Untitled, 2014
Ceramics, Installation, Dimensions variable
I am always thinking about the vital, about the origin of life. What’s the difference between something inert and something alive? At what precise moment does the breeze begin?
I observe the endlessly small (particles, cells) and the endlessly large (stars that are born and die, galaxies, and other things that I don’t understand and can’t even imagine). Is there life in that as well?
I try to find connections, I wonder if those things are governed by the same laws, if they partake of the same presence.
I imagine unknown organisms that make use of those laws and I frantically look everywhere that one of those beings could grow. I secretly believe that by making them exist time and again and by thinking about how else life could be manifested, I will someday come to understand something very important.
The installation for the elevator shaft is part of that universe of creatures that proliferate. What is pursued here is a more carnal relationship with the architecture. In a world of hard and rigid constructions, the tiles are the hosts of a parasitical organism, a sort of moss or aseptic fungus that sprouts between the tiles and grows in the structure. Imperfect and explosive, they become natural.
On the terrace, a still creature rests on the railing. Its weight falling inward, it sticks to the wall.
I don’t know if this creature is animal or vegetable or, perhaps, a symbiote of the wall.Â
It started out as a ball that may have seemed sterile but later sprouted. Its skin, or peel, was torn a little and those other parts, those gold folds, emerged.
In the effort, it secreted a strange substance like a drop of golden sweat.
The origin of life inevitably makes me think of the passage of time and of death (or is it because that scares me so that I focus on the origin?).
If I think hard about all of this, I am overwhelmed and left breathless; my spirit is shaken.
It doesn’t matter. My creatures are with me.
Ivana Brenner.
Buenos Aires, 1982. Expone individualmente en Alejandra Von Hartz Gallery, Miami (2011), y junto a Nicolás Bedel en A un Millón de Años Luz de Casa, Machete, México DF (2012). Recientemente y en forma grupal exxhibe en Buenos Aires en Galería Vasari (2013 y 2014), en el Fondo Nacional de las Artes (Lo real, lo real, lo real!, 2011) y en los XV y XVI Premios Klemm (2011 y 2012). Es distinguida con la Mención en el XVII Premio Klemm (2013). Internacionalmente, participa, entre otros, de muestras en Jaggedart Gallery, Londres (Summertime, 2013 y Beyond the Surface, 2014); Hunterdon Art Museum, New Jersey (Material Color, 2008); y de la muestra y subasta "Carnets d’Inspiration+", en el Musée d'Art Moderne de la Ville de Paris (2010). En 2009 y 2010 es artista residente en la Cité Internationale des Arts, París. Vive y trabaja en Buenos Aires.