The Moderno presented the first retrospective of the work of the artist Marina De Caro (Mar del Plata, 1961), an exhibition that explored an expansive artistic vision that delves into the possibilities offered by art and the imagination.
Over the last thirty years, Marina De Caro has developed an artistic approach of great coherence and integrity defined by a set of very precise questions: how the body perceives, how bodily behaviour develops, the roles of design, how a body inhabits a determined space and how spaces in society can be inhabited in a pleasurable manner. These questions gave rise to works that initially developed in the world of fashion before moving on to explore the possibilities of soft sculpture, the knitted object, the experience of space and the potential of education and artistic action as part of a changeable logic that shifted from outfits to wearable woven works to soft sculptures to large-scale environments.
The artist’s different projects – which included Los trabajos y los días contra horas reloj [The Works and the Days Against the Hours of the Clock, 2007], Domingo X027 [Sunday X027, 2001], Tragedia Griega [Greek Tragedy, 2005] and Turista en un agujero negro [Tourist in a Black Hole 2011], and several more – came together in a dialogue of drawing sequences where colour was the main protagonist.
Against Gravity, the exhibition title, highlights art’s ability to repel the force that keeps us stuck to the ground and encourages the subject to embark upon exercises that will help them to achieve a more free and irreverently aerial perspective “I work to thwart the law of gravity, which is what prevents us from flying,” she says.
Bio:
Marina De Caro (Mar del Plata, 1961) received her degree in History of Art from the Universidad de Buenos Aires in 1992. To complete her artistic education, she attended workshops given by the artists José María Cáceres, Julio Flores and Guillermo Kexel. Between 2000 and 2003 she toured the country as a teacher in clinics for young artists run by the Fundación Antorchas and also started to give classes to young artists in her studio, a practice she continues to this day. She was an educational curator at the 7th Mercosur Biennial, Grito e escuta, Porto Alegre (2009).
