Alejandra Seeber
It vanishes, 1999. Oil on canvas 110 x 151 cms
We were so modern, 2000. Oil on canvas. 115 x 176 cms
Marseilles Room, 2004. Oil on canvas. 229 x 180 cms
Housie, 2008. Oil on canvas. 142 x 116 cm
White Tutti Frutti, 2009. Oil on canvas. 185 x 219 cms
Interior with Laughing Column, 2008. Oil on canvas. 92 x 122 cms
Grafito, 2010. Oil on canvas. 160 x 240 cms
Espejo/Mirror, 2011. Oil on canvas. 75 x 84 cms
Lamparisa boceto murano, 2014. Watercolor and oil on canson paper. 157 x 139 cms
Taxi!, 2015. Oil on canvas. 152 x 121 cms
Pedazo de cielo, 2015. Oil on canvas. 197 x 156 cms
Speech bubble, 2015. Glass. Variable measures
Yves y yo, 2017. Neón. 61 x 86 cms
Rock, 2017. Acrilyc on canvas. 150 x 100 cms
Sculptures, 2018. Oil on canvas. 192 x 160 cms
Tal parece, 2019. Oil on canvas. 150 x 120 cms
Plantambor, 2021. Oil on canvas. 150 x 119 cms
Un par, 2021. Oil on canvas. 151 x 119,5 cms
Knitt Abstractions, 2021. Oil on canvas. 185 x 220 cms
Rainbow Matrix, 2021. Oil on canvas. 152 x 101 cms
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Alejandra Seeber (Buenos Aires, 1969), has been described as having a dialogic approach to painting, where intentionality and random procedures, failings and acceptance operate together without hierarchy. Seeber conceptualizes painting, not from historical references or social conventions but from a visual culture crossed by alternative rock, theatrical stage designs, musical shows, the city’s underground, the digital softwares that started being used in graphic design and the technological novelty in publicity characteristic of the end of the last century. Laying her eyes in domestic interiors, architecture and decorations, Seeber finds an image of the world that she rapidly blows up in stains and squirts that scatter through the canvas making it impossible to see the difference between in and out, between figures and abstraction. In this battle for domesticating symbols and updating meaning, Seeber ends up adding new forms and contexts to images resulting in multiple-layered works that invite us to renegotiate the boundaries between totality and fragment.
Some of her most recent projects are A oJO (Barro, Buenos Aires, 2021), Fuera de serie (Museo de Arte Latinoamericano de Buenos Aires, 2021), Getaways (Hausler Contemporary, Lustenau, Austria, 218); Autoamerican (Barro, Buenos Aires, 2015); Cuadro por cuadro (Miau Miau, Buenos Aires, 2014); Yes-yes (Hausler Contemporary, Munich, 2011) Tutti Frutti (Hausler Contemporari, Zurich, 2011); Dialogville (Fundación Proa, Buenos Aires, 2010); Muro O’reverie (Fundación Proa, Buenos Aires, 2009), Pinturalia, Galeria (Fernando Pradilla, Madrid, 2008); The Pregnant painter (Virgil de Voldere Gallery, Nueva York, 2007); Duos (Sperone Westwater, Nueva York (2003); Living Rum (Dabbah Torrejón Arte Contemporáneo, Buenos Aires, 2002); This Room: Painting as a Second Language (Parlour Projects, Brooklyn, 2001); and Serendipia (Galerie de L’Alliance Française, Buenos Aires, 1999), among others. She lives and works in New York.
exhibitions
Danza Perfumi — BARRO BUENOS AIRES
10.11.2023
BARRO presents Danza Perfumi, Alejandra Seeber’s third solo exhibition at the gallery. In line with these recent exhibitions and the work that the painter has been carrying out for years in the international scene, Seeber’s proposal deepens a way of understanding painting as an environmental device.
news
23.03.2021 Barro TV_S02_ENTREVISTAS Channel
publications
Fuera de Serie, Alejandra Seeber – Leda Catunda. MALBA Buenos Aires, 2020
Alejandra Seeber. Picture This. Hatje Cantz, Germany, 2019
links
Patricia Kolesnicov, “Flora y fauna: Chorizo, morcilla, tira: comida china”, Revista Ñ, Clarín, Buenos Aires, 2011.Valentina Liernur, “Quiero estar azulado”, Radar Página 12, Buenos Aires, 2011.
Alicia de Arteaga, “Días estivales en PROA”, ADN Cultura, La Nación, Buenos Aires, 2010.
Patricia Kolesnicov, “Emociones ante una pared empapelada en PROA” Blog UN millón de amigos, Buenos Aires, 2010.
Holland Cotter, “The S Files”, The New York Times, New York, 2003
