{"id":46999,"date":"2024-08-21T10:51:02","date_gmt":"2024-08-21T13:51:02","guid":{"rendered":"https:\/\/museomoderno.org\/carlota-beltrame\/"},"modified":"2024-11-12T10:43:12","modified_gmt":"2024-11-12T13:43:12","slug":"carlota-beltrame","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/carlota-beltrame\/","title":{"rendered":"Carlota Beltrame"},"content":{"rendered":"\t\t
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Carlota Beltrame<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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SAN MIGUEL, TUCUM\u00c1N PROVINCE
\nVISUAL ARTIST, TEACHER, RESEARCHER AND INDEPENDENT CULTURAL MANAGER<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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PROPOSED PROJECT<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Las hilanderas [The Spinners]<\/I> (curatorial project)\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Las hilanderas<\/span><\/i> [<\/span>The Spinners<\/span><\/i>] is the name of an exhibition that I am beginning to imagine, one that is therefore still in its conceptual stage. It is an unfinished project that has its origins in the work of two young artists from Tucum\u00e1n and considers a period of research into pieces related to textiles, belonging to the collection of the Museo Moderno. After thinking a lot about its name, I finally settled on the homonym of the famous work by Vel\u00e1zquez, chosen for its conceptual strategy of relating sub-themes that, by opening up one within the other, give the work a great discursive complexity, rather than only for what it represents \u2014 a group of women spinning.<\/span><\/p>

Las hilanderas<\/span><\/i> [<\/span>The Spinners<\/span><\/i>] is, then, a project about textiles drifting towards hybridisations that include other languages. For this reason, I started my exploration with the works <\/span>La trayectoria intermedial del texto<\/span><\/i> [<\/span>The Intermediate Trajectory of Text<\/span><\/i>], by Valentina D\u00edaz; <\/span>Randa sonora<\/span><\/i> [<\/span>Lace Soundtrack<\/span><\/i>] and <\/span>Tres chalecos verdes <\/span><\/i>[<\/span>Three Green Waistcoats<\/span><\/i>], both by Alina Bardavid, which go beyond the textile to incorporate performance, installation, video documentation, video installation and sound installation, forming a relationship not only with other artistic languages, but also with other technologies. In my opinion, this opening up of textile art means that the frequently alluded to \u2018intimacy of the hand\u2019 is expanded by superimposing it with other discourses, in a process that I find similar to that of Vel\u00e1zquez’s <\/span>Las hilanderas<\/span><\/i>, as it exposes these \u2018holes in language\u2019 that are not always understood because the logic of the domestic, the logic of common sense, is suspended in them.<\/span><\/p>

In this stage of uncertainty from which I venture to present <\/span>Las hilanderas<\/span><\/i> [<\/span>The Spinners<\/span><\/i>] \u2014 beyond the script developed as a possible gateway to the artistic\/aesthetic movements of a practice traditionally associated with the dometic and the functional \u2014 I envision this proposal as a fabric that seeks to interweave not only pieces of art, but also concepts maintained by the evolution of the original <\/span>living <\/span><\/i>fabric, typical of popular practices; but also of manual, mechanical and technological linear weaving. In short, I propose the inauguration of an exhibition at the Museo Moderno that will decompose, symbolise, present, represent and reassemble trajectories that \u2014 once new myths, patterns, codes, bodies and spaces are incorporated, as if it were a woven fabric \u2014 will end up woven together in the spectators\u2019 perception.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Carlota Beltrame<\/b>\u00a0is an artist, teacher, researcher, and holds a degree as well as a doctorate in Arts. Among other publications, her <\/span>Manual Tucum\u00e1n de arte contempor\u00e1neo<\/span><\/i>, outlining Tucum\u00e1n\u2019s current art scene, stands out. She has organised workshops for the analysis and production of artworks and has worked on projects with Juan Acha, Guillermo Kuitca, Jorge La Ferla, Gustavo Bruzzone, Eva Grinstein, Am\u00e9rico Castilla, Mauro Herlitzka, Gabriela Salgado, Kevin Power, Washington Cucurto, Gustavo L\u00f3pez and Leopoldo Estol. In Tucum\u00e1n, she was a representative of TRAMA – Programa de cooperaci\u00f3n y confrontaci\u00f3n entre artistas [Programme of Cooperation and Confrontation Between Artists].<\/span><\/p>

She has obtained various scholarships, residencies and grants, notably the CIA (Centro de Investigaciones Art\u00edsticas) residencies (Argentina, 2009) and ArTifariti (Algeria-RASD, 2010 and 2017), the DAAD scholarship to study at the Kunstakademie D\u00fcsseldorf (Germany, 1997), and a scholarship granted by the Fundaci\u00f3n Antorchas to work at the Taller de Barracas (Argentina, 1995 and 1996). She has been awarded the following prizes: First Prize ArtHaus in 2024, National Prize for Artistic Trajectory in 2023, Klemm Prize in 2022, Konex Award for Merit in Visual Arts in 2022, National Presidency Acquisition Prize, First Best Work at the 107th National Visual Arts Salon in 2018 and First Prize at the MUNT Salon in 2007.\u00a0<\/span><\/p>

She has curated, among other exhibitions, <\/span>En primera persona<\/span><\/i> [<\/span>In the First Person<\/span><\/i>] (2019), <\/span>Femenino plural <\/span><\/i>[<\/span>Plural Feminine<\/span><\/i>] (2015), <\/span>La mano, la cabeza <\/span><\/i>[<\/span>The Hand, The Head<\/span><\/i>] (2009), <\/span>Inscripciones invisibles<\/span><\/i> [<\/span>Invisible Inscriptions<\/span><\/i>] (2006) and <\/span>Los noventa en los 90 <\/span><\/i>[<\/span>The Ninety in the 90s<\/span><\/i>] (2003). Her works can be found in numerous public and private collections.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Carlota Beltrame SAN MIGUEL, TUCUM\u00c1N PROVINCE VISUAL ARTIST, TEACHER, RESEARCHER AND INDEPENDENT CULTURAL MANAGER PROPOSED PROJECT Las hilanderas [The Spinners] (curatorial project) Las hilanderas [The Spinners] is the name of an exhibition that I am beginning to imagine, one that is therefore still in its conceptual stage. It is an unfinished project that has its […]<\/p>\n","protected":false},"author":7,"featured_media":45545,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-46999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/46999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/comments?post=46999"}],"version-history":[{"count":11,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/46999\/revisions"}],"predecessor-version":[{"id":49022,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/46999\/revisions\/49022"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media\/45545"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=46999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=46999"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=46999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}