BIO
BIO
Ana Tiscornia

Montevideo, Uruguay, 1951. Desde 1991 reside en Nueva York. Es Profesora Emerita de State University of New York Collage at Old Westbury. Su trabajo ha sido exhibido nacional e internacionalmente en muestras individuales tales como El estado de las cosas, en el Museo Gurvich en Montevideo, Uruguay; Obra reciente, en Nora Fisch Galería en Argentina (2013), Paradoxes en Josee Bienvenu Gallery en Nueva York (2013); Other Impertinentes en Alejandra Von Hartz Gallery en Miami (2012); Solo Projects en ARCO 09 en Madrid; On Location en Allegra Ravizza Art Project en Milan. Tiscornia también ha participado en numerosas exposiciones de grupo como Symphonic Node to think with Thabiso Sekgala, Cyprus; Mujeres en el arte. Museo Nacional de Artes Visuales, Montevideo, Uruguay; Doing and Undergoing, Columbia University, New York; Serface en Barbara Krakow Gallery en Boston; Esa Vara. Modernity and emplacement, Museum of Contemporary Art and Design (MADC), San Jose, Costa Rica;   The Disappeared, organizada por el North Dakota Museum; Entre Líneas en La Casa Encendida en Madrid; Photographic Memory & Other Shots in the Dark en Galería de la Raza en San Francisco; Heard Not Seen and September 11, 1973, ambas en  ORCHARD in NYC; y Políticas de la diferencia, organizada en Valencia, España y que viajara a la Fundacao do Patrimonio Historico e Artistico de Pernambuco en Brasil y al Museo de Arte Latinoamericano de Buenos Aires (MALBA) en Argentina. Representó a Uruguay en las II y  IX Bienal de La Habana, Cuba, y la III Bienal de Lima, Perú, y participó en la Bienal del Fin del Mundo en Mar del Plata. Es Editora de Arte de Point of Contact – The Journal of Verbal and Visual Arts, distribuída por Syracuse University Press. Colabora con varias publicaciones de arte y es autora del libro, Vicisitudes del Imaginario Visual: Entre la utopía y la identidad fragmentada, publicada por White Wine Press en colaboración con Distrito Cuatro. Entre sus más recientes proyectos curatoriales se cuenta La Guerra que no hemos visto, que fuera exhibida en el  2009 en el Museo de Arte Moderno de Bogota y viajara en el 2010 al Museo de Antioquia en Medellín, en el 2011 al Museo La Tertulia de Cali, en el 2012 al Frost Museum de Miami Florida y en el 2015 al Museo Aquitane de Bordeaux.

Sitio web

Karina Aguilera

Karina Aguilera Skvirsky es una artista multidisciplinar que trabaja principalmente con fotografía, video y performance. Actualmente es Profesora Asociada de Arte en Lafayette College, Easton, PA. De manera regular trabaja en exposiciones individuales y colectivas, ha participado en bienales como en la de Cuenca, comisariada por Dan Cameron (2016) o en la de São Paulo (2010). Ha sido beneficiaria de numerosas residencias y becas. Actualmente está produciendo"Cómo construir un muro y otras ruinas" gracias a la beca obtenida en 2019 por parte de Creative Capital. Su obra se puede ver en ferias como, ARCO Madrid, NADA Miami o PArc Lima, a donde acude regularmente con las galerías que la representan. Su obra forma parte de importantes colecciones como la Urbes Mutantes, el Whitney Museum of American Art, el SFMOMA el Art Institute of Chicago, así como numerosas colecciones privadas

La obra de Ana Tiscornia (Montevideo, 1951, desde 1991 reside en Nueva York) está íntimamente ligada a su formación como arquitecta, pero al mismo tiempo contaminada por su práctica como profesora y curadora. Ana percibe el espacio arquitectónico desde su etapa más primaria, el dibujo. Para la arquitectura, el dibujo no solo representa el momento potencial en donde cabe toda posibilidad, sino también simboliza un lugar de visualización y el establecimiento de vínculos con la percepción del espacio — pero no solo eso, sino que además la artista utiliza el desdoblamiento hacia la tercera dimensión como un terreno ulterior, en dónde las líneas y los planos se materializan en objetos especulativos. Tiscornia estudia las nociones de utopía y pérdida en torno a el espacio arquitectónico, al mismo tiempo que revisa las condiciones políticas y ambientales por las que este espacio se ve alterado, modificado o erradicado. Su obra incluye exploraciones en distintos y variados materiales, que representan la fisicalidad de edificios erradicada por conflictos bélicos, pobreza, desastres naturales.  Además presenta las posibles direcciones en las que estas mutan, y son reasimiladas por nuevas formas y funciones del espacio público y habitacional. La artista ha estudiado las denominadas “Green Lines” (Líneas verdes) fronteras temporales, que demarcan territorios de armisticio durante estados de emergencia o tiempos de guerra, ligadas históricamente a conflictos específicos en el mediterráneo y el medio oriente. Este impulso de reconstruir, de repasar, o de crear realidades más complejas, tiene como motor una curiosidad política y una creencia en las capacidades potenciales del espacio. Las reconstrucciones y proposiciones espaciales de Ana Tiscornia presentan al espacio no solo como un lugar de habitación, sino como una constelación de objetos con la capacidad de almacenar y distribuir información histórica y cultural, pensados en función a una relación de la vulnerabilidad del cuerpo humano con las cualidades geopolíticas de la arquitectura. Para su participación en The Backroom La artista ha abierto la intimidad de su estudio y su proceso creativo, desde sus referencias bibliográficas, hasta su metodología investigativa a partir de la cual solidifica sus objetos artísticos.

The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City
The Agreement: Soldiers to Caretakers, 2017
Ink on paper
76.0 x 56.0 cm
Private collection
Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm/Mexico City

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Hellen Ascoli writes—about weaving and translation—"To let my body be the place where tension meets the ground," and I imagine a lightning rod connecting languages, pulling threads. She combs, she rakes, she draws an exhibition with neon tapes across her backyard, she stacks two tree limbs in an embrace. I spend my pandemic mornings in the sand of a barren yard in the Great Plains in isolation, and the grit powders my skin and gets into my teeth. We write each other letters. Manal Abu-Shaheen sends me a cyanotype she makes, of the ship that brought her great-grandfather to Ellis Island in 1907. She sends a photograph of the sun dunking into the sea beside Beirut. We talk about the failure of language to account for the distance between here and there, especially in these anguished weeks since the explosion. Her photographs of that city were already moving indoors, but now, isolating in New York, she imagines the intimacy of photographing her friends in their homes, indoors, together. The imagining is about closeness, about touch, about longing and what is no longer here, about having a coffee and telling the stories of this particular year. Thuy-Van Vu describes how her father would plant patches of green, plants and flowers, in the sun-bleached yard of his home in Phoenix, Arizona, and how they would always die under the summer sun there. We talk about things that couldn’t be said in words. “This is the idea of a house my father built,” writes poet Diana Khoi Nguyen. Plants now cover every surface of her Seattle office and home; she feels guilty for letting one of them expire for a painting. She sends photographs from a trip to Vietnam: modest sandals in a glass case at the Museum of Fine Arts in Ho Chi Minh City are marked with dirt from an artist’s day of work. A boy sands a carved Buddha, and the wood gradually changes tones. A typed list of “useful phrases for emergencies” in Vietnamese includes “Don’t shoot!” Photographs of a helicopter made of woven grasses and a broken wooden sculpture of a tank are local thrift store finds, imported from Vietnam.

1
3d anatomy rendering, brain, 2010, stockphoto
2
Representation of the trunk and its organs. From the Hua Tuo Xuanmen Neizhao Tu , Hua Tuo's Images for Internal Visualisation According to the Mystery School), imprint published by Sun Huan in 1273 . This version of the Hua Tuo Xuanmen Neizhao Tu incorporates images of the viscera drawn by the doctor Yang Jie ( fl. 12th century), styled Jilao , in his Cunzhen Huanzhong Tu (1118).chinese, circa 1100
4
Organs of the gastrointestinal system, Bartolommeo Eustachi, 1564
5
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811), Edo-period Japan, 1603-1868
7
digestive system, Verheyen, flemish, Corporis Humani Anatomia, 1710
8
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811). Edo-period Japan, 1603-1868
9
3d anatomy rendering, digestive system, 2011, stockphoto
10
3d anatomy rendering, brain, eye, 2010, stockphoto
11
Wilhem ten Rhyne 'Dissertatio de Arthritide: Manissa Schematica: de Acupunctura', Dutch,17th century. Original first-hand published account of eastern medicine and introduced the western world to the concept of acupuncture, 1683