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LEANDRO TARTAGLIA Works 2003 - 2012

FELICIA EN EL REINO DE LOS ELOCUANTS Felicia in the Kingdom of the Eloquent A journey for one-person audience 2003 - 2006 Bs. As. Argentina, 2010 Casa del Lago DF, Mexico. The spectator is invited to join this experience on a specific day (Saturdays), at a specific place (Plaza Macacha Güemes, Puerto Madero), at a specific time (2pm), and meet someone (so far, it has always been me, though it could have been somebody else). This person provides an audio equipment containing two soundtracks: one recorded by a woman, the other by a man. The choice depends on the spectator; the text is the same, the music pieces are the same. After deciding on the narrator’s voice, the driver invites the spectator to jump on the backseat of a bicycle; right then the performance begins, which lasts 13 or 14 minutes according to the voice chosen. The direction is always the same; the place where the journey ends will depend on the traffic jam, the wind and some other variables. Sometimes it ends a bit further away, sometimes closer, but in any case it always ends around the same area. I’ve worked on this project trying to concentrate on producing something different, avoiding common places usually addressed by visual artists. As from this moment, I could find several authorities to refer to, both historical and contemporary (Roberto Jacoby, Raúl Escari, Fernanda Laguna, Sergio Raimondi, John Cage, Mauricio Kagel, Janet Cardiff, Francis Alÿs, among others) from Argentina and from abroad as well. Working with mobile sound in the city was key to shaping my next projects.

Buenos Aires, Argentina.

DF, México.

BLOOM! 2004

After Felicia..., Valeria Cavallotti invites me to participate from a collective exhibition (Estudio Abierto), so, following that project, I created a new story to be told in the city. I install two armchairs on one of the sidewalks along Avenida de Mayo. When spectators sit down, they are given the following text: Hello, this story takes place at this actual stage, with a hand gesture to introduce the setting. It interests me to think of the city as the direct stage of a project. In this case, the work refers to a “fixed shot� of spectatorcamera location; different from the previous piece, where the view moves as if in a traveling. In this case, it is the environment which moves; the spectator just stays at a fixed point of reference, watching people walking, cars passing by, trees pierced by the wind and the light, etc. The text is written in a comedic tone, the voices of the only two speakers (who are not professional actors) are modulated for the different characters. The surround sound comes from direct shots of the site where the project was presented.

LA CALLE DE LA SOMBRA Shadow Street 2005

Eva Grinstein was curator of the Argentinean works presented at the 5th Mercosul Biennial. Here I insist on the idea of linking a real setting to a fictional text. I take elements from my two previous works: the movement defined by the spectator-performer (from Felicia...) and the references to the context where the project is being developed (from Bloom!). Based on some pictures of the place, I know and determine the setting to confine my work. The fact that I have to produce it far from the real site makes me decide whether the direct sound shots will be, in fact, studio recordings. The distance reinforces the comedic tone that appeared in the previous project. For safety reasons, the Biennial proposes to develop a program to take a picture of the ID card of spectators in exchange for the audio equipments. Including this gadget so openly forged a new step on the decision to participate from such an experience. Something like I, it is me, who wants to do this work‌ but I still don't know what it is.

ACTIVIDAD DE USO Activity of Use (under development) 2005 – 2012

Book series about the work of young Argentinean artists. In cooperation with Pablo Accinelli.

Actividad de uso follows our interest to think and write about the work of young Argentinean artists, producing documents from the present which are based on thinking and exploring by the act of watching. The project is the result of an unusual demand to write and gather evidence, which is influenced but differs from a historiographic or journalistic approach. As artists, we deem it important to reflect actively and in present tense upon visual arts on the basis of some concerns related to the materiality and problems of the work pieces belonging to each artist, whose working procedure we attempt to bring to light. The different projects were presented in 2007 (Vicente Grondona), 2009 (Luciana Lamothe) and 2012 (Verónica Gómez).

LO QUE ESTĂ EN EL AIRE What is in the air 2007 Beginning with a Bang! was a collective exhibition curated by Victoria Noorthoon at Americas Society, New York. In this opportunity I work on a hypothetical problem: what happens when projects move to a different place, when their context changes, when their environment is modified? What happens with everything that is in the air around the project? What happens with their artistic context? To begin with, I hold an interview with each of the other artists in connection to their work; I make a summary, a reading, a text based on that material. The result is a kind of museum audio tour with a soundtrack basis (walk-city-outdoor) and one narrator (in English or Spanish) that speaks about the works. I try to produce a text with fragments, to leave ideas on the spectator and not large paragraphs of information already processed (as it happens in the usual audio tours), creating a kind of environment for each project, which can be listened to while walking and enjoying from the work. The installation has a mural drawing with the surnames of all participants. Below each work of the exhibition there is a reference to its soundtrack.

TODOS LOS DĂ?AS Every day 2009

During the sixth edition of the arteBA-Petrobras Visual Arts Prize, I present a performance developed by 5 visual artists who have worked with me on the basis of images and actions from four newspapers of the day. Working shift: 6 hours during 5 days. The work focuses on the newspaper as material and also on its content. The stage-installation has several spatial references such as: the arts workshop, the political committee, the editorial of a newspaper, a comedy show. I intend to work in close relationship with the context of the exhibition and its heterogeneous audience, trying to think about the connection between current debate topics and a performance within a commercial art galleries exhibition.

LA ESQUINA INDICADA The right corner 2010 – 2012

In cooperation with Mariano Ast. A journey by car listening to a possible radio program wearing headphones. A weekly broadcast with music, technology, literature and history. The watch-listen journey lasts around forty minutes, depending on the traffic lights. La esquina indicada is a mobile sound installation. This short text release was used to promote the project. Some of our objectives are summarized there: to start from a radio informative platform as a narrative basis, underlining the importance of the spectator’s own perception and to define it as a theatrical genre that welcomes audience from other artistic fields.

BCI. BICICLETA DE CIUDAD BCI. CITY BIKE 2010 Ignacio Liprandi Contemporary Art Gallery, Bs.As. 2011 MACRO, Rosario. Work in a series, under development. I want to produce a bicycle as a way of thinking these points: to have an art object as a daily tool for commuting; to create a usable piece of work; to redesign an object taking into account its context-functionality. Out of these pivotal ideas the bicycle is thought of as an object of collective intelligence (the history of invention with no single author) and adapted to the basic needs of transportation in a city of plains.

LB.TV. Opera for television 2011 Co directed with Matías Giuliani and Gustavo Tarrío. Along six nights the audience of LB.TV witnesses the live broadcast –on real time also through the Internet– of an informational space with an agenda of its own that appears to meet the collective present. The stage is invaded by information of public interest, so as to favor areas for discussion and thinking. LB.TV is hosted by five presentersresearchers who will target issues such as sexual micropolitics, portraits of militants, dietary sovereignty and social organizations, with the political picture as background. The spectators are invited to join and become part of the text that will appear on stage. Then, LB.TV works closely with the audience in the room for the other ghostly remote audience that is watching them online. Those who attend this newscast/play are part of an information platform addressing the topical landscape as an object of analysis and impact. Broadcasting center:


Y ARRIBA QUEMANDO EL SOL And up the sun is burning 2012

One eye two eyes three eyes, collective exhibition organized by UQBAR, a project by Mariana Castillo Deball and Irene Kopelmann, Casa Vecina, Federal District, Mexico. During our stay previous to the exhibition, I walked around Mexico city in a sort of drift, with no starting or finishing point, until the city finally embodied as the narrator, with a voice of its own. In my walks I made 32 ephemeral interventions at different public spaces, an experience that was recorded and can be found in the envelopes placed around the room. Then I could engage in conversation with two audiences: those who found my interventions in the street just by chance, and those who have taken an envelope with them after visiting the gallery. In this project, the walk turned into something like chatting, and those 32 actions in the envelopes worked as a record of that conversation, which might go on at home.

NADIE HACE LAS COSAS SOLO Nobody does things alone 2012 In cooperation with Mariano Ast.

After the invitation from a concert hall TACEC of Teatro Argentino de La Plata (capital city of the Province of Buenos Aires) to join in the music, dance and theater festival called LA PLATA ARDE, we make a sound journey starting at the historical center of the city. A group of people makes a parallel system of tourism to commentate on the surroundings by means of a radio-visual broadcast. What other information can we relate as we face the Government building, the Curutchet House or the Cathedral? Inside the vehicle there are four loudspeakers to play the soundtrack. The testimonial retelling in front of the buildings gathers a combination of official historical data and an overview of the present and visual perceptions. Each journey lasts approximately 55 minutes. There are ongoing performances all day long.

Leandro Tartaglia Buenos Aires, 1977.

Talcahuano 68, Dpto i. Cap. Fed. Argentina. (005411) 4383-0115 (0054911) 5425-0896 (celular)


recorrido por los trabajos

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