Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
A R T I S T S P R O F I L E
Instalacion de sitio específico/ site specific installation
Dolores Cáceres, No vendo nada, 2015
Luz de Neón.Vidrio. Acero Inoxidable.
Intervención en espacio público. Calle OReilly. La Habana Vieja.
12 Bienal de La Habana. Cuba
P E R F I L D E A R T I S TA S
/ ARTISTS PROFILES
Dolores Cáceres
THE PRODUCTIVITY OF EMPTINESS
#SinLimite567, a show by Argentine artist Dolores Cáceres Una repercusión mediática sin precedentes rodeó la exposición
on exhibit at the Museo Emilio Caraffa in Córdoba, Argentina #SinLimite567 de la argentina Dolores Cáceres, exhibida en el
from July to September 2015, caused an unprecedented stir Museo Emilio Caraffa de Córdoba entre julio y septiembre del 2015.
in the media. The reaction provoked by the emptiness of Programas de noticias de televisión y de la radio, los principales
her proposal, as opposed to the display of works expected diarios del país y sitios web, se hicieron eco de las reacciones que
for the retrospective the museum had invited her to hold, provocó el vacío de su propuesta, en contraposición al despliegue
resonated in television and radio news shows and in the de obras que suponía la retrospectiva a la que fue invitada.
most important newspapers and websites in Argentina.
POR / BY
P E R F I L D E A R T I S TA S / . 3
D D
olores is widely recognized for her public art. olores tiene una reconocida trayectoria en el arte público.
While her work has been exhibited in museums Aunque ha expuesto en museos y galerías, el grueso de
and galleries, the bulk of it has been seen in the su obra la ha desarrollado en el espacio urbano donde
urban space, which provides greater visibility and deeper encuentra mayores niveles de interpelación y visibilidad. Sus
interrogation. Her projects are the result of studying a proyectos son resultado del estudio de un contexto, circunstancia
context, circumstance, or place. Texts materialized in neon o lugar, y los conforma a partir de la facultad denotativa de la
and created as works in and of themselves or for use in palabra – en textos corporeizados en neón, creados como obras
interventions, her projects are based on the denotative en sí o para su uso en intervenciones –, de la acción convocante
power of the word, of the action taking place, and of other y de otros recursos de la obra en proceso. Luego de trabajar
resources of the work in progress. After experimenting with en varias expresiones incursiona en la intervención urbana,
a number of different forms of expression, she began doing por considerarla “contestataria de los medios tradicionales”1
urban interventions as a means of “challenging traditional … que posibilita “trasladar su lógica hacia una crítica pública”2
media”1 in order to “deploy their logic for a public critique.”2 . Su desempeño en el site specific le ganará invitaciones a la
The artist’s site-specific work would earn her invitations Bienal de Buenos Aires y a varias internacionales (Mercosur,
to participate in art biennials in Buenos Aires, Havana, La Habana, Curitiba, Ushuaia). Estrategia recurrente en la
Curitiba, Ushuaia, and in the Mercosur Biennial. A recurring articulación del significado de sus obras ha sido el juego
strategy in her work, one that she uses to articulate its de oposiciones, explicitados en textos y títulos, usado como
meaning and to structure her method, is the interplay of metodología para estructurarlas. Si bien ha demostrado talento
opposites in texts and titles. She has considerable talent en condensar sentidos con pocas palabras, no son menos
at conveying meaning in few words and the current issues significativas las cuestiones de actualidad que aborda y las
she addresses, as well as the tactics she uses to make tácticas empleadas para que alcancen resonancia. La importancia
them resonate, are no less impressive. The importance she que concede a la recepción resulta particularmente ostensible
places on the reception of her work is particularly patent in en sus proyectos públicos, porque las lecturas que potencia
her public projects because their readings, which intensify del lugar – mediante operatorias de impacto – conducen al
the place (the impact of her work), show the dimensions dimensionamiento de sus problemáticas y de otras aledañas,
of the issues she overtly tackles and other related issues, despertando el interés de múltiples sujetos. Si se trata de una
exposición ensayará otras estrategias para atraer la atención.
2 Ibidem.
Sala 6 y 7 [Gallery 6 and 7]. Museo Provincial de Bellas Artes Emilio Caraffa, year 2015.
Sala 6 y 7. Museo Provincial de Bellas Artes Emilio Caraffa. MEC. año 2015.
4 /. A R T I S T S P R O F I L E
#SINLIMITE567.
Solo Show. Billboard. Stainless steel/8mm. white neon. 070 cm x 020 cm x 007 cm. Museo Provincial de Bellas Artes Emilio Caraffa, 2015.
Solo Show. Cartel. Acero inoxidable/neón blanco 8mm. 070 cm x 020 cm x 007 cm. Museo Provincial de Bellas Artes Emilio Caraffa. MEC. año 2015.
Influenced by Didi-Huberman, who in his lecture Hecho en America Latina [Made in Latin America], 2013
“Exhibition as War Machine”3 argues that “an exhibition… 10 mm. red neon, 65 cm. x 55 cm. x 5 cm. Private collection. /
must provide resources that heighten the potential of Neón rojo de 10 mm. 65 cm x 55 x 5 cm. Colección Privada.
P E R F I L D E A R T I S TA S / . 5
replacing forty light fixtures; and eliminating partitions 1
so that the galleries were restored to their original state.
A perfect white cube within another white cube (the
museum) brought to mind the work of Yves Klein, Martin
Creed, and John Cage, all of whom have worked with
emptiness. A bold endorsement of Conceptualism, of the
disruptive way it incited reflection in opposition to the
Modern convention of works in frames and on pedestals.
Treating the galleries as site of intervention, about which
to produce speech and in which to reveal what is not
commonly perceptible, means looking at the art institution
as object of reflection. And the artist herself, as part of
that institution, could potentially be assessed as well.
5 Un importante Museo de Córdoba abrió una muestra 4 Como parte de la provocación el Catálogo reprodujo 12 páginas en
con tres salas vacías. www.Clarin.com 19/08/2015 blanco en referencia a los 125 metros de muros blancos de las salas.
6 /. A R T I S T S P R O F I L E
1 - Sala 5 [Gallery 5]. Museo Provincial de Bellas Artes Emilio Caraffa, year 2015.
2 Sala 5. Museo Provincial de Bellas Artes Emilio Caraffa. MEC. año 2015. 2
2 - Sala 7. 15,50 m x 6,64 m x 2,97 m. [Gallery 7. 15.50 m x 6.64 m x 2.97 m.] Museo
Provincial de Bellas Artes Emilio Caraffa, year 2015.
Sala 7. 15,50 m x 6,64 m x 2,97 m. Museo Provincial de Bellas Artes Emilio Caraffa.
MEC. año 2015.
3 - Sala 5. 18.77 m x 9,98 x 5,57 m. [Gallery 5. 18.77 m x 9.98 x 5.57 m.]. Museo Provin-
cial de Bellas Artes Emilio Caraffa, 2015.
Sala 5. 18.77 m x 9,98 x 5,57 m. Museo Provincial de Bellas Artes Emilio Caraffa.
MEC. año 2015.
4 - Sala 5. [Gallery 5] (detail). Museo Provincial de Bellas Artes Emilio Caraffa, year 2015.
Sala 5. (detalle). Museo Provincial de Bellas Artes Emilio Caraffa. MEC. año 2015.
to take a break and reassess, as an opportunity for the El vacío fue la maniobra detonante que
desató la avalancha de reacciones, en
institution to update its languages and artistic discourses.
Many felt ripped off by the absence of works, but wasn’t that
a call to viewers, for them to reconsider their preferences
for conventional works and exhibition formats? The art press
gran parte en contra por no comprender
played center stage in the debate. It was not for nothing que eso fue lo que persiguió: provocar,
that La Nación newspaper called #SinLimite567 one of
the ten outstanding cultural events in Argentina in 2015. activar al público dialógicamente,
Dolores once again showed her ability to mobilize. She hacerlos pensar y declarar.
opened a debate on contemporary artistic practices and
their institutions; she urged venturing beyond a restricted Y lo hizo sin traicionarse: no faltó la operatoria de impacto, la
concept of art by means of a transitive work that bound intervención, la palabra escrita, las antinomias, la performance
together the physical spaces of art, the immaterial (en que leyó lo del hashtag), el work in progress y la repercusión.
spaces of the web, and the spaces of society. And she Y lo mejor: habiendo hecho la obra dentro de la institución
did so without betraying herself, without foregoing the logró sacarla afuera, a la polémica de los medios masivos,
use of impact, intervention, written word, antinomy, las redes y la calle, el on y el off que hoy conforma la esfera
performance (one in which she read from the hashtag), pública donde se proyectan las subjetividades.
work in progress, and repercussion that characterizes
her art. And, what’s more, though she made the work * Margarita Sánchez Prieto,Curadora, crítico e investigadora de arte latinoamericano.
within the institution she managed to take it beyond its
confines, to the polemic in the mass media, the web and
the street, the on and off that today gives shape to the
5 Un importante Museo de Córdoba abrió una muestra con
public sphere from which subjectivities are projected. tres salas vacías. www.Clarin.com 19/08/2015.
P E R F I L D E A R T I S TA S / . 7