveyfoundation.org/exhibit.html

After noon, 2017

Installation at M E N Gallery, NY  curated by Molly Merson, Enrico Gomez and Nick De Pirro

Photos and video by Mark Hewko

if only you do not try to utter what is unutterable then nothing gets lost

- Wittgenstein (letter to Paul Engelmann, April 1917)

AFTER NOON, unlike afternoon and very much like tomorrow, is a promise of something that is inevitable and yet never comes. It belongs to the mystical world, where what exists is that which can only be shown. That is the world which Sofia Quirno's works inhabit.

Inspired by the idea of the gallery space in continuous flux and the grid as the ultimate starting point to establish coordinates, the artist created a site-specific multimedia installation for the inaugural exhibition at M E N. The space, the work and the viewers are treated by Quirno as integral parts of the image, creating a constant tension between the limits and borders of the piece. The artist invites the visitors to immerse themselves in the experience, in the space where revelations are imminent, even if never attained.

Calendar Day, 2016

Show at Praxis Art Gallery NY

Curator/ curadora VERONICA FLOM

Photos by Amal Kahn

 
 

 

CALENDAR DAY BY VERONICA FLOM

Fifteen or twenty children sit in a circle. One of them thinks up a sentence short or long as they would like and whispers it secretly to the child sitting closest who in turn transmits it to the next one. In this manner the message is delivered around the room, mouth to mouth, ear to ear. Since it is forbidden to repeat it, the sentence will most likely be altered, disfiguring itself to the point of complete transformation, becoming another sentence all together, perhaps with little to do with the original. That is why the game is called Broken Telephone*, quite popular among kids all over the world, or at least in Argentina, where Sofía Quirno was born and raised.

Just as in the game, the pieces in this exhibition communicate with each other in a way that leads to a trail of misunderstandings. The series does not intend to establish a meaning or an order, but the point is to create a fluidity that proposes a sense of dislocation. The connection between the works avoids a unique narrative, inviting the viewer to find their own personal interpretation. For Quirno, the most interesting aspects of reality are those we don’t understand, that brush the heart of uncertainty.

Before facing the canvas or the paper, the artist gathers images from magazines and newspapers which she absorbs, reinterprets, deforms and transforms, separating everyday elements from their usual context. Another preliminary procedure consists of appropriating visual situations that appear insignificant, and not at all spectacular: a paper fluttering on the sidewalk, a spot on the subway wall, a pillow on the floor, the legs of a night table. Any of these instances can prompt a work. The rhythm of brush strokes turns each starting point into a different object, barely recognizable, barely an object. The final result is not necessarily important, since it only portrays an instant within an intricate process of transformation.

Quirno steps in and out of painting. Drawings, paintings, animations, videos, everything combined and superimposed is accepted in the space. Her installations include precarious elements, materials that are at hand which she finds in her workplace or maybe lost in the streets. She even reuses the idiosyncrasy of the studio or the exhibition space. The artist usually focuses on one palette, not necessarily cold, but wintry, made up of the shades one can see through the window on a winter’s day.

The name of this show, Calendar Day, suggests a day of homage to the calendar, as if that single day contained the entire year. It invites us to consider that a work can contain all works, or perhaps that they are all one and the same painting, merely different phases of a single, long process.

*In England and the US the game is called Telephone or Chinese whispers. Broken Telephone is the translation of the name given to it in Argentina and other Latin American countries.

 

Quince o veinte chicos, sentados en ronda. Uno de ellos piensa una frase tan larga como guste y la susurra en secreto a quien tiene a un costado. Éste la transmite al siguiente y así el mensaje va pasando de boca en boca, de oído en oído. Como está prohibido repetir la frase, es probable que ésta vaya mutando, desfigurándose hasta terminar transformada en otra, que acaso poco tenga que ver con la frase original. Por eso el juego se llama Teléfono descompuesto, muy popular entre los niños del mundo o al menos de Argentina, donde nació y creció Sofía Quirno.

De igual manera, las obras de esta exhibición se comunican entre sí productivamente, dando lugar a un reguero de malentendidos. La serie no procura tanto fijar u ordenar un sentido sino, más bien, evitar que el sentido coagule: desencajar. Las obras se conectan esquivando una narrativa única e invitando al espectador a buscar un significado personal. Para Quirno los aspectos más interesantes de la realidad son aquellos que no entendemos, los que rozan el corazón de lo incierto.

Antes de enfrentarse al lienzo o al papel, la artista recolecta imágenes de revistas o de periódicos a los que absorbe, reinterpreta deforma y transforma, separando elementos cotidianos de su centro conocido. Otro procedimiento preliminar es la apropiación de situaciones visuales en apariencia intrascendentes, nada espectaculares: un papel aleteando en la vereda, una mancha en la pared del subte, un almohadón en el piso, las patas de una mesa de luz. Cualquiera de éstos puede dar nacimiento a una obra. El ritmo propio de las pinceladas lo volverá un objeto distinto, apenas reconocible, apenas objeto. El resultado final no necesariamente importa, puesto que sólo retrata un instante de un intrincado proceso de transformación.

Quirno entra y sale de la pintura. Dibujos, pinturas, animaciones, videos, todo combinado y superpuesto se admite en el espacio. En sus instalaciones, incorpora elementos precarios, materiales que están a la mano y encuentra en los lugares en donde trabaja o quizá perdidos en la calle. Incluso reutiliza la idiosincrasia del taller o de la sala de exhibición. Suele centrarse en una paleta no necesariamente fría aunque sí invernal, tonalidades que pueden verse por la ventana en un día de invierno.

Calendar Day, el nombre de esta muestra, propone un día de homenaje al calendario, como si el año completo estuviera contenido en ese día. Nos invita a pensar que una obra puede contener a todas las obras, o que acaso todas son el mismo cuadro, fases distintas de un mismo y largo proceso.

Sunny Side Up, 2015

Site specific at artist run space Sleep Center, NY/ Site Specific en Sleep Center, NY

Photos by Amal Kahn

 

Press Release:

     SLEEP CENTER x STANDARD PRACTICE x UNBAG is proud to present new work by Sofia Quirno.

     Sofia Quirno is an Argentinian born artist currently working in New York City. Her practice has its roots in painting and drawing, but has evolved to respond to the spaces in which she works, becoming a combination of painting in the expanded field, site specific installation and a remnant of performance, the act of making on-site.

     Taking her cues from the physical realities of a place, she creates a space of potentials, of unreality, of magic time. Layers of memory, layers of fantasy, layers of narrative are worked into surfaces, onto objects, projected, formed with detritus. Experiences from decades ago are combined with impressions from moments ago to form a vibrating and telescopic notion of time and narrative.

     Sunny Side Up is an acceptance of both the space and the new beginning it offers. Working without preconceived concepts but the ever-flowing idea of the everyday. Sunny Side Up, is Quirno's “American” morning, a fresh start and a space for new possibilities. Quirno is the yoke in the white cube.

 

SLEEP CENTER, located on the harmonious Monroe Street of Chinatown, New York, is a safe house/experimental lab for art and ideas that provides local communities and international audiences with a forum for cultural dialogue. 

STANDARD PRACTICE is a nomadic curatorial project dedicated to providing exhibition and development opportunities to emerging artists. It was founded by Jessie English and Eric Feigenbaum.

UNBAG is an artist collective that supports discursive approaches to art. It stages regular events in which artists lead discussion concerning ideas, projects, texts, or theory pertinent to their practice. It was founded by Andy Wentz and Aaron Cooper.

http://www.sleepcenterny.org/exhibition/2015/11/20/sofia-quirno-sunny-side-up
 

 

NY might, 2015

Piece for Parsons graduate show at The Kitchen NY/ Obra para muestra de graduacion de Parsons en The Kitchen NY

The drawing projection, a Photoshop drawn line, redraws the horizon for the skier who is about to jump to the abyss.

The adrenaline of living in NY city where the possibilities of success and failure seem to be at stake on a regular basis.

 

 

 

 

Chanchada, 2015

site specific para Proyecto BONZO- CASA UNO


BONZO es un proyecto que alberga laboratorios y talleres móviles de experimentación en casas que serán demolidas.
En esta primera casa participan Carlos Bissolino, Carlos Baragli, Daniel Callori, Julián León Camargo, Juan Giribaldi, Guido Ignatti, Julim Rosa, Leo Ocello, Luis Ortega, Sofi Quirno, Alejandro Taliano y Natasha Voliakovsky.
+ info: proyectobonzo.tumblr.com 

BONZO is a project a lab.  Mobile studios for experimentation in houses that will soon be demolished. Carlos Bissolino, Carlos Baragli, Daniel Callori, Julián León Camargo, Juan Giribaldi, Guido Ignatti, Julim Rosa, Leo Ocello, Luis Ortega, Sofi Quirno, Alejandro Taliano y Natasha Voliakovsky were invited to be part of this first house.  + info: proyectobonzo.tumblr.com

 

The painting made for this room purposely left trace of the digital making and translation that had to happen as I couldn't travel to the show. The pig, protagonist of animal farm was selected for it's similarities with this artist run project intending to redefine and in someway overtake the structure of the exhibition scene of Buenos Aires.

The CRT showed a no signal channel (with shivering black and white dots) It gave the soundtrack noise of disconnection and the light in the room. 

 

Love Triangle, 2014

Site specific at Parsons open Studios 2014

Love Triangle, 2013, projection on floor and wall, TV, acrylic paint, clay sculpture and wood 86 x 59 x 78.7 inches. The CRT video showed a still image of a paper stuck in a wall. The projection video, a watercolor painted paper sculpture that shiveres to the wind.

The piece has no sound.

 

 

 

Moth ball woman shrinks in her radiator, 2014

Site specific made at staircase entrance of Praxis NY./ Site specific en la escalera de entrada de Praxis NY

2014, acrylic, ink, paper, tape, TV and stairway with vitrine.

The title is a quote from a Bob Dylan poem from his book Tarantula - 

The sound of the animation set a rhythm to climb up the stairs. During the opening Dalius Naujokaitis, Aaron Keane and Laima Griciute improvised drum sounds playing with wood sticks against the rail of the stairs to the beat of the animation.

see videos bellow

(the performance video has been done with a cell phone by one of the viewers- there is no other registry of this happening- apologies for the quality) 

mourning september, 2014

Piece shown at show "Videorover #8" at Nurture Art Non Profit./ Obra exhibida en la muestra "Videorover #8" at Nurture Art Non Profit.

Show curated by Rachel Steinberg

 

2014, TV, projection on drawing and tape 9 x 10 x 8.1 feet

The videos show 3 scenes happening in a room. ( projection and one of the videos shown above, the third one was just a still of a piece of tape stuck to a wall ) 

The different beats compose the totality of a space playing to each other in a visual rhythm. There is no sound

 

Nurture Art: Videorover #8 - Press Release
Opening on June 27, the third installation involves artists Dave Greber, Derek G. Larson, and Sofia Quirno. Relating again to the idea of reconfiguration, this time through humor, these works transform the gallery into an almost unrelatable space. Deeply rooted in the uncanny, these works borrow from the sensibilities of painterly abstraction to create a space of overwhelming stimulus. Confronting us with a cocktail of comic absurdity and mundane but somehow chaotic repetition, we are presented with the more vibrant potential of video.
///

NURTUREart's Videorover: Season 8 is curated by Rachel Steinberg and features works by artists Dave Greber, Victoria Keddie, Derek G. Larson, Brendan Lee, Beatriz Meseguer, Sofia Quirno, Alona Rodeh, Adam Douglas Thompson and Raul Valverde. Videorover, NURTUREart’s dedicated video program, aims at becoming an ever-expanding forum for emerging and underrepresented artists working in video.

This season’s video works explore the idea of video as installation, highlighting the immersive potential that time based media hold. Through audio and visual tools and using the body as a reference point, this exhibition aims to interrupt our exteroceptive senses. For three weeks in June, Videorover: Season 8 will take over NURTUREart’s main gallery space; opening in shifts for a series of three consecutive installations. Each installation will feature three of the selected artists, to allow for the works to expand in the space, while still in dialogue with the larger group of works.

 

El que quiere celeste que le cueste, 2013

Site specific at Parsons The New School, 2013

Projection and mixed media on room, 9 x 9 x 8.1 feet

The Projection, a still image, was invaded by a GIFF every seven minutes imitating a screen saver and turning the screen blue for 2 seconds.

The title refers a word play of an Argentine saying in a literal and conceptual way. Translated in English this would mean: No pain no gain but literally: he who wants blue has to wait/ work for it.

This piece made an ironic comment about my situation of wanting to be an artist in NYC as to the  fact that the audience had to actually "make an effort" to stay in the piece to be able to fully experience it.

Un dia sin lluvia, 2011

Muestra Paseo Cultural Carlos Nuñez, Buenos Aires- curada por Leonel Luna/ show at Paseo Cultural Carlos Nuñez, Buenos Aires- curated by Leonel Luna

 

Text by curator Leonel Luna

Abstraction is young since art was freed to represent the real, photography assumed that destiny and painting its liberty of form.

The immanence of form, it’s continuous present is not just it’s ephemeral gesture as an affirmation to life nor the unfinished not the fickleness of accepted abandonment but the disposition of what can come from attention and await.

The disposition of what is constantly in process. The task of art is not to generate a script for society to organize its diversity but to value the essential and that is that in the disagreement is possible in the construction of new experiences.

In the pieces by this artist painting, drawing and installation are one.  Transforms painting in an invasion for the senses, her works seam to want to escape their bidimentional limits to claim what it is theirs as right; a real space where they can project into the limitless landscape. There is no illusion, in her work color hovers exceeding all structure. One can literally walk inside the piece. Painting here becomes an experience as well as a place, a habitat where one can choose to enter, an open door to our senses. 

 

Texto por Leonel Luna curador de la muestra

La abstracción es joven,  desde que el arte se vio liberado de representar la realidad y la fotografía asumió ese destino, la pintura asumió para si la libertad de la forma.

La inmanencia de la formasu presente continuo no es tan solo el gesto efímero, tiene mas que ver con lo efímero como afirmación de la vida ylo inacabado no es la inconstancia aceptada ni el abandono, sino la disposición de lo que puede llegar como atención y espera.

La disposición de lo que esta continuamenteen proceso. La tarea del arte no es darle un relato a la sociedad para organizar su diversidad sino valorizar lo inminente donde el disenso es posible construyendo nuevas experiencias.

En las obras de esta artista la pintura el dibujo y la instalación son uno

Sofía Quirno transforma la pintura en una invasión de los sentidos.  la pintura y el dibujo no intenta mostrarnos el mundo, y como en un sueño que no recordamos nos deja vagas sensaciones, sus trabajos parecen querer escapar de su propios limites bidimensionales para reclamar lo que por derecho le es propio; un espacio real donde proyectarse en el entorno sin límites precisos, no hay ilusión, en su obra el color se desplaza fuera de toda estructura. Podemos entrar, literalmente, en ella;

La pintura aquí se convierte y pasa de ser una experiencia para poder ser también un lugar, un hábitat donde uno puede elegir entrar,  una puerta abierta a nuestros sentidos.