{"id":47027,"date":"2024-08-22T11:22:10","date_gmt":"2024-08-22T14:22:10","guid":{"rendered":"https:\/\/museomoderno.org\/juliano-bruno\/"},"modified":"2025-06-23T15:07:12","modified_gmt":"2025-06-23T18:07:12","slug":"juliano-bruno","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/juliano-bruno\/","title":{"rendered":"Juliano Bruno"},"content":{"rendered":"\t\t
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Bruno Juliano<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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YERBA BUENA, TUCUM\u00c1N PROVINCE\n
\nARTIST, TEACHER AND RESEARCHER, BA IN ARTS AND PHD IN ART HISTORY<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\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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Abstracci\u00f3n, materia, superficie [Abstraction, Matter, Surface]<\/i>\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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During this residency, I am interested in talking to the teams or individuals at the Museo Moderno involved in exhibitions, accessibility, education, and inventory and restoration, in order to share and expand on the projects we are carrying out in our current research and extension work at the Faculty of Arts of the Universidad Nacional de Tucum\u00e1n.<\/span><\/p>

With the aim of guiding this discussion, I will put forward a concrete case based on a new finding. <\/span>Work No. 163<\/span><\/i>, by Ra\u00fal Lozza, is an oil painting on wood from 1948, which belongs to the Faculty\u2019s collection. This piece was completed around the same time as <\/span>Work No. 171<\/span><\/i>, which is part of the Museo Moderno\u2019s collection, dated that same year. This proximity, not only in temporal but also in material and compositional terms, allows for three areas of exploration.\u00a0<\/span><\/p>

First, the focus will be placed on the state of <\/span>Work No. 163<\/span><\/i> and its possible restoration. Based on a preliminary diagnosis, we realised that the artwork required attention. Following the work of Pino Monkes \u2013 Head of Conservation at the Museo Moderno \u2013 and his vision of conservation outlined in the book <\/span>Bajo la superficie. Siete di\u00e1logos sobre la materialidad en la abstracci\u00f3n argentina<\/span><\/i> (Colecci\u00f3n Despierta del Moderno, 2023), I propose to analyse this with him or with members of his team.<\/span><\/p>

The second area of work will focus on abstraction in Argentina and especially in Tucum\u00e1n. In my doctoral thesis, I explored the beginning of abstraction in Tucum\u00e1n using a painting from Timoteo Eduardo Navarro\u2019s puddle series, produced in the early 1960s, in order to rethink the assumed superiority that classical art historiography ascribed to figurative art during the same period in our province. Lozza’s work, and its arrival and influence on Tucum\u00e1n\u2019s artistic production, challenges us to work on the tension surrounding geometric abstraction in the northwestern provinces of Argentina, vis-\u00e0-vis Buenos Aires and other regions of the country, and Latin America as a whole. In this respect, the approach of Mar\u00eda Amalia Garc\u00eda \u2013 who introduces Monkes’ book \u2013 on abstraction in Argentina and Brazil and the concrete art movement constitutes a key reference, linking back to the Museo Moderno\u2019s collection and its exhibitions, among them <\/span>Arte no figurativo<\/span><\/i> [<\/span>Non-Figurative Art<\/span><\/i>] (1960), <\/span>Abstractos informales y geom\u00e9tricos<\/span><\/i> [<\/span>Informal and Geometrical Abstraction<\/span><\/i>] (1991), and <\/span>Vida abstracta <\/span><\/i>[<\/span>Life in the Abstract<\/span><\/i>] (2022-2023).<\/span><\/p>

Finally, I am driven by a particular interest in images and surfaces as a way of reaching the places where memory survives. At the same time, I am interested in considering political image from the perspective of its materiality, which allows for the observer\u2019s touch and the manipulation of their supportive materials, whichare not only visual but also haptic.<\/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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Bruno Juliano <\/strong>born in 1985, Bruno Juliano is an artist and researcher. He holds a degree in Visual Arts as well as a PhD in Art History from the Universidad Nacional de Tucum\u00e1n. The focus of his work lies in exploring the relationship between image and memory, alongside contemporary art in Tucum\u00e1n, carrying out artistic, curatorial, editorial and management projects.\u00a0<\/span><\/p>

He is a professor of Contemporary Art History at the Faculty of Arts of the Universidad Nacional de Tucum\u00e1n, where he directs the research project \u201cBetween the atlas and the archive. Individual and collective memories in images produced by artistic practices in Tucum\u00e1n\u201d.<\/span><\/p>

He co-founded Espacio Cripta, a space where contemporary art projects are proposed and developed. His curatorial work includes <\/span>Arte abstracto de Tucum\u00e1n: espectros <\/span><\/i>[<\/span>Abstract Art in Tucum\u00e1n: Spectres<\/span><\/i>], an exhibition and research project carried out with Gustavo Nieto. He formed part of the Artists\u00b4 Programme of the Universidad Torcuato Di Tella (2022-2023). He was awarded the Acquisition First Prize at the LXXI Sal\u00f3n Museo Castagnino+macro (2017) and was the beneficiary of a subsidy within the \u2018Cultura argentina al mundo\u2019 programme, ran by the Argentinean Ministry of Exterior Affairs, International Trade and Worship, and of the CIMAM-Arthaus grant, Alec Oxenford Collection, among others.<\/span><\/p>

He has published articles, essays and curatorial texts in various local media and international magazines. He is currently studying at the Universidade Federal do Rio de Janeiro, Brazil.<\/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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Bruno Juliano YERBA BUENA, TUCUM\u00c1N PROVINCE ARTIST, TEACHER AND RESEARCHER, BA IN ARTS AND PHD IN ART HISTORY PROPOSED PROJECT Abstracci\u00f3n, materia, superficie [Abstraction, Matter, Surface] During this residency, I am interested in talking to the teams or individuals at the Museo Moderno involved in exhibitions, accessibility, education, and inventory and restoration, in order to […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-47027","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/47027","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=47027"}],"version-history":[{"count":14,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/47027\/revisions"}],"predecessor-version":[{"id":52418,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/47027\/revisions\/52418"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=47027"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=47027"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=47027"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}