Marula Di Como

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1963 Buenos Aires, Argentina. In 1998 together with Sergio de Loof, Alejandra Tomei, Alberto Couceiro, Andrea Sandlien, Nelson Mourad and Alfredo Larrosa created Boliva, a multicultural space. I created the Multimedia group Asperges, comprised of: Lisa Kerner, Gabriela Senes, Guadalupe Fernández, Rosana Schoijett and Soledad Aznar -carrying out graphic productions, photography exhibitions, video art and performance between 1990 and 1992 in the Goethe Institute Buenos Aires and the Instituto de Cooperación Iberoamericana among others. I took part, along with Cecilia Alvis, Florencia Young and Valeria Hermida, in the projects “El futuro está en el papel pintado de la Bauhaus” (The future is on a piece of painted paper from Bauhaus)(Instituto Goethe, Buenos Aires, 1997) and “Des-Límites, Valle del Riachuelo Matanzas” (Off-limits, Valley of the Stream Killings) (Instituto Goethe, also exhibited in the Instituto Di Tella and selected by the curator Catherine David for the exhibition “City Editing”, Fundación Proa, Buenos Aires 1999). I created, along with artist Cristián Dios in 1999, the project “Paraiso” (entrega de árboles seriados) (Paradise (delivered from serious trees)) which was selected in 2004 for Shelley Sacks (Director Social Sculpture Research Unit (SSRU)) for the Green Museum in the score “The Legacy of Joseph Beuys: Contemporary Social Sculpture, Connective Aesthetics and Ecoart Practices” and in 2006 for the IX Festival Internacional de Fotografía y Artes Visuales PHotoEspaña 06. The deliverance continues today. I formed part of the project Vísperas between 1999 and 2001 together with Leo Chiachio, Marcela Astorga, Chino Soria, Gabriela Franconne, Alberto Passolini, Amalia Amoedo, Gabriela Francone, Guadalupe Fernández, Patricia Domínguez, Norma Rojas and Eladia Acevedo holding exhibitions in Espacio Giesso Reich, Boquitas Pintadas Pop Hotel and Centro Cultural Recoleta, Buenos Aires and Alianza Francesa, Rosario; Argentina. Together with Roberto Jacoby and Gustavo Bruzzone. Carried out the conception, facilitation and general coordination of ramona magazine of visual arts for the first 13 editions. Colaborrated on development together with Alfredo Visciglio and Paulo Ruso on the first year of the magazine Wipe. In 2002 I created Berlín together with Florencia Young (designer) “Proyecto Ausländer”, (Project Ausländer) about the experience of being a foreigner (Berlín y Buenos Aires, 2003/2004). Called upon Estela Schindel (sociologist) and formed the team Migrantas in 2004. Completed: “Integración” (Integration) (Berlín 2005), “Interkulturelle Werkstatt”, “Bilder bewegen” and “Bilder bewegen II” (in Berlín 2006). Since 2006 to the present day Irma Leinauer (urban planner) and Alejandra López (journalist) have colaborrated with Migrantas to develop the project “Bundesmigrantinen” (Hamburg 2007). In 2006 I created, together with the Argentinian artist Silvina Der Meguerditchian, “siempreviva”, (everliving) an installation dedicated to the memory of the victims of the military dictatorship in Argentina, Die Franziskaner Klosterkirche Berlin and, together with the Barcelona artist Agustin Calvo Galán, the dialogue “contacto-b” on mediation and hybridization in the network. Campus Oriente Puc, Santiago y Espacio G Valparaiso, Chile. Collaborrated in the project:// selfportrait- a show for Bethlehem which was presented at Al Kahf Art Gallery - Bethlehem International Center, Palestine, Casoria - Museum of Contemporary Art Naples, Italy, MAC - Museo Arte Contemporáneo Santa Fe, Argentina, MACRO - Museo Arte Contemporáneo Rosario. Argentina, Officyna Art Space Szczecin, Poland, Museum of Swinoujcie/Poland. Since 2002 to the present day I have lived and worked between Buenos Aires and Berlín.

s/t (1989)

Acrílico sobre tela

120 x 80 cm

Vision of art

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 interests: the punk of ferla, the intelect of guagnini, the abstraction of caldini, the battle of rothschild, the affection of suarez, the spirit of szlimowicz, the distance of gumier maier, the focus of ostera, and of benjamin de mayer, the space of erlich, the surprise of ferrari, the eyes of lederkremer, the energy of grippo, the glam of gonzález sueyro, the silence of nijensohn, the comb of fehrmann, the puff of grimblatt, the fat of lópez, the spines of animals, the keys of rome, all of Greece, the new silk of grippo, the immutability of the even, the bleach of Ros, the steiner of gurfein, the shine of laren, the size of gordín, the noe in 3D of marcaccio, the modesty of god, the green of alvis, the skies of dietzche, the dart of porter, the basin of batistelli, the nicety of herosa, the op of cippolini, the innocence of laguna, the bestiality of constantine, the skull in the library of bustillo, the drawing of the river, the cathode of echen, the time of kuropatwa, the sound of rud, the lux of lindner, the marriage of zabala, the affection of molina, the link of link, the doctor of saudibet, the injekt of szalkowicz, the fiber of chiachio-gianonne, the pachamamma of boschi, the alchemy of pelella, the lugones of pauls, the inside of tintore, the eros of berconsky, the water of sor, the provence of loof, the motor of yeregui, the father of trilnick, the cellar of elía, the stone of sacco, the asperity of szankay, the folklore of der meguerditchian, the chromium of mitlag, the soul of soria, the aphorisms of kuitca, the consecration of calcarami, the plasticity of minujin, the museum of kacero, the sun of solar, the cheff of banks branches, the planning of kosice, the chongo of bath, the trunk of straps, the prairie of piffer, the oscillation of mathe, the kandinsky of lozza, the chango of maresca, the layers of zanella, the sandbox of le parc, the plan of the sea, the tour of herrero, the airiness of valansi-ferlat, the tone of mangiante, the attitude of persia, the land of garcia uriburu, the i of indij, the sequin of churba, the queue-less lizard of fernández, the salon of astorga, the line of passolini, the focus of vitali, the letter of pavón, the cosmos of travel agencies, the distinction of di mario, the bags under the eyes of pedraza, the counsels of trincado, the patience of tomei-couceiro, what we see of guyot, the hyper-realism of rivers, it pitagórico of moretto, the faith of young, the mark of schoijett, the heart of jacoby, the deserts of nijensohn, and avello always. Cheers to the new generations.

Marula Di Como

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Biography

s/t (1989)

Vision of art

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