- Sofía Berakha
- Diego Bianchi
- Juan José Cambre
- Mercedes Cosci Roldan
- Diego de Aduriz
- Tamara Domenech
- Diego Figueroa
- Alberto Goldenstein
- Carlos Huffmann
- Guillermo Iuso
- Jimena Lascano
- Jorge Macchi
- Gastón Pérsico
- Belén Romero Gunset
- Nahuel Santiago
Leopoldo Estol was born in Buenos Aires in 1981.
I studied History of Art at the Universidad de Buenos Aires. The most inspiring subjects for me were: Anthropology, Sociology of Art, Plastics 6, Social General History. I used to walk a lot with Martín Kovensky while he taught me drawing, collage and scientific thinking. I later on attended a work clinic by Siquier, that I discover in an ad while reading Ramona. I met lots of people there; a great group of people thinking from the edge: Lamothe, Bianchi, Huffmann, Juliana Iriart, Tomás Espina, discussing it all, Strada, Jimena, Rojo… and the Saturday workshops with Macchi, that came shortly afterwards. We used to arrive barely awakened at the morning and leave late at night after having eatened hake and dissected work after work, doing feeling engineerings. It was there that I met Duville, Ullia and Adrián Villar Rojas,
The Kuitca scholarship at the Centro Cultural Rojas came afterwards; a time of many afternoons. Eduardo Navarro use to come up with a new project every day; Valentina and Deborah painted in the summer. In settled myself in Diego’s atélier because I wasn’t given one, and so we began a mini-movement of atmospheric installations. Discussing sessions were exhausting; the sense of things was tied-up and undone so quickly; Guillermo use to tell us the stories behind the works and most of the times it was just listening. It was a gradual and quiet activity; but to everyone I met the scholarship give them peace and a special time to open their work up.
My first installation of many things I did it at Sendrós art Gallery, and shorty after I did another one at Benzacar. It was an honor for me to do an exhibition at the Correo Central. Not so long ago a went to the Mercosur Biennial, did a second exhibition at Benzacar, «The world’s morning», up to now, my most recent exhibition.
I organized an art workshop at Eduardo Navarro’s house back in 2006: Gala, Itamar, Nacho, Koxon, Juane, Nico, Vendaval… Now that I remember it may seems that enjoy more talking about art that producing it, it’s a possibility;no, lie! Art is ellusive, so I read, curate and do installations!
I like electronic music and peruvian food.
juan souto me fue a buscar en su querida destartalada rural a la estacion, guiye y nico -los meteoritos- llegaron en auto con sus cientos de posters, ernesto y ale jodiendo con el fresbee, nadine se coló distraída en nuestro pequeño tributo al verano... el perro amarillo es de juli.
aldo y diosque nos encontraron de casualidad esa misma noche volviamos caminando... q mundo paralelo es mardelplata noche verano.
mundo dios, disco hits, quiero galletas, restaurant puerto gallego (thankius)
Two wheels (2008)
An invitation to draw bicycles on walls or posters and stick them at gathering spots in the neighbourhood. Too many cars. The street is ours, it’s time to go out on a bike.
Little ball (2008)
A little tennis ball set free on the MACRO, an intermittent box, a picture, part of a box even bigger. We will continue this project, it’s called donation, it’s a work in progress.
May Gardens (2007)
Fernanda came up with a big installation exhibition and we wonder several times how to make one out of them all. After several meetings we came up with the idea of building a landscape, to each of us a different height and so all the layers together would form something like a panoramic view. I got the the first layer so I ordered it a little bit in a Gondry Style, repeting things so as to create movement and a more profound sense of perspective, though I must confess I was a little distracted those days.
laguna bianchi persico navarro rosales gonzales sueyro and allaria
The art of elegance (2007)
Daniel Molina writes The time of art is the instant: a time that is out of time. The matter of art has the thickness of a dream, it’s a ghost that allucinates us and dissolves in front of our blinded eyes. Art happens. It is a little miracle that bursts all of a sudden. And we can dream it all because it imposes nothing! Poxipics remix,
Poxipics: images of the beginning of a century. (2007)
No culture remains at a standstill, technologies, products and people move from one place to the other. When cultures get in contact through immigration, trade or communication, they influence on one another. Sometimes cultures pollinate one another by swaping foods, music, sports. Some other times, global critics say, a culture stamps another one, breeding itself like an invasive weed.
Cultures have evolved as in response to contact for thousands of years. But today¡s rhythm is different. In the past, influences from distant cultures came slowly, delayed after long crossings. Today, due to the telephone, internet, the tv, satellites, the world trade and massive tourism, cultural influences can spread throughout the planet with the click of a mouse.
Copied and pasted from a National Geographic magazine.
Hours of photo lab and things thanks to Marino Balbuena. Invitation, advise and care. Thanks, Inés, Bruna and Justo Werlang for your support in Porto Alegre.
Hello data entry (2006)
Graciela Taquini offered me to do something for the cycle of exhibitions she coordinates at the cultural san martin. Back then and now, I used to spend and spend now a great deal of time surfing through fotologs: lifes told in images or some words. That’s how I invited six friends or friends yet to be known to do something that at the beginning were like images after one another with texts that each one would figure out how to include. The projections were in silent then but it was OK that the fotolog atmosphere was for a while transformed into something else.
lucila portabales - luciana lamothe - ines acevedo - pablo bernard - nicolas mastracchio - adrian villar rojas
The local notebook (2006)
A collection of cuttings on the different ways of cocaine traffic. Some photos made out of products dissection and stuff at home, three watches connected to a same battery tell the time, coca cola mixed with pepsi, a map of the world with all the countries sponsord everything from the top.
This is the that I less understand to this day. There were some months of looking how things on the street are being presented to us and try to learn something, alternating pieces in different states. The more diverse the order is, the more natural? It had something like a supermarket bunker air to it, maybe it had too many things.
The sending of poxipics to the Rural (2005)
The movements of the people getting closer and looking, turning on electrical appliances, devices and lights, superimposing their functions and sounds on one another, creating, briefly, a strange musical instrument.
Escuelita Thomas Hirschhorn (2005)
In an article in La Nación, Daniel Molina accused Diego Bianchi and myself of copying Thomas Hirschhorn. Shortly afterwards, and urgently, Fernanda ask us to do the next exhibition at Belleza, but with Diego we thought Let’s do a movement as quikly as possible and that is how we came up with the idea of replicating Hirschhorn. It was just it! Those were days of going to Once to get things and walking through Almagro with pieces of wood, cardboard and ribbon and that is how we did the Escuelita. Like a labyrinth of brown mirrors and pieces of everything in different concentrations: minidisc, library, telephone booth, classroom, cavern and garden. In the exhibition there were several productive sessions: those minidisc gatherings, briefs but intense; Mitlag gave a speech on photography, there was talk on drugs and Jacoby disserted on Marxism. Fernanda came and went pregnant from Ramón administrating the kiosk, and sometime a boy came in asking if we were selling picture cards. It went as quickly as it came, a place, a moment of clarity.
Many hours talking and walking with Diego Bianchi. With lots of help from Nicolas Mastracchio, Teddy williams, Claudio, Laurita, Caro and those staying there all the afternoon.
Fast anf furious (2005)
Alberto Sendrós came up with the idea that I was to curate an exhibition and we thought on a cycle because I wanted to invite many artists but wanted also that the dialogues had enough space around, so for a month or so there were works coming and going , I think that what I liked the most of that brevity was a certain sense of fidelity with the days: going every day to see a movie cycle, meet people around a mistery object, always changing, always common, go having dinner afterwards.
Luciana Lamothe - Gabriela Forcadell - Alberto Goldenstein - Eduardo Costa - Marcelo Galindo Cecilia Szalkowicz - Diego Bianchi - Daniel Joglar - Tiziana Pierri – thanks to Fabián and Alberto for these choppy days at the gallery.
India Republic (2004)
Two tents with holes in, one inside the other one. To lay inside a while a look. The holes look very automnish. One day I’ll do another version with more space and more holes.
Early personal interests (2004)
This was my first big installation. Before this one, I used to work with similar ideas but in a much smaller scale. There was once a patio and a thread crossing it and it was just it. There is something like a domino effect that starts pile up things in my room, bathroom and kitchen at my place, put them in a box, takes them to the scholarship just when everyone is about to get it and sit somewhere.
In the middle there’s everything I’ve found in equilibrium as if I could take measures, a hand a foot, a person lying down, and then distribute objects at random, but finding them.
And Sonia invited me to participate with Eduardo Navarro, Huffmann, Lola Golgstein and the Brandazza. The exhibition was called ‘early personal interests’, there was an inflatable bus loosing dandruff at the other room and Carlos Huffmann played with trains to the infinite.
To Esteban Tedesco, that only dare to walk in the last day, when I moved a ladder that obstructed the entrance, to Macchi, who in a moment was lucid enough as to say: Estol: less things!