2024-10-27 09:00:00
What is an art residency? It is a dislocation and displacement: an artist doing his work elsewhere. In this sense, Barda del Desierto in Contraalmirante Cordero is an artistic residence, but very special.
Barda del Desierto seeks to create a space for research, experimentation, creation and exchange of knowledge about actions and production related to the cultural geography of the region. Therefore, according to each version, the house is proposed as a site-specific space.
It started in 2014 at School 135. The residency program has hosted more than fifty artists, curators and researchers from home and abroad for six consecutive years. In 2022, the Barda del Desierto Museum was opened. [mBDD]presented in physical and digital spaces, completely reinterprets an experience from the 14th century, so much so that since its creation it has been home to the Barda del Desierto Museum: now the museum is the reason for everything.
The scale of the original museum Barda del Desierto and below, artist Rosa Cerarols. (Photo: Cecilia Maletti)
Consisting of a total of 20 site-specific digital works produced between 2014 and 2019 by artists participating in the residency, the museum is as special as the art residency that generated it, if not more: the museum is the wall on which it is located , 70 hectares of Patagonian countryside, sky, earth, flora and fauna. A museum of contemporary art, digital technology and ecology.
Museum of Heaven and Earth
It is an independent production, training and dissemination platform that promotes research between contemporary art practice, science and architecture from an eco-social perspective. It’s digital, not virtual, so it’s also physical, because you have to be there, on the fence, to see the nineteen works. When you hold your mobile phone and perform geolocation through Google Maps, the museum “appears”. Once there, visitors can view the video art works via a QR code on the site where the work was created.
camp It was here that the clay for the walls of Rio Negro was worked. (Photo: Cecilia Maletti)
María Eugenia Cordero, founder and director of the Barda del Desierto Museum, explains: “One thing that seems very interesting to me is that it’s not that the work is moved, but that you move the place where the work was created.” Moreover, he He is also the coordinator and curator of the art residency program and its programming. “On the other hand, although the technology we use as the device to access the works is the mobile phone, the museum is digital, not virtual. Because the works are digital, because they cannot exist in reality, because in reality It’s video art, it’s a performance record, it’s a photographic record of a site-specific installation, so all the pieces in the museum’s collection are digital. “You have to go to the museum to see this piece. “
You have to go to the fence in question, which is located next to the main irrigation canal, a few kilometers south of Cordero. Once there, the works can be accessed via boards mounted with the latitude and longitude geographic coordinates of the works’ original locations.
The plates contain author references, abstracts and technical sheets, as well as QR codes that allow access to the sound, audiovisual and/or photographic recordings of each work. “You have to go to the fence and stand in that place and you see something that is not physically there but is there. It was made there. To me, in the work we are doing, it seems like Poetic, that’s how that place has a context and how when you visit the work you connect to that context, you connect to the territory, the landscape and the proposed.
surface and below
This year, the tenth residency program is divided into two parts. Within the framework of the Constelaciones scholarship (see separate content), the Barda del Desierto received between September 24 and October 7 the selected artists Rosana Fernández from Córdoba; and Rosa Cerarols from Barcelona.
“Rosa is closely related to what we are studying here, which is cultural geography,” Cordero said of Rosa Serra-Role’s work. “Rosana is a contemporary artist who works with digital devices, specifically investigating the language and concepts of decentralized architecture, as part of our collaboration with Barda del Desierto as a museum in relation to its architecture.”
Barda Desert Museum. The sky is also part of it. (Photo: Cecilia Maletti)
The residency continues with Argentinian artist Ana Rita Gendrot, a National Endowment for the Arts fellowship recipient who developed the “Clay Technologies” project from October 12 to 20. “Art Genealogy and Other Imaginations Then/Now.”
Gendrot’s work was instructive: Desert Barda learned for the first time what his museum was made of. Because if the museum has a wall, what is the wall made of? “We have been working with other concepts, and the curatorial approach is a little different. We are starting more from the concept of landscape rather than from the interior of the earth, which at least makes me want to investigate,” Cordero reveals.
“Anna did soaking and research work on the local clays on the fence. We spent a week working on the installation in a camp at the museum that was used as a workshop, we investigated different clays and we made the pan out of the local clay Pantone, we also made an oven out of the materials that the fence gave us and we ended with an exhibition of pantone colors and burnt pieces that still have the heat of the fence on my skin because it was incredible and we thought it was. was the first episode of clay technology and we knew we would continue to deliver it as we pulled the strings on a very large ball.
Red Golden Joe and Constelaciones Scholarship
Red Quincho is a civic association that brings together artistic residencies in Argentina, including the Barda del Desierto, held since 2014 in the suburb of Contraalmirante Cordero. There are currently more than 30 projects from across the country participating, bringing together administrators, projects and organizations dedicated to developing arts residencies. With inclusion, diversity and federal common interests, Quincho positions itself as a national and international network for collaboration and cooperation, promoting the strengthening of the industry.
In 2020, in the face of the emergency brought about by the epidemic, Argentina’s art residency program created an environment of cooperation and containment. The creation of virtual meetings enables first contact between a large number of projects that do not know each other.
Constelaciones 2024 is a scholarship for a one-month residency in two residences in Argentina participating in the Quincho network. It is aimed at artists, researchers and curators from all disciplines. Fourteen scholarships were awarded to participants from Argentina and two scholarships were awarded to participants from Spain.
In the case of Barda del Desierto, this year Rosa Cerarols (Barcelona) and Rosana Fernández (Argentina) were chosen
Each selected participant will develop a four-week residency project, illustrated by two networked residency locations across Argentina. Barda del Desierto is connected to the La Rural residence in Tucumán.
(Fuente: redquincho.com.ar)
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Interview with María Eugenia Cordero: Founder and Director of Barda del Desierto Museum
Interviewer: Thank you for joining us today, María Eugenia. To start, could you share what makes the Barda del Desierto uniquely special as an art residency?
María Eugenia Cordero: Thank you for having me! What makes Barda del Desierto distinctive is our focus on creating a space not just for artists to work, but for them to engage deeply with the cultural geography of our region. Since our inception in 2014, we have aimed to facilitate research and experimentation that resonates with the natural landscape here in Contraalmirante Cordero. Artists are encouraged to create site-specific works that have a lasting relationship with the land.
Interviewer: That sounds fascinating! I understand that the museum opened in 2022 and features digital works. How does that intersect with your residency program?
Cordero: Yes, the museum is indeed a culmination of the residency’s work. It’s important to note that while our digital pieces can be accessed through technology, they are grounded in their physical locations. Each work corresponds to a site where it was created, and the experience of viewing them requires visitors to be present at these specific geographic locations, using their mobile devices for access. This interplay of digital art and physical space creates a unique experience that connects viewers with the local landscape.
Interviewer: How have the recent artists-in-residence contributed to this mission?
Cordero: Recently, we’ve had incredible artists like Rosana Fernández and Rosa Cerarols who explored themes related to cultural geography and decentralized architecture. They engaged with the landscape in profound ways, helping us understand our museum’s context better. Additionally, Ana Rita Gendrot’s work on local clays has brought our focus back to the materials of our environment, reinforcing our connection to the land. Artists like Ana enlighten us about the landscape’s relevance, sparking discussions about what our museum is really made of.
Interviewer: It sounds like the residency is continuously evolving. What future initiatives are you excited about?
Cordero: I am thrilled about our ongoing exploration of materiality and landscape. We aim to encourage more artists to examine how their works can converse with the environment. The more we dig into local resources and cultural narratives, the more enriching our collective experience becomes. We’re also enhancing our collaboration with other disciplines like science and architecture to foster interdisciplinary dialogues.
Interviewer: how can people engage with the museum and the residency program?
Cordero: We encourage everyone to visit us! Barda del Desierto offers a unique opportunity to experience contemporary art through a deeply contextual framework. People can explore our digital pieces by following our GPS-coordinated paths, allowing them to physically engage with the art while being in the beautiful Patagonian landscape. We also invite artists and researchers globally to apply for our residency program. Together, we can continue to explore and redefine the relationship between art and our environment.
Interviewer: Thank you, María Eugenia, for sharing your insights. The work at Barda del Desierto sounds truly inspiring!
Cordero: Thank you! We’re excited to keep creating this unique space for art and ecological dialogue.
Interview with María Eugenia Cordero: Founder and Director of Barda del Desierto Museum
Interviewer: Thank you for joining us today, María Eugenia. To start, could you share what makes the Barda del Desierto uniquely special as an art residency?
María Eugenia Cordero: Thank you for having me! What makes Barda del Desierto distinctive is our focus on creating a space not just for artists to work, but for them to engage deeply with the cultural geography of our region. Since our inception in 2014, we have aimed to facilitate research and experimentation that resonates with the natural landscape here in Contraalmirante Cordero. Artists are encouraged to create site-specific works that maintain a lasting relationship with the land.
Interviewer: That sounds fascinating! I understand that the museum opened in 2022 and features digital works. How does that intersect with your residency program?
Cordero: Yes, the museum is indeed a culmination of the residency’s work. It’s important to note that while our digital pieces can be accessed through technology, they are grounded in their physical locations. Each work corresponds to a site where it was created, and the experience of viewing them requires visitors to be present at these specific geographical locations, using their mobile devices for access. This interplay of digital art and physical space creates a unique experience that connects viewers with the local landscape.
Interviewer: How have the recent artists-in-residence contributed to this mission?
Cordero: Recently, we’ve had incredible artists like Rosana Fernández and Rosa Cerarols who explored themes related to cultural geography and decentralized architecture. They engaged with the landscape in profound ways, helping us understand our museum’s context better. Additionally, Ana Rita Gendrot’s work on local clays has brought our focus back to the materials of our environment, reinforcing our connection to the land. Artists like Ana enlighten us about the landscape’s relevance, sparking discussions about what our museum is really made of.
Interviewer: It sounds like the residency is continuously evolving. What future initiatives are you excited about?
Cordero: We are excited about deepening our connection with the wider art community through initiatives like the Constelaciones scholarship, which fosters collaborations across different residencies in Argentina. The opportunities for artists to explore diverse themes in our unique setting will only grow. I look forward to more innovative projects that enhance our understanding of art’s relationship with landscape, ecology, and technology, and continuing to engage with new artists who bring fresh perspectives to Barda del Desierto.