Curated by Irene Gelfman
Four Key Pieces
Text by Andrea Ostera
Four images of 2 arms and 2 legs, each around 10 meters long, are spread across the floor of a room. The size of the limbs is not to scale; they are hyperextended, as if they have been stretched beyond their limits, beyond what is possible. They are also dented. They have transformed into lumps that stretch and contract, forming oscillations in the material, sometimes breaking out of the flat plane to achieve volume. A body is a volume in space.
Four Key Pieces challenges the limits of photographic imagery, bringing it closer to the idea of a living thing—of something that is not fixed, but full of vitality, a vitality that comes with wear and exhaustion. Four Key Pieces speaks of survival. It touches on the elemental nature of the actions these four limbs allow us, the primal and basic, yet also their countless possibilities. Like the ability to recover and move forward, even with an exhausted body (the crumpled and un-crumpled paper shows significant signs of wear, even breakage). Because how much can a body, or a material, endure?
Four Key Pieces poses a question from its title, stating that these are four fundamental pieces, but not clarifying exactly for what purpose. It is within that space of possibility that the observer is invited to respond.
Cecilia Lenardón is represented by the Subsuelo gallery, in the section NEXT | Out of focus.
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
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Cecilia Lenardon, Cuatro Piezas Clave. La Toma, Rosario
Cecilia Lenardón (Rosario, 1979)
Artist, teacher, psychoanalyst. Her work is primarily linked to photography, but she also ventures into writing, performance, and experimental music. She studied Psychology, Art Psychology, and a Master's in Psychoanalysis at UNR. Since 2012, she has taught at the Musto School, where she develops and coordinates contemporary art programs and photography workshops. From 2009 to 2017, she was part of the working team at the Castagnino+macro Museum.
She has received creative grants from FNA and BPSF.
In 2014, she published her first book, thanks to the EMR award. She participated twice in the Petrobrás Prize (arteBA 2010/2012), both times with group and experimental projects.
In 2019, she received the First Prize at the National Salon of the Rosa Galisteo de Rodríguez Museum.
She exhibits individually and collectively, participating in various fairs and salons. Her work is part of private and public collections.
She lives and works in Rosario, Argentina.
Artist's Statement
I almost always work with images or start from them. These images acquire a different meaning depending on their destination: installation, publication, space, movement.
Lately, I’ve started to incorporate ideas related to the fluctuation of mood, to the unstable as a way in which things are sustained.
When I think about a work, its meaning is defined by the way someone approaches it. Scale is a variable I am particularly interested in. I sometimes think of works as being the same size as the viewer, so the viewer and the object are on equal footing, like a mirror. But sometimes, I present miniatures so the viewer has to make an effort to get closer, and the works speak to them in secret. Other times, the scale enlarges so the viewer feels smaller. The work changes size so the viewer changes with it.