Ethel: Raleigh says you’ve been spending 6 hours a day locked in here, watching television and soaking in the tub.
Margot: [lying in the bath] I doubt that.
Ethel: Well, I don’t think that’s very healthy, do you? Nor do I think it’s very intelligent to keep an electrical gadget on the edge of the bathtub.
Margot: I tie it to the radiator.
Ethel: Well, that can’t be very good for your eyes anyway.
Light is inherently restless; as a light impression, thus is the photographic image. I approach my practice as a study on light. I make manifest the constructed nature of my discourse, exposing the underlying artifices employed in said construction. In light of this, I present my audience with a provocation that aims to foster a discerning perspective. Material-discursivity echoes a duality, wherein the intently tainted and the flawed are laid bare, wherein the strengths and vulnerabilities of my discourse accord in their dissonance. It reveals its capacity for both compelling depiction and unrestrained self-exposure. I speak of sunburns and sunspots, by means of a collection of notebook entries that are rarely just scribbled writings. By means of an intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory.
Lorena Articardi, Artwork, Icarus, 2023, Archival pigment print, Framed, Self-portrait, 71×53,5 cm, Persons Project Collection, Berlin.
Lorena Articardi (b. 1992, Italian-Uruguayan), is a visual artist and scholar working with photography and motion images as her primary mediums. She describes her material-discursive practice as a study on light, approaching light as both form and content. Purposely flawed, brutally honest; her subversive practice takes the form of an intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory. Light is inherently restless and, as a light impression, thus is the photographic image.
She graduated as an Image and Sound Engineer from Universidad Católica del Uruguay, undertook Master of Fine Arts studies at Trondheim Academy of Fine Arts, NTNU, Norway; and is currently finishing her Master of Arts in Photography at Aalto University, Finland. Lorena is an Assistant Professor at Universidad Católica del Uruguay since 2017, and has been working as curator for different artist-run galleries and programmes –in both Uruguay and Norway– since 2019. She is a member of the art collective Laboratorio FAC –within FAC, Contemporary Art Foundation, Montevideo, Uruguay. Her work is held in private collections in Finland and Germany, and she has exhibited her work in institutions such as the Finnish Museum of Photography –FI–, and Tsinghua University Art Museum –CN–, among others.
Sept., 2023./Oct., 2023.
Dialogues. Oodi, Helsinki Central Library. Group exhibition. Helsinki, FI.
Tides. Espoo Cultural Centre. Group exhibition. Espoo, FI.
V1 Gallery, Aalto University. Solo exhibition. Espoo, FI.
Jan., 2023./ Mar., 2023.
MoA 23’. Finnish Museum of Photography. Group exhibition. Helsinki, FI.
Panorámica Experimental. CCE –Centro Cultural de España. Group Exhibition, Laboratorio FAC –FAC, Contemporary Art Foundation. Montevideo, UY.
V1 Gallery, Aalto University. Solo exhibition. Espoo, FI.
Daugther of Chaos, Goddess of Night, Mother of All. V1 Gallery, Aalto University. Joint exhibition with artist Yujie Zhou. Espoo, FI.
Material Thinking. Tsinghua University Art Museum. Group Exhibition. Beijing, CN. (http://www.artmuseum.tsinghua.edu.cn/en/).
Shed. Nyhavna, Trondheim Kommune. Group Exhibition. Trondheim, NO.
Open Academy. Kunstakadamiet i Trondheim, Gallery KiT. Group Exhibition. Trondheim, NO.
Oct., 2020/ Nov., 2020.
Trondheim Open. Gallery KiT. Group Exhibition. Trondheim, NO. (http://www.trondheimopen.org/)
International Art Biennale: Asunción, PY. Laboratorio FAC –FAC, Contemporary Art Foundation. Group Exhibition. (http://www.bienaldeasuncion.org/).
May., 2022./Jun., 2022.
16th Issue –Uncertain States of Scandinavia, an artist-led quarterly broadsheet newspaper showcasing lens-based art. NW Gallery CPH, Copenhaguen Photo Festival, Copenhaguen, DK; and Supermarket Art Fair, Stockholm, SE.
Rom, a collective zine published by Røyne Forlag. Presentation and Publication. Trondhiem Art Book Fair X, Litteraturhuset i Trondheim, and Trondheim Kunstmuseum Gråmølna. Trondheim, NO.
Member of Laboratorio FAC; art collective focused on analog filmmaking through experimental practice and research. FAC –Contemporary Art Foundation. Montevideo, UY. (https://www.colectivofac.com/).
Lorena Articardi (n. 1992, ítalo-Uruguaya), es una artista visual y profesional académico que trabaja con fotografía e imagen en movimiento como medios principales en su obra. Intencionalmente defectuosa, brutalmente honesta; su práctica subversiva toma la forma de un reportaje fotográfico íntimo, que muestrea en fragmentos y entiende a las capturas como una forma de memoria inscrita sensible a la luz. La naturaleza de la luz es inherentemente inquieta; y, en su condición de impresión de luz, lo es también la fotografía.
Incluso la más brillante de las estrellas muestra manchas oscuras, las lleva como cicatrices. Todas las superficies llevan registro de una memoria inscrita; y, aún así, nos resulta inevitable entrecerrar los ojos.
Lorena Articardi (n. 1992, Italo-Uruguaiana), è un’artista visiva e professionale accademica che lavora con la fotografia e le immagini in movimento come suoi mezzi principali. Intenzionalmente imperfetto, brutalmente onesto; la sua pratica sovversiva assume la forma di un rapporto fotografico intimo che campiona in frammenti e pensa agli scatti come a una forma di memoria inscritta sensibile alla luce. La luce è intrinsecamente irrequieta; e, come impressione di luce, così è la fotografia.
Anche la più brillante delle stelle porta macchie scure, le indossa come cicatrici. Tutte le superfici portano una memoria inscritta; e, anche così, è inevitabile per noi socchiudere gli occhi.
Of Sunburns and Sunspots
(Notebook Entry.). Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory, and yet we’re squinting.
(Notebook Entry.). I have sat in these benches time and again; the sole thought of them corrects my posture. I would always find a corner spot, –on the very last row, far in the back. An echo of my tamed insipid will to escape the inescapable. I am irrevocably pulled towards the light leaking in, I sit and soak in its blinding presence –yet, I cannot sit still. This bench is hurting my back. I seek the source of that light, the one projecting alabaster-tainted reflections on poignant surfaces. –Surfaces that, despite a few scattered spotlights, remain overcast by the structural monumentality of the space. A riveted, recursively constructive, –a positivist sun feels almost upon our reach; piercing through the shadows with a light that appears to be its own. A light I am only to project back, as an extension of the thorny spine that renders the aisle endless.
(Notebook Entry.). And, we linger. For as long as we bask in bliss and contempt, for we are expected to drown our sorrows on the Lethe. Drenched in oblivion.