“cruce a nado el rio*
cruce a nado
BIO. Juliana Herrero (b.1975, Choele Choel, AR) was educated in Argentina and Germany, developing later her work across the latitudes. Studies: 1986-1992 INSA -IUPA (dance and music), 1994-2000 UBA (architecture) AR; 2002-2006 Städelschule, School of Fine Arts, Ffm DE (arch. class -prof. Ben van Berkel, film class -prof. Mark Leckey). Currently she works between Vienna and Buenos Aires. In her pieces she contrasts sound spaces with visual impressions. She focuses on matters of perception addressing processes of change related to the ethereal environment and to social structures in the daily confrontation with technologies. For her, artistic resilience is a way to transform worlds.
Photos: © Eva Kelety Bildrecht
on the filaments, there where the plateau rises (2019)
This piece attempts in an emancipatory way to investigate a meta- scape. Through the use of (digital) found footage and specially generated materials, which are fragmented and re-layered, fictional realities are created. Those emerge physically as filaments suspended in "latent" motion. The audio components of the work record location-based data such as geo-coordinates - in audio translation and relate them to each other through whispering and conversation. The sound of outer space, as how Earth is heard from the "Universe" (found footage internet -NASA) is also present. The voice(s) of the machine meet speech recordings to question phonetics and the rhythm of spoken language; the human voice, in contrast to the artificial-machine and the material, stands as a metaphor for the dialectical relationship between human being and technology, which is repeated in the affective perception and for processes of change in our real and imaginary cartographies.
Photos: © Eva Kelety Bildrecht
A White Noise, The Grilles and the Sea from juliana herrero on Vimeo.
A White Noise, The Grilles And The Sea (2016)
Wall object with Sound
During consecutive summer night listening sessions performed by the artist at the sea side, a fine spectrum of the ethereal ecosystems was captured. This piece emerges as acoustic dissections and is reassembled on experimental cyanotypes as quasi-synesthetic frequencies accompanied by a micro-sound highlighting the chirping of the crickets. Here, Herrero juxtaposes sound to visual, exploring an aesthetic flow in which the imprints appear and disappear to describe a subjective experience of musicality. She looks at the subtle limits of inner and outer worlds and examines matters of perception moving at the edges of the public and private, inside and outside, analogue and digital, nature and artifact.
Photos: © Ingrid Cogne
From One Crystallon To The Pampia (2017)
Suspended installation over reflective board with tonal layer
This piece embodies as corpus one of the matrixes that made up the very first work belonging to the series of Sound Floating Landscapes, which was mute at first. It rewrites it as a specific elevated plateau registering the hidden coordinates in a plot and alluding to them as fixed points in space with little stones. It incorporates a tonal layer of crystalline sound aesthetics resulting from moment-by-moment dissections recorded during the process of weaving the wire-nets. The sound composition is abstract and based on the physics and acoustics of the materials relating to the work itself. It almost seems as if the small stones could resemble frozen drops transformed by the musicality of the material, crystallising in a collision. There is expressed the fleeting moment of an [imaginary] landscape in process of becoming. The title of the work refers to "Pampia" a micro continent that collides with the plate of the Rio de la Plata about 700 million years ago.