Curated by Marco Herrera Fernández
June 1, 2021 – permanent
In Correlación Contemporánea, a space for artistic self-management, we present a new edition of the Multimedia project with Damian Barbarito’s (Argentina, 1987) exhibition River Cartography—a documentary series that collects the history of social struggles in the G. Miro neighborhood, Bs. As. – Argentina, available since June 1, 2021 at correlacioncontemporanea.com.
What do you remember from your neighborhood? How do you connect with the community?
How do we understand nature and the neighborhood?
After his participation in the virtual residence COM_UNIDAD # 1 (March 2021), Damian Barbarito began the River Cartography project, in which he intends to recover the memory of the G. Miro neighborhood through the creation of self-constructed collective narratives. In Barbarito’s work, the video platforms or applications that have taken center stage in our ways of interacting during confinement are proposed as tools to generate a virtual repository of collective struggles to build a communitarian future from the periphery.
The videos are made up of three registers: the story, the narrator’s face, and photos or videos that each person has decided to share. Recovering the face is a fundamental part, understanding it as the part of the body that metonymically summarizes the identity of the subject. Knowing their faces, their voices, their rhythm and melody I understand as the first moment so that they can empathize and connect from a broader perspective. I am looking for mechanisms for making videos that enable participants not only to have a voice, but also a microphone and camera.
It is latent to know the community processes of neighborhood construction through its leading actors. In this series dedicated to a peripheral neighborhood of the Argentine capital, the narrative is told from the female point of view. This refers us to the role of women as community leaders, original and present in the various social struggles in our latitudes. Family textile workshops, cartoneros associations, common pots and other economic activities find their strength in organization and allow citizens to establish themselves in resilient contexts.
Finally, Damian responds to our invitation to explore digital tools, which outside of everyday work, learning or leisure can develop a archive system that encourages socialization between creators, organized society and workers to jointly resolve strategies of self-representation and identities necessary to build the cultural network in G. Miro. However, its reflection towards other realities can affirm possibilities of remote community work that ensure the continuity of the narratives, effort and demands so necessary for the peripheral operators of Latin American society.
Creation in new media was intensified by social confinement. This context generated new forms of collaboration, interaction and production that currently circulate without the need for physical spaces dedicated to their exhibition. In this sense, Multimedia presents an exhibition program that uses various applications or platforms available on the Internet to adapt them to the exhibition of artistic projects.
The invited artists create and use platforms to operate from virtuality in order to adapt the interaction and visibility of their production with a clear interest in cultural, collaborative and/or educational work.
Graduated in Visual Arts from the National University of the Arts, Argentina. He works on urban interventions and muralism around the problems of identity and work. He focuses particularly in spaces of communitarian organization and work cooperatives. He seeks to address the reality of the sector from the perspective of organized groups, starting from their identity elements and organizational strategies.
Correlación Contemporánea director since 2016. Master in Social Sciences and Bachelor of Plastic and Visual Arts with a mention in Engraving from the School of Fine Arts of Peru. He has developed independent curatorial projects exhibited in institutions such as the Instituto Cultural Peruano Norteamericano and the Centro Cultural de Bellas Artes del Perú. He is part of the working group of the 2nd Latin American Census of Contemporary Art (2020). As well as, he has been speaker at meetings on models of residences, collaborative practices, contemporary art and pre-Columbian practices in Peru, Chile and Brazil.