Román Vitali

Works
Biography
Vision of art
Links
Contact

Mentioned by

Mentioned

Lorena Cardona
Luján Castellani
Laura Glusman
David Nahón
Sebastián Pinciroli
Georgina Ricci
Maximiliano Rossini
Constanza Alberione
Mauro Guzmán
Fabiana Imola
Mauro Machado
Grupo Planeta X

Biography

Born in Rosario in 1969. He studied Psychology and is Bachelor in Fine Arts. In 1995-96 attends the workshops of Jorge Gumier Maier.
In 1997-99 he is part of the scholarship program for young artists "Guillermo Kuitca" in C. Cultural Borges. In 1999 he obtained the grant for artistic creation of the Antorchas Foundation, the fine arts scholarship of the National Endowment for the Arts and the Leonardo Award "Young Generation" award from the National Museum of Fine Arts. Bs As. In 2000, the National Award in the National Hall of Rosario, Castagnino Museum, in 2001, the national biennial prize of Bahia Blanca. MAC. and mentions in Chandón Cultural and National Bank Award. He has exhibited his work at Casa de America. Madrid, at Malba. Museum J. B. Castagnino. Rosario. MAC. Bahía Blanca, Centro Cultural Ricardo Rojas, C.C. Recoleta, Ruth Benzacar Gallery, Galería Fernando Pradilla, Madrid, among others.
He works with a repertoire of materials that are synthesized in the use of transparent acrylic accounts-faceted cubist-basted through a tissue rescued from the crafts of the 70s.
Each account is a unit that operates by fitting and tension. Four of them conform a minimum package of work and by repetition they conform a strictly geometric structure, the product of an obsessive translation of a first mathematical body.
The image is directed through a network of invisible threads that enters in relationship with other systems. These threads seem not to cut into each joint, spring and move invisibly as vanishing points, articulating the different portfolios where the artist moves simultaneously: lighting works, geometric works, plant world, bodies, figures and scenes… also design. His urban interventions, interventions in artistic and museological institutions (Castagnino Museum, Rosario, Museum malba-Bs. As, Casa de America, Madrid, Spain Centro Cultural Parque-Rosario) or his projects where he includes "another" as being project “you.me "and project "Cum".

People Vitali (2004)

Camping (2005)

Garden (2004)

Winter garden (2003)

Costume (2004)

Embrace (2004)

Relationship (2004)

Long men (2002)

Camping (2006)

Vision of art

1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.

The work Untitled, 1998 was one of the first works where I begin to rationalize the idea of structure and system. The work is composed of two small figures, two little men who are faced looking statically. Their materiality: Built-faceted acrylic accounts and basted together by a system of traditional fabrics of the 70s. The possible construction of two bodies took me to the investigation of how through a highly geometric element, I could form an organic body. The only choice for this task is to appeal to mathematics as previous structure, an organization that allows a constructive system previously mapped. Each account is a unit that operates by fitting and tension. Four bills are the minimum package of work and through repetition make up a severely strained structure. The result is a geometrized, robotic and pixel body. A body without support, without organs, without a supporting structure, a body without a skeleton, a body that takes form through tissue tension. An empty body, inside there is nothing. A thread of plot is cut and the structure falls down, the scene fades, as often happens with all human bonds. This piece summarizes many of the concerns that run through all my production: from the presence of a playful child iconography, to the naive and tragic vision of the ties and human bonds.

2. In general terms, how would you suggest to approach your work?

The work can be read from different portfolios, each one has a conceptual and aesthetic direction, at the same time all connectors are articulated by developing a map that allows a rhizomatic movement. (http://www.romanvitali.com.ar). While this map serves to locate oneself in the different areas of action, this is not a closed scheme, in contrast, it allows a mobile service, with detours, crossings, interconnections and interrelationships. There are four Folders: 1) interventions 2) works 3) design and 4) projects. In the folder for interventions there is a strong presence of the space as a conditioning fact, whether urban space, architectural, institutional or private. This folder is subdivided into 1.1: Urban Intervention "Buy Argentine art. 1.2: Intervention Castagnino Museum. 1.3: Intervention Malba Museum: Light. 1.4: Intervention Casa de America: Life is so beautiful. 1.5: Intervention Park Cultural Center Spain: Red Light. In the folder for works are sculptural works and objects supported by various aesthetic concerns, whether about the light as the basic generator of situations around the geometric-mathematical abstraction, in connection with the organic nature and body of figurative works from the narrative in which addresses a psychoanalytic direction on the links and relationships. This folder is divided into: 2.1: Construction of light. 2.2: Geometric works. 2.3: World plant. 2.4: Figures and scenes. In the folder for Design, the point of reflection is the relationship of art with utility. And at the folder for Projects, the work is not individual but includes others and unfolds over time. This is subdivided into: 4.1: Project tu.yo (you.me). 4.2: Project Cum.

3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?

My work begins in the 90s, and I think that environment conditioned and influenced its development and deployment, that was the scenario where production began to be operated. Even my first exhibitions in Buenos Aires were performed at the Ricardo Rojas Cultural Center under the curatorial development of Jorge Gumier Maier. This was a very paradigmatic place for a whole generation of artists since it worked as frame of connecting productions and ideas. Another important reference of work was the scene that was generated by entering the fellowship program Guillermo Kuitca, my work began to build nodes with the productions of artists who were participating in this dynamic. The relation ship with Kuitca and my scholarship peers was of vital importance to my work. On the other hand, while living in Rosario, the city itself articulates and creates a network of emotional ties, intellectual, production and project management. Most of my friends are artists, and through his speeches I referenced.

4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why

Many works are meaningful to me, either because they nourish me, because they thrill me, because they make me think too much or because they generate ongoing visual dialogues with my work and my ideas. Some, only some, are: Geography of Daniel Joglar, Intervention in glass and displayed in National Endowment for the Arts by Sergio Avello, Cambre in National Endowment for the Arts. Jorge Omar Gumier Schiliro in Maier and C. C. Recoleta, Pictures of Marcelo Pombo at the C. C. Rojas. Mi Amor by Alejandro Kuropatwa in C. C. Rojas. Elba Bairon in C. C. Rojas, Guillermo Kuitca in Malba, spacecraft Benito Laren, Alfredo Londaibere at ICI. Jane Brodie at Alliance Francaise, World Leo Battistelli with inventory, Lucio Dorr. Raul Flores with the series of photographs of people’s auras. Chiachio Leo and Daniel Gianoni, Harper Gachi floors. works with eyes by Schiavi Crisitina. The spacecraft with recycled plastics by Mauro Guzman, the sound pieces by David Nahon, Constance Alberione, the paintwork. The drawings on the wall of Matthias Duville. The lighting records of Lujan Castellani. The video ping by Laura Glusman. The mural of the kiss of John Thesis. The Metal branches of Fabiana Imola, the drawings "do not want you" by Adrian Villar Rojas, Silvana Lacarra drafts. The blue series of paintings by Eduardo Seron, among many others.

5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?

There are different trends: the artists of marketing and public relationships, intimate and private artists, artists who want to be modern no matter what, ageless and always modern, those who produce much but do not show, those who do not produce but are everywhere with the same work, the makers of Web art, those who make art copying from the Web, those who copy Taschen's books, those who are nice and do well by their beauty, those who produce reflecting and operating with beauty, those who produce much by lack of love, those who produce much by excess of love, those who do not produce but manage to be present from the speech, those who produce speeches, those whose work is happily straddles the teaching, those who want to be famous in 9 ½ Weeks, those who do not speak but say it all, those who talk a lot by we see nothing at their work and those who talk so much that we end up thinking that we see, but that’s mere tiredness. Those who sublimate. Those who complain about everything, those who are everywhere because they never complain about anything, those on all sides by ambition, those who are nowhere for pride. Those who cut their hair themselves, those who like to have an odor, those who are very lovable and those who are not and everyone wants them to do a residence in Pakistan for ten years. Those who spend their lives doing workshops, those who like out of giving workshops, those working so much in management that unfairly have no time to produce. These are just some trends or clusters of Argentine art in recent times.