- Elena Damiani, “Macelo 3”, 2012, Series: Macelos, Hand-carved travertine, glass, collage on found bookplate, 50 x 80 x 35 cm. Photo credit: Daniel Giannoni.
- Elena Damiani, “Journeying Loc.1 and Loc.2”, 2012, Series: Journeying, Collage, 37 x 70 x 3 cm. Photo credit: Artist.
- Elena Damiani, “Triangulation”, 2012, Series: While Wandering, Print on found bookplates, acid free tissue paper, 29.7 x 41 cm. Photo credit: Artist.
- Elena Damiani, “Down by the water”, 2012, Series: While Wandering, Print on found bookplates, acid free tissue paper, 29.7 x 41 cm. Photo credit: Artist.
- Elena Damiani, “Intersticio”, 2012, Video projection, (00:05:26), Variable dimensions. Photo credit: Artist.
- Elena Damiani, “Mistake 5”, 2012, Series: The Exactness of Mistake, Collage on found book page, 25 x 24.5 cm. Photo credit: Artist.
- Elena Damiani, “Fading field N3. Installation view”, 2013, Series: Fading fields, Digital print on silk chiffon, wood structure, black urethane paint, Variable dimensions. Site-specific project. Location: 9th Mercosul Biennial, Porto Alegre, Brazil. Photo credit: Bienal do Mercosul.
- Elena Damiani, “The Surface Reader”, 2013, Series: The Surface Reader, Collage. Watercolour on handmade Lokta Barbour grey paper, 154 x 118 cm. Photo credit: Joe Clark.
- Elena Damiani, “Testigos (45 rods)”, 2013, Series: The Surface Reader, Hand-carved and polished travertine, resin, ebony veneer, 3 x 145 x 70 cm. Photo credit: Joe Clark.
- Elena Damiani, “Excavating and Remembering”, 2013, Series: The Surface Reader, Hand-carved and polished travertine, cloth hand-bound books, collage on found maps and Kawanaka paper, 22 x 90 x 90 cm. Photo credit: Joe Clark.
- Elena Damiani, “Testigos”, 2014, Hand-carved and polished travertine, onyx, resin, stainless steel, 180 x 180 x 11 cm. Site-specific project. Location: Private Collection, Lima, Peru. Photo credit: Artist.
- Elena Damiani, “Brise-soleil 1”, 2014, Hand-carved and polished travertine, 110 x 136 x 15 cm. Photo credit: Daniel Giannoni.
- Elena Damiani, “Rude Rocks N1”, 2015, Series: Rude Rocks, Hand-carved and polished travertine, copper, stainless steel, 47 x 60 x 12 cm. Photo credit: Artist.
- Elena Damiani, “Rude Rocks N2 and N3. Installation view”, 2015, Series: Rude Rocks, Hand-carved and polished Breccia marble, copper, raw steel, 204 x 300 x 300 cm. Site-specific project. Location: 56 Venice Biennale, All the World’s Futures, Venice, Italy. Photo credit: Artist.
- Elena Damiani, “Rude Rocks N4 (Turrón after Bratke). Installation view “, 2015, Series: Rude Rocks, Hand-carved and polished Breccia marble, steel structure, copper, digital prints on tempered glass, black urethane paint, matte urethane lacquer, 211 x 180 x 38 cm. Site-specific project. Location: 56 Venice Biennale, All the World’s Futures, Venice, Italy. Photo credit: Alessandra Chemollo. Courtesy by la Biennale di Venezia.
My conceptual interests –understanding the present by looking into the past and recognizing the potential of images to resonate and prompt a universe of associations in the collective memory– guide my practice of transforming found material into collages, sculptures, and video installations. In my investigation I turn to scientific studies such as geology, archeology, and cartography to explore forms of fragmentation and material reinterpretation. My work seeks to redefine natural realms and their generative processes, presenting them as incomplete and ambiguous spaces where multiple times and topographies seem to unfold in unison.
Mi práctica es guiada por intereses críticos relacionados al entendimiento del presente a través de una mirada al pasado y a la capacidad evocativa de las imágenes para resonar y desencadenar un universo de asociaciones en la memoria colectiva; estos intereses transforman materiales encontrados en collages, esculturas y video instalaciones. En mi investigación recurro a temas como la geología, arqueología y cartografía para explorar formas de fragmentación y reinterpretación de material documentado y racionalizado por la ciencia que estudia la composición, evolución e historia de la Tierra. Mi obra busca reinterpretar estadíos naturales y sus procesos generativos presentándolos como espacios incompletos y ambiguos en donde se fusionan múltiples tiempos y topografías.
Selected Biographical Information
Education / Training
- 2008-2010: MA Fine Arts, Goldsmiths College, London, United Kingdom.
- 2000-2005: BA Fine Arts, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
Prizes / Fellowships
- 2014: Americas Society’s Commission for David Rockefeller Atrium, Americas Society, New York, USA.
- 2006: Special Mention , 12th International Arts and Digital Cultures Festival of Gran Canaria, Las Palmas de Gran Canaria, Spain.
- 2006: Second Prize, 9th French-Peruvian Contest of Visual Arts “Pasaporte para un Artista”, Lima, Peru.
- 2004: Production Prize, 2nd Peruvian Contest of Video and Electronic Arts, Lima, Peru.
Solo Exhibitions
- 2013: “All The Pieces Back Together”, Selma Feriani Gallery, London, United Kingdom.
- 2013: “La Chambre“, Elaine Levy Project, Brussels, Belgium.
- 2012: “History Decomposes Into Images, Not Into Narratives”, Revolver Galeria, Lima, Peru.
- 2011: “Elena Damiani and Alois Godinat“, Elaine Levy Project, Brussels, Belgium.
- 2011: “The Second Treasury of Stanleth”, Selma Feriani Gallery, London, United Kingdom.
- 2011: “Vanishing Point Vantage Point”, Dohyang Lee Galerie, Paris, France.
- 2007: “Sites”, Galeria Vertice, Lima, Peru.
- 2005: “1st International Print Biennale – Prints and Motion “, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
- 2005: “Geo”, Sala Luis Miro Quesada Garland, Lima, Peru.
- 2003: “Moción animal”, Espacio La Culpable, Lima, Peru.
Group Exhibitions
- 2015: “THEOREM, You Simply Destroy the Image I Always Had of Myself“, Mana Contemporary, New Jersey, USA.
- 2015: “Vienna Biennale – Future Light: Escaping Transparency“, MAK Museum of Applied Arts, Vienna, Austria.
- 2015: “All the World’s Futures“, 56 Venice Biennale International Art Exhibition, Venice, Italy.
- 2014: “Idea of Fracture – Opinione Latina P.2“, Francesca Minini, Milan, Italy.
- 2014: “Spatial Acts: Americas Society Commissions Art“, Americas Society, New York, USA.
- 2014: “BIM Bienal de la Imagen y Movimiento“, Buenos Aires, Argentina.
- 2013: “Project 35 Volume 2“, ICI Independent Curators International, touring exhibition.
- 2013: “Videoarte 01- Reopening the blackbox of technology“, MAC Museo de Arte Contemporaneo, Lima, Peru.
- 2013: “9th Bienal do Mercosul“, Porto Alegre, Brazil.
- 2013: “Ciclorama“, Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
Collections
- Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
- Kadist Art Foundation, San Francisco, USA.
- Kamel Lazaar Foundation, Geneva, Switzerland.
- Coleccion Patricia Phelps de Cisneros, Caracas / New York, Venezuela / USA.
About the Artist
¨Where are we when we are in the world?¨
This question has led me to explore the notions of space and place.
My constructions and environments are mostly made out of various found objects, images and materials, some of them belonging to a domestic, industrial or construction milieu. The site, its space and architectural components are key in shaping the works. I use straight lines and the continuous expanse they occupy and define. Thus, my works approximate provisional drawings in space and about space, aiming at a perceptual, pre-reflexive experience.
The process begins with the creation of three-dimensional structures which in turn, give place to drawings on paper that allow me to complete the concept.
—
Construyo estructuras y ambientes condicionados por el sitio en cuestión, que se relacionan íntimamente con los elementos arquitectónicos vecinos. Se trata de corporeizar el espacio, volviéndolo parte esencial de la obra. Utilizo materiales y objetos encontrados pertenecientes a lo cotidiano, a la construcción y al desecho. Más que esculturas o instalaciones, se trata de dibujos provisionales en el espacio tendientes a desaparecer. Me interesa la experiencia perceptual, pre-reflexiva, que coloca al espectador en un instante de conciencia de sí mismo.
El proceso comienza con la creación de una estructura tridimensional, la cual a su vez, da lugar a dibujos sobre papel que me permiten completar la idea.
Selected Biographical Information
Education / Training
- Facultad de Arquitectura, Universidad de San Carlos de Guatemala.
- Universidad Francisco Marroquín, Economy, cum laude.
- Independent studies with Juan de Dios González and Daniel Schafer.
Prizes / Fellowships
- 1996: Glifo de oro X Bienal de Arte Paiz, Ciudad de Guatemala, Guatemala.
- Beca Rockefeller, Bellagio, Italy.
Solo Exhibitions
- 2014: “The Corrections“, The 9.99 Gallery, Guatemala City, Guatemala.
- 2014: “Proyect Room – PRESENT 2: Alma Ruiz presents Diana de Solares“, Josee Bienvenu Gallery, New York City, USA.
- 2013: “Prótesis”, Piegatto Arte, Guatemala.
- 2013: “En Tránsito”, Sol del Rio Arte Contemporánea, Guatemala.
- 2011: “Islas”, Galería Arte Piegatto, Guatemala.
- 2008: “Dibujos calculados con lineas encontradas”, Galería Carlos Woods Arte Contemporáneo y Antiguo, Guatemala.
- 2008: Fase II de “El color de la sombra”, Galería Carlos Woods Arte Contemporáneo y Antiguo, Guatemala.
- 2008: “Correr, caminar, sentarse y esperar”, Galería Sol del Río, Guatemala.
- 2006: “Aquel mundo existente”, Galería Arte La Fábrica, Guatemala.
- 2004: “Créche”, Galería Arte La Fábrica, Guatemala.
- 2001: “La estrategia de las apariencias”, Galería Sol del Río – Hotel Intercontinental, Guatemala.
- 2001: “Curaduria de la representacion Guatemalteca”, VII Bienal de Pintura de Cuenca, Cuenca, Ecuador.
Group Exhibitions
- 2014: “Length x Width x Height“, The 9.99 Gallery, Guatemala City, Guatemala.
- 2014: “Dirty Geometry“, Mana Contemporary, Miami, USA.
- 2013: “Estar parado en el encuentro de dos eternidades, el pasado y el futuro, que es precisamente el momento presente”, [To stand where two eternities meet, the past and the future, that is precisely the present moment], Concepción 41, Antigua Guatemala, Guatemala.
- 2013: “Y… ¿entonces?”, The 9.99 Gallery, Ciudad de Guatemala, Guatemala.
- 2010: “Existir en un estado de peligrosa distracción”, XVII Bienal de Arte Paiz, Guatemala.
- 2009: “Nuestro paisaje”, Centro Cultural de España, Guatemala.
- 2009: “Pintura, el proyecto incompleto”, Centro de Formación de la Cooperación Española (CFCE), Antigua Guatemala, Guatemala.
- 2008: “Todas las estructuras son inestables”, XVI Bienal de Artes Paiz Guatemala.
- 2008: “Dibujando nada”, Galería 9.99/Proyecto, Guatemala.
- 2007: “Adios indentidad”, Centro Cultural de España, Guatemala.
- 2005: “Ensayo”, Edge Zones, Miami, USA.
- 2004: “Index Miami”, Edge Zones, Miami, USA.
- 2004: “Guatemala manéjese con cudiado”, Centro Cultural de España, Guatemala.
- 2004: “REGISTRO #2”, Galería Sol del Río Arte Contemporáneo, Guatemala City, Guatemala.
- 2003: “En el filo”, [On the edge], Museo de Arte Moderno de Mérida Juan Astorga Anta, Mérida, Venezuela.
- 2002: “Picturing the female body”, The Latin Collector Gallery, New York.
- 2002: “artISTMO”, Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- 2001: “Arquetipos” ,[archetypes], Museo de Arte y Diseño Contemporáneo de San José (MADC), San José, Costa Rica.
- 2001: “Contexto”, [Context], Arte Contemporáneo Guatemalteco, Sala Municipal de Exposiciones de la Iglesia de las Francescas, Valladolid, Spain.
- 2001: “Fronteras adyacentes”, [adjacent borders], Galería Sol del Rio Arte Contemporáneo, Guatemala City, Guatemala.
- 2001: “Hector y Lyuba”, VII Bienal de La Habana, Havana, Cuba.
Publications
- “Recolectar, pensar y otros nomadismos”, El Periodico, Cultura, (Pag. 22) (27-febrero-2008) Ribeaux, Ariel.
- “Diana de Solares: Desplazamientos”, Revista de la Universidad de San Carlos de Guatemala (Pag. 63) (No. 7 enero-marzo 2004).
- “Diana de Solares”, Ext. Cat. Arte Sabasta, (2000) Schloesser, Anabella.
- “La Brevedad del Ser”, Revista De la Universidad de San Carlos de Guatemala (Pag. 71) (No. 7, enero-marzo 2004).
Collections
- Teófilo Cohen, Mexico.
- Anabella y Fernando Paiz, Guatemala.
- Hugo Quinto y Juan Pablo Lojo, Guatemala.
- Darío Escobar, Ciudad de Guatemala, Guatemala.
- Rina Carvajal, Miami, USA.
- Diana y Luis Miguel Castillo, Guatemala.
- Irene Torrebiarte, Guatemala.
Links
- Diana de Solares, “Nube (Construcción Aérea No.1) / Cloud (Aerial Construction No.1)”, 2014, Steel, iron, concrete, brick and lime, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Acrylic on MDF, 45 x 23.75 x 2.5 cm.
- Diana de Solares, “Súbitamente un mundo frente al mundo comenzaría a transpirar.” (Construcción suave no. 3) / “Suddenly a World Before the World Would Begin to Transpire.” (Soft construction no. 3)”, 2014, Sports shoe laces, construction iron, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 76 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on MDF, 45 x 23.75 x 2.5 cm.
- Diana de Solares, “Construcción fija no. 1 / Fixed construction no. 1”, 2014, MDF and acrylic, 127 x 23 x 23 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 76 cm.
- Diana de Solares, “Implosión de la esfera / Implosion of the Sphere”, 2014, Dry branches, iron wire and sports shoe laces, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Found wood, iron, lace, MDF and acrylic, 148 x 22 x 22 cm.
- Diana de Solares, “Construcción fija no. 4 / Fixed construction no. 4”, 2013-2014, MDF and acrylic, 148 x 17 x 7.5 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 457 cm.
- Diana de Solares, ““Penetrar un Espacio Material de Irradiancia” (“To Enter a Material Space of Radiance”)”, 2013, Acrylic on MDF, Variable dimensions.
- Diana de Solares, “Sin título (Untitled)”, 2013, Shoelaces from tennis shoes and steel structure, 23.6 x 23.6 in. (60 x 60 cm). Photo credit: José Enrique López-Campang
- Diana de Solares, “Untitled”, 2013, Acrylic on linen, 57 x 67 x 3 cm.
- Diana de Solares, “El Mundo Está Listo para Nosotros Porque Somos el Mundo” (“The World is Ready for Us Because We are the World”)”, 2013, Steel and wire, 48 x 48 in. (121.92 x 121.92 cm). Photo credit: Galería Piegatto Arte (Víctor Martínez)
- Diana de Solares, “Tanto Pertenecemos al Mundo que Contiene Nuestro Olor” (“We So Belong to the World that It Contains Our Odor”)”, 2013, Construction wood, acrylic on MDF and nails, 47.24 x 19.69 in. (130 x 50 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Lentamente Disolvernos en el Mundo” (“To Dissolve Slowly in the World”), 2013, Steel and acrylic on MDF, 72 x 36 in. (182.88 x 91.44 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Apenas Desoculta el Lugar de Habitación” (“It Barely Unveils the Dwelling Space”), 2013, Acrylic on MDF, 46.06 x 4.33 x 19.69 in. (117 x 11 x 50 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Sin título (Untitled)”, 2012, Acrylic on MDF, 51.19 x 1 in. (130 x 2.54 cm). Darío Escobar Collection, Guatemala. Photo credit: Juan Carlos Mencos
- Diana de Solares, “Sin título (Untitled)”, 2012, Acrylic on linen and object on MDF, 40.15 x 25.6 in. (102 x 65 cm). Photo credit: Juan Carlos Mencos
- Diana de Solares, “Abrir un Espacio que no se Puede Cerrar” (“To Open Up a Space That Cannot Be Closed”), 2011, Acrylic on MDF, 88 x 10 in. (223.52 x 25.4 cm). Teófilo Cohen Collection, Mexico. Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Pausa con Silencio II” (“Pause with Silence II”), 2011, Acrylic on MDF, 20 x 20 in. (50.8 x 50.8 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Construcción Fija que Quiso Volar” (“Fixed Construction that Wished to Fly”), 2011, Painted steel, threads and shreads, 43 x 11.81 in. (109.22 x 30 cm). Colección Hugo Quinto y Juan Pablo Lojo, Guatemala. Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “No Hay Ruta Corta al Paraíso” (“There’s no Shortcut to Paradise”), 2008, Acrylic on MDF, wire, cable from an iron and bristle from a broom, 58.66 x 35.82 in. (149 x 91 cm). Hugo Quinto y Juan Pablo Lojo Collection, Guatemala. Photo credit: Alan Benchoam
- Diana de Solares, “Y Si No Fueran Sombras las Sombras” (“And If Shadows Were Not Shadows”), 2008, Pink room, dry sticks, cables, fragments of hose, steel and thread, 110.24 x 90.55 in. (280 x 230 cm). Photo credit: Alan Benchoam