In October 2010 Argentine artist Cecile Perret was invited by the haudenschild Garage to work on a graffiti project in a private space in Buenos Aires. Cecile’s work began in January 2011 and her collaborator on the project is Lucía Brutta (www.flickr.com/photos/luciabrutta).
if i was to open my chest, with a swift surgical move, lots of things from the inside would come out. a heart and bones and blood –all of the things that allow me to breath and walk this earth– but also the spirit of all the things i’ve done. all of my creatures and all my creations in a giant contorting wave would pop out for everyone to see.
my eyes would also float back and forth, letting themselves be carried by the flow, picking up wherever they go bits and pieces of the sea. i would lose my head as well, of course, and my legs and my arms to the sea of colors. and the huge grey walls of the city would suddenly become the beach where all of this will drift ashore.
day one means white walls, a scary and exciting feeling. knowing what I have to do and being afraid of screwing up. then i begin drawing and i realize everything is going to be ok. from then on it is pure joy. the main character of the project is born, my alter ego of course, because everything i do seems to start with myself. and in this particular case, i’m taking a look at my insides.
day three lucía joins for the first part of her intervention. it’s always exciting to work with somebody else because of the challenge. it slightly changes the course of things and you need to rethink things to keep going. but most of all – it’s fun!
day five is one of the most frustrating days. having a very certain idea of what you want to do, but not being able to do it…well, i guess we all have bad days at work…
day six starts with the major destruction of what had been done the previous day. and from the ashes out comes the phoenix, reminding me that there is nothing that cannot be fixed. and this is how the máquina de hacer (the making machine) is born. a máquina de hacer, we all have one inside ourselves, there’s always a part of us creating – good and bad – but creating after all.
aside from a lot of smoke (which would be the bad part) my máquina de hacer is producing explorer astronauts which become visible around days ten and eleven. and this is where my inner self connects to the outside world: – the city is born.
this city is vast and complicated and sometimes it doesn’t even make sense, like real cities. fast and furious, with the shape and the force of water, swallowing everything as it passes by.
day fourteen lucía comes back for her second and last intervention. and the city keeps growing like a monster from day twelve to the very end of the project, when it takes the shape of a giant wave about to hit me.
and so the circle is closed.
and so everything begins again.
– Cecile Perret, January 2011
About Cecile Perret
I was born in Rio Negro, Argentina in February 1977 and I expressed an interest in painting and drawing from an early age. I was encouraged by my parents to take lessons since I was 4 years old and did so on and off until the age of 21.
After graduating from college, I moved to Buenos Aires with my family and studied Visual Arts at the Escuela Panamericana de Diseño y Publicidad and an introductory year of Graphic Design at the University of Buenos Aires. It is at that time that I started showing my work and participating in competitions.
I lived in Paris, France for three years from 2002 to 2005. This was an extremely enriching and introspective period where I spent much of my time in my studio, seldom showing my work.
I moved to Milan in 2005, encouraged by close friend and trompe l‘oeil master Guesso. I spent one year working as his assistant and continuing my studio work.
Through the years I developed a great interest towards graffiti and street art, as well as comics and illustration. Elements from which started to gain space in my canvases.
I returned to Buenos Aires, where I currently live, in 2006 and immediately started to connect with artists, organizing group shows and contacting galleries. We created a series of massive group shows called Supermuestras and recently smaller versions called Veo-veos.
My work can be seen in galleries such as GP espacio de arte (Palermo), La Guanaca Azul (San Telmo) and VYP (Retiro).
Argentine Artist Opening
The haudenschild Garage introduced new works by Mariano Brizzola Mio, Tomas Ghiorzo, Alain Marcus, Cecile Perret, Barbara Renati and Alejandro Sordi to artists, curators, and collectors in Buenos Aires on July 13, 2011. Their works now form part of the Haudenschild Collection.
About the artists
Mariano Brizzola Mio
Mariano Brizzola Mio lives and works in Buenos Aires where he studied Visual Arts at the IUNA (Instituto Universitario Nacional de Arte / National Universitary Art Institute). He continued his education with Eduardo Gil and then participated in the artists’ workshops coordinated by Fabiana Barreda, Raúl Flores and Máximo Jacoby. He has obtained Mentions and Awards at the National Salon of Visual Arts (2009) and the photographic competition organized by Banco Ciudad (2007). He has taken part in several group photography exhibits at local galleries such as Belleza y Felicidad, Tanto Deseo / Apetite (2006), Meridión Arte Contemporáneo (2008) and Ángel Guido Art Project. His work has been included in museums and festivals such as Museo Sívori (2008) and the International Photo Festival of Porto Alegre (2009). Two years ago, Brizzola began doing solo exhibitions at Centro Cultural Recoleta. Currently, his show titled Pluscuamperfecto hangs at Studio 488 Gallery, located on the first floor of Patio del Liceo.
Tomas Ghiorzo started taking photographs at the age of 13 with his father’s Zeiss Ikon. Though he holds a degree in architectural engineering, Ghiorzo has worked in both print and digital photography with a large format camera, specializing in fashion photography. He writes of his work: Una antonimia: lo inerte de los espacios y lo activo de la descomposición. El encanto de lo horrible. Lo enorme y majestuoso. Lo invisible, imperceptible. El minucioso y exquisito desorden. El silencio ensordecedor de los espacios muertos. Sentir vacío, soledad, miedo, frío, silencio, devastación. Sentirse mínimo. El trabajo lo estoy haciendo en dos espacios, ex plantas, dos hitos en la industria de Zarate de mediados del siglo pasado, que con su cierre marcaron las mismas cicatrices de lo degradado en sus paredes que en los cientos de obreros que trabajaban en ellas. Son tomas de “espacios en estado de descomposición”, como una visión de la arquitectura como algo orgánico, generado por el paso del tiempo y de nuestra historia. Mas que una obra arquitectónica de hierros, cemento y materiales inanimados parecen un cadáver de un ser biológico que existió, respiro, y almaceno en su seno a mucha gente que vivía el mismo esplendor que su construcción, y que de esta misma manera se fue degradando con la muerte del mismo. El ser humano se degrada y los espacios se descomponen.
Alain Marcus was born in 1978 and studied art, music and film at the Escuela Nacional de Bellas Artes, CEAMC (Centro de Estudios Avanzados en Musica Contemporanea) and Fundación Universidad del Cine. Fluent in English, Spanish and French, Marcus’ photographs are closely intertwined with film and music. He writes of his work: I look for the notion of “something happening”, “something wonderful”. I believe that this occurs up to a certain extent when one’s intellectual understanding cannot cover the perceptual experience. It’s about recognizing that something beautiful is taking place, yet not being able to express it or reduce it to a concept. I am interested in the mystery of things happening beyond one’s understanding. I consider those experiences to be rich and consciousness expanding. This kind of experiences leave me no choice but to live them through with humility. Thus, the experience takes an overwhelming dimension; we might actually become one with the experience. This motivates as a photographer, as well as a composer….The music I have written and recorded over the past years has the sole purpose of reinforcing the aura I am trying to evoke behind my pictures. Personally, I would like to throw away all misconceptions pertaining the idea of “art field”, and trusting one’s intuition. For me, showing these images by themselves, is incomplete. I usually specify a certain piece of music I was listening to at the time of the shooting. This is essential. I honestly believe that the effective way of showing my work is with music, mine or someone else’s.
I was born in Rio Negro, Argentina in February 1977 and I expressed an interest in painting and drawing from an early age. I was encouraged by my parents to take lessons since I was 4 years old and did so on and off until the age of 21. After graduating from college, I moved to Buenos Aires with my family and studied Visual Arts at the Escuela Panamericana de Diseño y Publicidad and an introductory year of Graphic Design at the University of Buenos Aires. It is at that time that I started showing my work and participating in competitions. I lived in Paris, France for three years from 2002 to 2005. This was an extremely enriching and introspective period where I spent much of my time in my studio, seldom showing my work. I moved to Milan in 2005, encouraged by close friend and trompe l‘oeil master Guesso. I spent one year working as his assistant and continuing my studio work. Through the years I developed a great interest towards graffiti and street art, as well as comics and illustration. Elements from which started to gain space in my canvases. I returned to Buenos Aires, where I currently live, in 2006 and immediately started to connect with artists, organizing group shows and contacting galleries. We created a series of massive group shows called Supermuestras and recently smaller versions called Veo-veos. My work can be seen in galleries such as GP espacio de arte (Palermo), La Guanaca Azul (San Telmo) and VYP (Retiro).
Barbara Renati was born in 1984 in Buenos Aires, Argentina where she lives and works. She has a degree in visual arts from IUNA and has worked with artists such as Carlo Molina, Carlos Scannapieco, Patricio Bosch, Rodrigo Alonso and Carlos Bisolino. Her work often combines the disciplines that she works with including engraving, drawing and painting. The stereotypical image and iconography clearly linked to the cliché, cites the graph of the 50’s. The word has great significance in her compositions by introducing irony and wordplay. She has been participating in individual and group exhibitions since 2005. Also performs collective work with a group of young contemporary graphic artists – Florencia Sfoggia, Marcelo Moreno and Antonella Andreoletti – involving playful and reminiscent of childhood in site-specific works. Performed in parallel she carries out along with AntonellaAntonella Andreolleti ephemeral art project and fun “PIÑATA”.
Alejandro Sordi was born in 1986 in Buenos Aires, Argentina where he lives and works. He studied design at the Escuela Técnica Fernando Fader and has been involved with the Asociación Estímulo de Bellas Artes. In addition to drawing and painting, Sordi works in music and film. He has been the recipient of multiple drawing awards including 2010: Mención Especial Faber Castell, 2009: 3er. Premio en Pintura, 2008: 2do. Premio en Pintura, 2008: Mención Categoría Dibujo, 2007: Mención Categoría Dibujo and 2007: 2do. Premio en Pintura l Concurso de Pintura Palermo Viejo. Group exhibitions include 2010: Pintar Pintar l Sexto Kultura, Buenos Aires, 2010: Pintura Mural en Casa Manifiesta, Palermo, Buenos Aires, 2009: Ambientación bar La Cigale l Ciclo de los martes Noche Francesa, 2009: Instalaciones y montaje Ray Ban Arts l Lado B: Niceto Club, Palermo, 2009: Combo Paint & Design l pintura mural en Planeta Cúbico, Palermo and 2008: Muestra Colectiva en el Centro Cultural Paseo Quinta Trabucco.