Artístas
Bruno 9li, M. Acosta, M. Alí, Fabiana Barreda, Dany Barreto, Martín Bonadeo, G. Cánepa, Leo Chiachio Y Daniel Giannone, Cooperativa Sub, Aquiles Coppini, Lía Dansker, Pablo De Monte, Lacy Duarte, A. Echegaray, M. García, Charlie Goz, Lorena Guzmán, Martín Lanezán, Javier Lodeiro, Blanca Machuca, Alejandro Moreyra, Tatiana Parcero, Alfredo Portillos, Daniel Santoro, Mario Scorzelli, Guillermo Srodek Hart, Alfredo Srur, Anabel Vanoni, Federico Villarino, Tranqui Yanqui.

Espacio de Arte de Fundación OSDE | Suipacha 658, 1 Piso | CABA | 4328-3287/6558/3228

Foto: ©Tatiana Parcero, Actos de fé #25A,2004

Curated by: Dina Mitrani

Re-Framing the Feminine demonstrates the varied strategies employed by female photographers to frame their experiences using the technology of film photography and digital media.
Artists included: Julie Blackmon, Maria Magdalena Campos-Pons, GisMO,
Marina Font, Nan Goldin, Courtney Johnson, Brenda Anne Kenneally, Sally Mann,
Lori Nix, Peggy Levison Nolan, Kristine Potter, Tatiana Pacero, Cindy Sherman,
Zoe Strauss, Mickalene Thomas, Jo Ann Walters, and others.

The exhibition will be on view through September 2012, and a catalogue will be
available in the Spring of 2012, with an essay by photography writer, Vicky Goldberg.

Image: Lori Nix, Beauty Shop

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presented by espaivisor – Visor Gallery

Born 1967 in México DF, México

Tatiana Parcero entitles her series of constructed self portraits Cartografía interior (Interior Cartography) in order to frame her practice as a form of personal mapping, a quest for knowledge about the self, seen through the prisms of history, culture, and geography. Employing photographs of her own body overlaid with maps and other historic documents, she has created an eloquent body of work that merges a poetic process of introspection with creative revelation.

Parcero calls the body “the container that holds everything”; thus, it is the perfect starting point for a search encompassing ancestral origins, cultural history, geography, and the psyche. In titling this series Cartografía Interior, Parcero points to the possibility of re-envisioning the exterior, visible body, as a site of pure meaning. Flesh becomes an expression of the subconscious, the face and eyes reflect the intellect. She displays an essential self, stripped of the clothing or the material accoutrements that would provide a cultural or temporal framework. In contrast, this essential self is bound to history, to a cultural landscape that transcends the here and now.

Aquí les dejamos el link para escuchar la entrevista.

http://www.codigoradio.cultura.df.gob.mx/index.php/inercia/4694-cartografias-tatiana-parcero

A unique exhibition that explores the way artists are using mapping as a means of exploring both our interior, private world as well as the external, political world.

Robert C. Beam (Eugene, OR)
Elaine Duigenan (London, United Kingdom)
Germán Herrera (San Rafael, CA)
Nate Larson (Baltimore, MD) and Marni Shindelman (Rochester, NY)
John Mann (Tallahassee, FL)
Jean Miele (Brooklyn, NY)
Tatiana Parcero (Buenos Aries, Argentina)
Eva Timothy (Newbury, MA)

Curated by Frazier King, HCP Exhibiitons Committee Chair

Join us for a live GPS-based performance by Nate Larson and Marni Shindelman on Saturday, September 11 beginning at 1 p.m.

“A Portrait of Dick Cheney, Who Bears A Striking Resemblance to My Father.”
For the eight years of his term, my father repeatedly was mistaken for Vice President Dick Cheney. He would come home angry and upset when someone would comment at his striking resemblance to someone whose political beliefs were so far from his own ethos. Yet, he too prospered from the corporate economic boom of the eighties, moving us into a large subdivision owned by one of the major US oil companies, as he moved up the ladder of his Big Six corporation.

On September 11, 2010, we will create a large-scale portrait of former Vice-President Dick Cheney by walking a course of GPS coordinates with a group of participants. The walk will begin and conclude at the Houston Center for Photography.

Cheney was chairman and CEO of Halliburton Company from 1995 to 2000, leaving the company to join George W. Bush´s presidential ticket. Many scholars assert that Cheney changed the nature of the Vice-Presidency, assuming a more direct role in shaping policy, and in particular, the Bush Administration´s pursuit of the “War on Terror” and the definition of torture. As we walk this portrait through the city streets of Houston, we think of the cultural conditions of the country and its urban centers, and the implications of corporate culture on the politics of our country.

+ More info

Tatiana Parcero.
Fin y principio, 2010.
60 x 60 cm.
Primer lugar en la categoría de fotografía.

link: http://artesdemexico.com/

“Memoirs of the Future”

September, 11 – October 30, 2010

Opening reception Saturday, September, 11, 7 – 10pm

Memoirs of the Future, new work by Tatiana Parcero, employs color photography that explores the body in ways that reference her past series’ in technique and investigates new themes of femininity, identity, and the choices offered by the future rather than the imposed histories of the past.

In order to place this body of work into context, the show features work that spans 15 years of Parcero’s career, allowing viewer’s a glimpse into her own personal histories. In early work, such as her Re-Invento series, Parcero projected images onto her naked body, which served as a tabula rasa. The images she chose were Pre-Columbian Aztec codices and maps of the New World during the Spanish conquest. These symbols referenced a shared, often violent, history that is inextricably linked to Parcero’s own ancestry as a Mexican. Embedded with layers of acetates, the images converge to mimic the various strata which shape one’s notion of identity.

In Fin y Principio, a later body of work, Parcero left behind the introverted seclusion of her studio and venture into the landscape to explore themes of nature and one’s connections to it. Completed while experiencing motherhood for the first time, Parcero focused on cycles. The work features symbolic objects such as eggs, seedlings, and nests, while exploring themes of protection, growth, and the fragility of life.

In Memoirs of the Future, Parcero once again looks inward, finding inspiration from Anaïs Nin. Nin was an independent woman who survived the prejudices of the 1920s, and who broke boundaries in women’s literature and poetry. Her texts and personal journals revealed a woman unafraid of self expression and her own sexual nature. The frames and details of each photograph in this new series are developed using several layers of overlapping forms that are inspired by Art Nouveau designs from the era of Nin. Each separate layer is superimposed onto the others, creating the sensation of depth and visual uncertainty. Tattoos are digitally drawn onto Parcero’s body, contemporizing the images, but also suggesting the involvement of a conscious choice. This show examines Parcero’s own exploration of self identity, and tracks ways in which she has effectively overcome obstacles in that quest. By mapping her body, Parcero has set her own course for the future.

-Britt Miazgowicz

[artist's statement]

Valet parking available

Bernice Steinbaum Gallery
3550 N Miami Ave – Miami, FL 33127
T 305 573 2700 – F 305 573 2722