Vivian Galban

 

vivian-galban

 

  

Vivian Galban (Buenos Aires, Argentina, 1969), photographer specialized in the research on supports, processes and contemporary technology applied to artistic creation, studied architecture at Faculty of Architecture and Urbanism of the University of Buenos Aires (1993) and completed the Postgraduate for the Conservation and Rehabilitation of Architectural Heritage in the same Institution (1996). She founded the first Interactive Multimedia Development Agency: MediaLab Argentina, Buenos Aires and Mexico City (1996/2012) and the first 3D Staging and Modeling Center in Buenos Aires (1994/1996). She participated in the Artist Draft Program residency at Kyoto Art Center, Japan (2005) and completed the Beyond The Silver Gelatin Print specialization at Penumbra Foundation, New York (2018). Her works were selected in the Buenos Aires Photo Award (2015); at the ArtexArte Biennial (2015); in the Metrovías Contemporary Photography contest (2011) and participated with the series ” Between heaven and earth” at the XVII Biennial of Visual Arts in Santa Cruz de la Sierra, Bolivia (2010).She participated in multiple national and international fairs, among which stand out arteBA, Argentina (2016), Lima Photo, Peru (2012/2017), ArtBo, Colombia (2013) and Zona Maco, Mexico (2013/2014), among others. She has held workshops and seminars at Usina de Arte, Buenos Aires (2018), Photography Center of Montevideo (2017), Museum of Contemporary Art Buenos Aires (2014/2016), Recoleta Cultural Center, Buenos Aires (2015). She currently directs the academic class of “Aesthetics, Art and Contemporary Culture” at the Institute of Photographic Art and Audiovisual Techniques of the National University of Avellaneda, Buenos Aires. Her works participated in exhibitions such as “Valley of the Yosemite, from the Rocky Ford, 1872” at the Museum of Contemporary Art of Buenos Aires (MACBA) with curatorship by Teresa Riccardi (2016); Solo Show in Lima Photo with Rolf Art (2016); “We do not know what a body can” in Rolf Art curated by Valería Gonzalez (2014), “Chroma – exterior night/interior day” Zicarelllo, Galbán curated by Graciela Taquini at the Recoleta Cultural Center, Buenos Aires (2015). Her work was also part of the following group shows (selection): Res, Assef, Herbstein, Mangiante, Brodsky, Bianchi, Toto Blake and Galbán in Rolf Art (2011); Medici, Doffo, Galbán at Galería Rubbers Internacional (2012).

 

Statement 

Vivian Galban’s work unfolds in the field of photography, questioning the support and photographic processes in contemporary times. Her academic activity, teaching role and work in applied technology are part of her artistic research. Vivian Galban subjects the pride of the portrait as a genre of representation with solid roots in art history, to dissolution. After years of obsessively working on the same figure, now she hides her gaze and slips away from the photographic fixation. Up close, it is reduced to a shapeless, flickering field of colored spots. In another movement, the artist makes the body return to the origin of those mysteries that modern individuation exorcised. “Mist” (2013), “Valley of the Yosemite, from Rocky Ford-1872” (2015) and “Exposure in real time” (2019) are some of her most outstanding works where Galbán shows a wide range of technical resources to address experiments that go beyond the quasi-pictorial plane -playing with the composition-decomposition of the image-, the techniques of appropriation of the images, intervening them, dissecting the supports and dissolving them in glass plates, until reaching the “relational exhibition”, a format that allows the artist to exercise deep experimentation with analogue support, actively involving the viewer in the process and in the resulting work. All her work in general, is the product of a point of view that emphasizes the different concepts and photographic techniques beyond the limits of the medium itself, prioritizing the procedures used over the final image, an image that is debated between what is intuited as form and what fades as such, adding to the debate other artistic practices from an interactive, performatic and even digital place.