Architect Jose Luis Lorenzo The artwork has been collected for more than twenty years. Its collection – eclectic and ever-growing – includes more than 800 items sourced locally and abroad.

The same motive for collecting prompted him to open up a space for public sharing of these works by local and international artists, which he periodically makes available to his team of collaborators (Fernando Alieva s Gabriel Valance As advisors, and Blanca Fritz In general coordination) to relate different topics and problems of art based on different organizational proposals.

Divided into different “albums” – the first album was filming its central focus, the second was dystopia pictures and the third was the politics of relations – the fourth album is currently showing at Espacio Colon: What are the bodies? what are the languages?, Sponsored Karina Cagnolo Fernando Alieva.

the sample. “How can we talk about feminism and gender perspectives today without falling into interpretive marketing that undermines the fundamental problems involved in the topic?” Under this premise, the exhibition seeks to be a visual essay that challenges specific ideas found in discourses on feminism, sexuality, and queer theory.

Like previous albums, this gallery arose from meetings held within a team of collaborators at Espacio Colón, where they discussed the types of topics and readings the group could take on.

In this regard, Cagnolo, who already sponsored the second album, noted that there were two ideas about dance: “One was the work on abstraction, but as in 2018, the context was severely overrun due to the failure of the Abortion Legislation Act and as feminist concerns began to emerge regarding With art, while fixing this problem in the field that we have chosen to work on a sample in relation to feminism. “

In fact, at that time many specimens of feminism appeared, but in reality they were samples of female artists, Cagnolo recalls. After that, it seemed to them that it was necessary to suggest reading the collection from a feminist and strange perspective, but it should not be an exhibition of the artists: “They are two different things: On the one hand, you can make an exhibition that is crossed theoretically or conceptually because of the problems of feminism, and this is what this gallery is trying to suggest In a way. The other thing is to claim something that has been historically very unbalanced is that men always show more, win more awards and have been more successful than women in art. Both are fine, but they are different, “he says.

While it is true that at home What are the bodies? what are the languages?There are the majority of female artists, and the sample also includes works such as An Pregnant Tree, by Leon Ferrari, Among other things.

Regarding the name, Cagnolo explains that the title aims to work on two axes within these problems: “One is the body and the body based above all on ideas related to definitions of gender, sexuality, desire and lust; and the other is about language, that is, how language builds patriarchal structures. There are no answers inside the exhibition, just an openness to the problems through the works and how they work on these general topics.

Selection process. Due to the sheer volume of work in the Lorenzo Collection, the selection process for assembling the exhibition required several steps: “We work with files that are organized according to the support of the work, or in alphabetical order. First, we did a kind of pre-selection based on the topic, but also by looking at Work, we better understood where this problem occurred because an exhibition on feminism can be very broad, “says Cagnolo.

Thus, the choice was directed according to what they saw on the one hand, and always supported by theoretical material. Finally, the gallery contains works by about 50 artists, not only local (although Lorenzo collects a lot of local works) but also national and international performances such as Nicola Costantino.

“In any case, there is always a lot of work outside because there is so much that one has to limit, and this is a little bit of oversight. You have to choose, you see what the cutting relationships are in the rooms and there is one final moment of the final choice related to the design of the assembly: How does one run? The pieces are a dialogue with others in a certain space, “the coordinator analyzes.

From Butler to Despentes. The model has quotes from Judith Butler s Virginie Despents, Among other references on feminism and the Queer movement. These expressions, which are very strong and specific, seek to focus on the kind of subjectivity that the construct of the perspective suggests: “That is if it is a bourgeois subjectivity that is masculine, white, central and indivisible that deconstructs a particular use. Of materials., Of the most contemporary combinations with respect to that subjectivity.”

What will happen. Also on the hand of Karina Cagnolo, this time with Alfredo ArasilThey’re working on a new album on the topic of abstractions. “Last year we started a new show that will open at the end of the year and it will be on abstraction, based on a selection from the same group,” he explains.

Although they are still unable to present many details, the curatorial hub will delve into the discussion of how the idea of ​​not having a reference object to represent it, which we call photography, has historically been constructed.

What are the bodies? what are the languages?

The exhibition can be viewed until September this year – by appointment and under strict protocol – at Espacio Colón (Av. Colón 76 – 7th Floor – Dept. 14).