Nicola Costantino (Rosario, 1964). In twenty years of production her work has evolved from sculpture, clothing, mechanical objects and installations to photography and videoinstallation. The body is the constant focus of her field of investigation, and the artist refers to the violent treatment it receives at the hands of consumption and fashion. Over the last decade, Costantino includes herself autoreferentially in her photographic and video art production. She portrays scenes of art history and paradigmatic female characters, constructing the subject of the image on the basis of performance and acting in careful scenographies. The manufacture of her objects and the images capture an acute sense of beauty, provoking at the same time a certain atmosphere of discomfort that is hard to resolve.
Some of her most recent projects include Rapsodia Inconclusa (Colección de Arte Amalia Lacroze de Fortabat, 2015), Eva–Argentina. Una metáfora Contemporánea (55th Venice Biennale, 2013), Alteridad (Centro Cultural Santa Cruz, Rio Gallegos; Museo Provincial Rosa Galisteo, Santa Fe; Museo Provincial de Bellas Artes Dr. Pedro E. Martínez, Paraná; ECU, Rosario; Nave Cultural, Mendoza; Centro Cultural J.A. Conte Grand, San Juan, 2012-13) and Exposición Monográfica (Daros Latinoamérica, 2011).
"... The Fountain of Life must have presented itself to Hieronymus Bosch as a vision. It is so complicated a structure and also so monstrous -at a time animal and vegetal. And I wanted to rebuild it verily, but bearing the signs of the time elapsed and encircled by a strange landscape. As if the garden had died and in its place a sort of desert had appeared..." Nicola Costantino.
25.08.2018 ARTISTS: MÓNICA GIRON / NICOLÁS GULLOTTA / IRENE KOPELMAN / ALFREDO LONDAIBERE / MARCELO POMBO / ALEJANDRA SEEBER / AMALIA ULMAN / AGUSTINA WOODGATE. CURATOR: SONIA BECCE. Until October 6th
14.07.2018 Gabriel Chaile, 70 veces 7, 2018. Instalation Site Specific. Irons and bricks, 300 x 330 x 300 cm. Colección Fundación Tres Pinos. MARCO–Museo de Arte Contemporáneo de La Boca
12.06.2018 [...] There is a phenomenon that science still has not been able to explain called crown shyness. Certain species of trees’ branches grow close but never graze each other. As if they could communicate, each tree establishes the margins of its own space, its own territory. Verónica Flom for Los días.
25.05.2018 Buenos Aires, Argentina. The gallery includes works by Nicanor Aráoz, Joaquín Boz, Nicola Costantino, Matías Duville, Mondongo, Alejandra Seeber, Amalia Ulman and Agustina Woodgate in the main section of the fair. And is involved with CABINET by Marcelo Pombo.
24.05.2018 Red Sunset, 2018. Sanguine on paper, 100 x 70 cm. Matias Duville is part of the collection of the Museum of Latin American Art (MOLAA), Long Beach, USA.
13.05.2018 As a closing exhibition of his BAR project residency. The seduction of the innocents displays a new essay of Martin Legón. This work, mix between anthropology, poetry, and sociology of the media, breaks down the paradoxical place occupied by the artistic object today.
11.05.2018 Nicanor Araoz. Sin título, 2008. Wood, wooden shelves, wall paper, jar and chocolate Nesquik, decorated plate and light socket. 200 x 140 x 21 cm. Colection Museo Castagnino+macro, Rosario.
11.05.2018 Nicola Costantino. Animal Motion Planet, máquina para caballo nonato, 2003. Drawing, chrome iron and motor. 170 x 60 x 105 cm (machine) / 55,8 x 80 cm (Drawing). Collection Museo Castagnino+macro, Rosario
11.05.2018 Martín Legón. Reinserciones en los sistemas de consumo (Las razones por las que escribimos son más importantes que lo escrito en sí) De la serie El triunfo de la muerte, 2012. Original photograph by Marcos López (Asado en Mendiolaza, 2001), copy destroyed by the artist to prevent its commercialization. 266 x 98,5 x 7 cm. Collection Museo Castagnino+macro, Rosario
11.05.2018 Joaquín Boz. Sin título, 2012. Oil, turpentine and linseed oil on paper. 200 x 400 cm- 8 paper panels. Collection Museo Castagnino+macro, Rosario