Cecilia Lenardón
Bio
Artist, teacher, psychoanalyst. Her work is primarily linked to photography, but she also ventures into performance, writing, and experimental music. She develops and coordinates various programs for institutions such as Museo Castagnino+macro and Escuela Musto. For over 10 years, she has been teaching, alongside Andrea Ostera and Eugenia Calvo, in workshops dedicated to photography and contemporary art.
She has received scholarships for training and production. She has participated twice in the Premio Petrobrás with group experiences (2010/2012: Pop Art Cartoon and Guo Cheng Cráter). In 2019, she won the First Prize at the Salón Nacional del Museo Rosa Galisteo for her work Manifiesto.
She is part of Camarada, a group of five female photographers with whom she carries out various projects related to amateur archives, author publications, and a library of local publications. She exhibits both individually and collectively. Her work is part of public and private collections, including those of Fundación Larivière, Museo Rosa Galisteo, Foster Catena, Oxenford, and Pérez Art Museum, among others.
She lives and works in Rosario, Argentina.
Statement
I almost always work with images, or start from them. These images take on different meanings depending on their destination: installation, publication, space, movement, documentation. Recently, I’ve begun incorporating ideas related to mood swings, and from there, two works emerged in physical space, along with two experiments involving letters and typography.
The germinal ideas begin in my head, like sudden appearances at random moments, but the entire journey to their final realization is always done with others. My idea of work is always collective. In that feedback process, the primary idea can evolve towards a better outcome.
I am very interested in others and the effects of exchange. The workshop space with my students is one of my favorite hideouts, and what happens there always exceeds my expectations. Being a teacher is a role I treasure. Just like working with my fellow artists, who are irreplaceable links in the creative process—not only as interlocutors and undeniable influences, but even more so as the very material on which I work in some of my productions. Sometimes they are alive, sometimes they are not, because I enjoy chatting with those who are no longer here but have left behind their work. The artwork is like a living thing, made up of many parts, that converses.
2.5 x 4m / 98.4 x 157 in
