Monumental Fiction
Video Performance
Winner of the 2nd Prize at the 108th National Visual Arts Salon.
Credits
Direction and performance: Victoria Papagni. Camera: Hernan Kacew. Direct sound: Lali Ortiz. Sound post-production: Lucero Blaustein and Valeria Fernandez. Editing: Victoria Papagni and Hernan Kacew. Colour: Azul Selser. Project supported by TRIDEO 3D.
→ Roses, thorns and egos. Essay by Dr. Margarita Martínez
Published in Ramona Magazine (2020)
I built a bust-self-portrait with 3D technology that functions as an itinerant monument to be placed ephemerally in the city. A contemporary monument that crosses temporalities: the history of the classic western sculptural portrait and the current self-portrait in a context of digital narcissism. The temporal tension that the work proposes is condensed in its own materiality: magenta ecological plastic and stone, the classic noble material for busts. The work was placed next to other monuments in an act of self-legitimization and appropriation of public space, hegemonically masculine. The action was audio-visually recorded and the result is a series of videos that use the tools of cinematographic language: between video performance and documentary recordings. The project is shown in different formats and locations, in an itinerant way, just like the monument. It is important to adapt it to each specific space, making use of video installation. The bust is only exhibited in public spaces and shows its marks of wear and tear, as a result of traffic. The monument was placed in the Costanera Sur, near the Fuente de las Nereidas (a work by sculptor Lola Mora, a pioneer in occupying public space), in the Museo de Calcos y Escultura Comparada Ernesto de la Cárcova, in the Jardín de los Poetas and in the MOA (Department of Monuments and Works of Art) where the city's monuments are restored.
Centro Cultural
San Martín
Exhibition
5-CHANNEL VIDEO INSTALLATION AND SCULPTURE
Solo exhibition at the Centro Cultural San Martín, 2019.
Credits
Photographic Registration: Santiago Orti. Video Registration: Pablo Vera Solari.
"The path of this image can be seen as a parable of contemporary narcissism turned intervention: it is not enough to model our own image, then we have to carry it. And this is not enough either, because we cannot stop re-evaluating it against exemplary figures that mark milestones in the history of the aesthetics of the thing itself. The presence of technique is unavoidable in the very process of this sculpture, which involves photometry taken to 3D printing, but it is also in the register of displacements. Where the sculptor fought with stone or melted metal -the struggle with matter- Victoria uses the softness of digital codes in the production and performs hard, corporal work for the transfer and placement. The positioning of the image itself then becomes burden."
— Dra Margarita Martinez, Roses, thorns & egos.
During the exhibition I coordinated a Cycle of Activities. A host space, empty and at the same time active, where to receive guests and energize the exhibition to develop content "in situ and ao vivo" that contains it and, if possible, exceeds it.
Centro Cultural San Martín Exhibition Video
Torcuato
Di Tella
University
Exhibition
4-CHANNEL VIDEO INSTALLATION
15 m x 5 m x 12 m, 2018.
Credits
Photographic and video recordings: Santiago Orti. Technical editing assistance: Francisco Galán.
"The journey of this image can be seen as a parable of contemporary narcissism turned intervention: it is not enough to model our own image, then we have to carry it. And this is not enough either, because we cannot stop re-evaluating it against exemplary figures that mark milestones in the history of the aesthetics of the thing itself. The presence of technique is unavoidable in the very process of this sculpture, which involves photometry taken to 3D printing, but it is also in the register of displacements. Where the sculptor fought with stone or melted metal -the struggle with matter- Victoria uses the softness of digital codes in the production and performs hard, corporal work for the transfer and placement. The positioning of the image itself then becomes a burden."
— Dra Margarita Martinez, Roses, thorns & egos.
de la Cárcova
National Museum
Exhibition
Video instalación Monocanal
Dirección y Performance: Victoria Papagni. Cámara y Edición: Hernán Kacew. Sonido (Directo y Foley): Lali Ortiz y Lucero Blasutein. 2019.
"Rather than forcing a mechanism of institutionalization, Victoria Papagni's work positions itself as instituting. Without destroying the structure that sustains tradition, she infiltrates it and inhabits it from her own precepts. Are not museums also public spaces, and sculptures, surfaces of symbolic projection? In its transit, the mobile bust narrates a new manifesto; by spatializing itself, it dismantles the hegemonies of knowledge. The boldness of the instituting gesture turns into radical tenderness, with the aim of establishing new relationships, tensions, dialogues, openings. The gaze of the canon meets the feminist practices of collective use and appropriation of public spaces: the discussion is installed and, between pedagogies and transversalities, that future in perpetual distance disappears so that gazes and bodies, sculptural and human, can deal with the near and immediate."
— Tania Puente
Monumental Fiction
Video Performance
Winner of the 2nd Prize at the 108th National Visual Arts Salon.
Credits
Direction and performance: Victoria Papagni. Camera: Hernan Kacew. Direct sound: Lali Ortiz. Sound post-production: Lucero Blaustein and Valeria Fernandez. Editing: Victoria Papagni and Hernan Kacew. Colour: Azul Selser. Project supported by TRIDEO 3D.
→ Roses, thorns and egos. Essay by Dr. Margarita Martínez
Published in Ramona Magazine (2020)
I built a bust-self-portrait with 3D technology that functions as an itinerant monument to be placed ephemerally in the city. A contemporary monument that crosses temporalities: the history of the classic western sculptural portrait and the current self-portrait in a context of digital narcissism. The temporal tension that the work proposes is condensed in its own materiality: magenta ecological plastic and stone, the classic noble material for busts. The work was placed next to other monuments in an act of self-legitimization and appropriation of public space, hegemonically masculine. The action was audio-visually recorded and the result is a series of videos that use the tools of cinematographic language: between video performance and documentary recordings. The project is shown in different formats and locations, in an itinerant way, just like the monument. It is important to adapt it to each specific space, making use of video installation. The bust is only exhibited in public spaces and shows its marks of wear and tear, as a result of traffic. The monument was placed in the Costanera Sur, near the Fuente de las Nereidas (a work by sculptor Lola Mora, a pioneer in occupying public space), in the Museo de Calcos y Escultura Comparada Ernesto de la Cárcova, in the Jardín de los Poetas and in the MOA (Department of Monuments and Works of Art) where the city's monuments are restored.
Centro Cultural
San Martín
Exhibition
5-CHANNEL VIDEO INSTALLATION AND SCULPTURE
Solo exhibition at the Centro Cultural San Martín, 2019.
Credits
Photographic Registration: Santiago Orti. Video Registration: Pablo Vera Solari.
"The path of this image can be seen as a parable of contemporary narcissism turned intervention: it is not enough to model our own image, then we have to carry it. And this is not enough either, because we cannot stop re-evaluating it against exemplary figures that mark milestones in the history of the aesthetics of the thing itself. The presence of technique is unavoidable in the very process of this sculpture, which involves photometry taken to 3D printing, but it is also in the register of displacements. Where the sculptor fought with stone or melted metal -the struggle with matter- Victoria uses the softness of digital codes in the production and performs hard, corporal work for the transfer and placement. The positioning of the image itself then becomes burden."
— Dra Margarita Martinez, Roses, thorns & egos.
During the exhibition I coordinated a Cycle of Activities. A host space, empty and at the same time active, where to receive guests and energize the exhibition to develop content "in situ and ao vivo" that contains it and, if possible, exceeds it.
Centro Cultural San Martín Exhibition Video
Torcuato
Di Tella
University
Exhibition
4-CHANNEL VIDEO INSTALLATION
15 m x 5 m x 12 m, 2018.
Credits
Photographic and video recordings: Santiago Orti. Technical editing assistance: Francisco Galán.
"The journey of this image can be seen as a parable of contemporary narcissism turned intervention: it is not enough to model our own image, then we have to carry it. And this is not enough either, because we cannot stop re-evaluating it against exemplary figures that mark milestones in the history of the aesthetics of the thing itself. The presence of technique is unavoidable in the very process of this sculpture, which involves photometry taken to 3D printing, but it is also in the register of displacements. Where the sculptor fought with stone or melted metal -the struggle with matter- Victoria uses the softness of digital codes in the production and performs hard, corporal work for the transfer and placement. The positioning of the image itself then becomes a burden."
— Dra Margarita Martinez, Roses, thorns & egos.
de la Cárcova
National Museum
Exhibition
Video instalación Monocanal
Dirección y Performance: Victoria Papagni. Cámara y Edición: Hernán Kacew. Sonido (Directo y Foley): Lali Ortiz y Lucero Blasutein. 2019.
"Rather than forcing a mechanism of institutionalization, Victoria Papagni's work positions itself as instituting. Without destroying the structure that sustains tradition, she infiltrates it and inhabits it from her own precepts. Are not museums also public spaces, and sculptures, surfaces of symbolic projection? In its transit, the mobile bust narrates a new manifesto; by spatializing itself, it dismantles the hegemonies of knowledge. The boldness of the instituting gesture turns into radical tenderness, with the aim of establishing new relationships, tensions, dialogues, openings. The gaze of the canon meets the feminist practices of collective use and appropriation of public spaces: the discussion is installed and, between pedagogies and transversalities, that future in perpetual distance disappears so that gazes and bodies, sculptural and human, can deal with the near and immediate."
— Tania Puente
