Eliana Heredia

Works
Biography
Vision of art
Contact

Mentioned by

Mentioned

Anableps und the Water (2012)

Galería Kunst im Bauhof, Winterthur-Suiza.
Materiales: 250 lupas, 400 rollos de papel higiénico, mangueras transparentes y agua.

Axel Pichler, Kurt Spiess.

6m x 4m x 3m

Brigitte y el brillo del desierto (2011)

Galería 713 Arte Contemporáneo, Buenos Aires.
Materiales: 400 kg de caramelo casero, humedad promedio 65%, temperatura variable entre 20º y 33º.

Técnica del Caramelo: Roberto Goni.
Herrería Artística: Alejandro Gangemi.
Asesoramiento literario y codirección de video: Verónica Pérez Arango.
Realización de video: Andrés Shakespear, Sebastián Vega y Matías Lago.
Textos: Fragmentos de escritos de Eliana Heredia, Los amantes de Elfriede Jelinek, La condesa sangrienta de Alejandra Pizarnik y La desdentada de Verónica Pérez Arango.
Donación azúcar: Chango

6m x 4.5m x 3m

Proyecto Brigitte y el brillo del desierto (2011)

Galería 713 Arte Contemporáneo, Buenos Aires.
Materiales: Acuarela sobre papel.

Variables

Project Punishment of Purity (2011)

Galería Tobias Hirschmann, Berlín.
Materiales: Acuarela sobre papel.

Variables

Shipwreck (2011)

Ex ofﬁcine di Via Ghisleri, Rom.
Materials: Water, plastic cups, air and water.

10m x 5m x 4m

The Punishment of Purity (2011)

Art Residence at La Maison des Cultures du Monde. Vitré-France.
Materials: coal, tablecloths of paper(role), copper, candies, stones, lard, different sorts of baking papers.

Residencia para Artistas. La Maison des Cultures du Monde, Vitré-France.
Simon Poligné, Axel Pichler, Laura Anghileri.

13m x 6m x 2m

Secondary effect (2010)

Universität der Künste Berlin. Brillant Volume. Art Symposium
Materials: Disinfectants products, blisters/plastic leftovers of Risperidone drugs, plastic cups and black ink.

5m x 1.20m x 4m

Marble, cement, wood, watercolors, perfume and skin (2010)

Contemporary Art Gallery 713, Buenos Aires.
Materials: marble, cement, wood, watercolored papers, transparent cups, floor cleaner, wall cleaner, clothes cleaner, fabric softener, liquid soup und cream.

4.4m x 3m x 0.60m

The sense of smell in the John Brent’s House (2010)

CESTA- Residencia para artistas, Tabor-Republica Checa.
Materiales: Cinta plástica amarilla y verde, cinta de papel, vasos de plástico, vinagre, agua, productos de limpieza y suavizantes para la ropa.

variables

Color Temporal (2009)

713 Contemporary Art Gallery. Buenos Aires.
Materials: different quality papers, water markers, rusty iron and water.

4m x 0.60m x 1m

The Infinite Border (2009)

Interdisciplinary Project 2009.
Cultural Center “Ricardo Rojas” and Theater “El Anfitrión”, Buenos Aires.

The play takes place in a cyclical time between fiction and reality. An actor, a dancer, foam rubber, lights and sound.
Cast: Vanessa Weinberg, Guy Barel
Director: Vanesa Weinberg, Valeria Kovadloff
Sound Processing: Marcelo Katz
Light treatment: Miguel Solowej
Plastics Processing: Eliana Heredia
Poetry: Claudio Bertoni
Assistant Director: Carla Canosa
Costumes: Laura Molina

Team The Infinite Border

variable

Venerable Volumen (2008)

Arteba 08, pabellón destinado al "Open Space" representando a la Galería 713 Arte Contemporáneo, Buenos Aires.
Materiales: colchones tallados, viruta de acero, cerámicas y blister de remedio.

6m x 5m x 4m x 4m

Place and excess (2007)

CCEBA Spanish Cultural Center in Buenos Aires CCEBA.
Materials: Colored plastic, alluminium mesh, carved mattresses, steel wool and ceramics.
proposed a reflection on excess.

Text Cintia Messa.

10m x 2m x 0.70m

Unconscious geographies (2007)

Galería 713 Arte Contemporáneo, Buenos Aires.
Materiales: colchones de goma espuma tallados, poluiretano, viruta de acero, cerámica, cemento y silicona.

5m x 4m x 3m

Sin Título (2005)

Galería 713 Arte Contemporáneo, Buenos Aires.
Materiales: mangueras, cables, coquillas, burletes, nylon y plantas de silicona.

4m x 3m x 3m aproximadamente

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 I choose, from 2005, is a variable installation that I showed as composed by different versions at the Casona de los Olivera, El Borde art gallery and Estudio Abierto. It consists of a group of plants, leaves of acetic silicone that, together with hoses, brake linings, wires, dry branches, barbwires and other industrial materials shape a sort of wild and threatening nature that climbs up the walls. The coexistance between the colour black, the sparkle, industrial waste and the space are all part of a strange scene that confronts the viewer with an altered and mutant natural world. This work started developing through a large number of drawings related to the idea of a ‘nature-in-excess’. Exploring, as these sketches progressed, a universe both fragile and dangerous. These first sketches on paper contained but didn’t fully unfold a difficult natural issue, to a large extent known by intuition, that in a latter stage acquires material form and develops in space as a group of matrixes, like footprints traced from the vegetal world.

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

I like to put the viewer in a situation of space and material conflict. The contemplation of my work, I think, has a certain scenographic influence to it, in the sense that nothing is what it seems. I enjoy artificially altering the material aspect of things and objects. I try, in some of my works, to confront the viewer with a scale that is not his, from diminute drawings, almost imperceptible and of subtle transparencies, to exceeded volumes that make the viewer feel akward or uneasy. After a first impression, vaguely uncomfortable, the viewer might be able to find, within these works, a second phase, that of a more intense or complex contemplation.

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 is figurative. I was trained in drawing and sculpture. I’m interested in research and in the discovery of new materials; I’m seduced by each of them’s unique qualities and properties. In some works I seek for images that can be unfolded through layers of ellaboration, and where I can tell each of the actions undertaken apart by looking at the traces left on the paper. As contemporary references, whose work I enjoy, see and admire, I might mention Philip Taaffe, Petah Coyne, Annette Messager, Luiz Hermano, Lotte Reiniger, Julie Mehretu, Kara Walker. Because of their oeuvre and their way of understanding contemporary art, their intellectual, cultural or pedagogical work, I consider relevant contributions those by Marina De Caro, Tulio de Sagastizábal, Héctor Maranessi, Diana Aisenberg, Cintia Mezza and Marcelo de la Fuente.

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

Even as I don’t have a general view of what’s going on, I do distinguish a group of artists that work with issues related to a certain sinister presence as a constitutive factor of a poetics; such is the case of the exhibition that Marcia Schvartz did at the Centro Cultural Recoleta, because of the harshness and vehemence with which she deals with the landscape, the voracity of her ceramic flowers. Along these lines, I’d like also to mention Miguel Harte’s out of control and mutant nature, and Eduardo Stupía’s undergrowth of infinite textures.