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materials that range from discarded objects such as chairs, pipes or electronics, to colorful casts of various body-parts, seemingly put together in a haphazard manner to create curious constructions that fill up the exhibition space. While the choice of material remains relatively open, Bianchi often works with smooth surfaces, placing and attaching them in various constellations. The discarded elements – which could be considered as trash – are transferred by the artist into a new context through their placement in a different artistic ecosystem, aesthetically working to "desanctify the work of art" through their constant reconstructions. This approach is most visible in
Bianchi’s recent exhibition at the
122:(2014) is a work which activates these notions in a performance piece. Taking over the entire room, the installation is activated by the performer who suspended on a web of strings attached to his clothing and to his body: the mouth, a finger, his uncovered penis or from both sides of his t-shirt. Every movement also moves the strings, connecting the body to eerie objects that resemble severed body-parts formed out of latex or plastic, or to everyday objects such as a broom or a chair. The preoccupation with the physical appears also in earlier installations, such as the entrance designed by the artist for his exhibition
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ongoing global crisis and the more hopeful outlook to the future. Starting at the early 2000s, his pieces reflect the evolution of this process brought to the foreground by the spread of neoliberalist policies in Latin
America, expressed through an extensive engagement with the relationship between bodies, objects and the spaces which they inhabit. At the same time, through exhibitions such as
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A prominent figure on the Latin
American art scene, Diego Bianchi’s artistic work is made up of eclectic sculptures and installations, often utilizing elements of performance, which address both aesthetic standards and socio-political subjects. His pieces are constructed with visually transgressive
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In addition to aesthetic considerations, Bianchi’s work also examines political themes linked to the precarious socio-economic situation in his home country and the critique of an (art) consumer society, grappling with the paradox created by the simultaneous decay of social norms thanks to the
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One of the more dominant themes of
Bianchi’s work is the repetitive use of the human body as an artistic element. While visible already in his earlier works, the emphasis on the physical has become more influential in his recent sculptures and installations. Citing the words of feminist artist
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in 1992, after which he participated in a critique seminar run by Pablo
Siquier between 2002 and 2003. Between 2003 and 2005, Bianchi also participated in a program for visual artists co-run by the Centro Cultural Ricardo Rojas and the University of Buenos Aires, funded by the Beca Kuitca
126:(2006) at the Sendros Gallery in Buenos Aires. Placing a steep wooden ramp over the stairs located in the entry to the gallery, Bianchi forces visitors to engage in a physical effort to enter the space as they are left to climb up the construction with the help of ropes.
118:(2017), actively assemble and dis-assemble the borders between the human and the object. Linked to overarching themes of deconstruction and unraveling, these works disrupt the viewer’s expectations and play with the borders between the personal and the impersonal.
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in
Dresden, Germany (2016); and an artist workshop at the Mandale Fruta Lugano in Buenos Aires (2017). He has received a number of awards, including the arteBA-Petrobras Award to the visual arts in 2007 and the Grant of Secretaría de Cultura de la Nación in 2006.
83:(2017), in which a number of individual sculptures made up of haphazardly fused and seemingly random elements take over the space holding the museum’s permanent collection, directing the viewer into a dialogue with his precedents.
134:(2016), the artist engages with the perceived numbness of the contemporary art world towards social issues, and the disconnect between the proliferation of aesthetically idyllic art and the more brutal world which it inhabits.
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Diego
Bianchi’s work is situated on the border between realist and conceptualist traditions, with many of his approach being traceable to the oeuvre of European artists such as
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2010: Ejercicios espirituales (Spiritual
Exercises), Centro Cultural Recoleta, Buenos Aires, Argentina Panic picnic, Banco Ciudad-arteBA 2010, Buenos Aires, Argentina
110:, he takes an approach in which the “body is more a battlefield than a temple”, and therefore an object to be dismembered and distorted. These recent works, such as
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2005: Escuelita Thomas
Hirschhorn (Thomas Hirschhorn's School House), en colaboración con Leopoldo Estol, galería Belleza y Felicidad, Buenos Aires, Argentina
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Bianchi has accrued extensive teaching experience, leading numerous workshops around the world. These include a number of critique seminars at the
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2009: Monumento para un sótano (Monument for a basement), in collaboration with six artists. Fondo
Nacional de las Artes, Buenos Aires, Argentina
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2004: Daños (Damages), galería Belleza y Felicidad, Buenos Aires, Argentina Estática (Static), Galería Alberto Sendrós, Buenos Aires, Argentina
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2015: Under de Si (co-direction with Luis Garay), Bienal de Performance Argentina, Centro de Arte Experimental UNSAM, Buenos Aires, Argentina
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2007: La escultura del presente (The sculpture of the present), Centro Uno de Arte Contemporáneo, Roca, Río Negro, Argentina
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Massacese, Julieta (2019). "Life Ensues at Another Pace: Uses and Dimensions of the Body in the Work of Diego Bianchi".
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2017: El presente está encantador (The Enchanting Now), Museum Art Moderno Buenos Aires - MAMBA, Buenos Aires, Argentina
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2008: La música que viene (The music that's coming), Museo de Arte Contemporáneo de Rosario, Santa Fe, Argentina
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2017: Under de Si (co-direction with Luis Garay), Matadero, Centro de creación contemporánea, Madrid, Spain
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2006: Imperialismo Minimalismo (Imperialism Minimalism), galería Alberto Sendrós, Buenos Aires, Argentina
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2011: Ensayo de Situación (Situation Rehearsal), Universidad Torcuato Di Tella, Buenos Aires, Argentina
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2008: Las formas que no son (The forms that are not), galería Alberto Sendrós, Buenos Aires, Argentina
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2013: Slow Burn, Fundament Foundation, An index of possibilities, spoorzone 013, Tilburg, Netherlands
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2016: What Matters? ¿Qué cuenta? Was zählt?, Hochschule für Bildende Künste (HfBK), Dresden, Germany
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2013: Under de si,(under the influence of himself),Teatro Argentino de La Plata, TACEC, Argentina
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2010: Beuys y más allá – El enseñar como arte, Centro Cultural Recoleta, Buenos Aires, Argentina
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2003: Embale (Pack), Raumkunst, Boquitas Pintadas, Buenos Aires, Argentina Galerie Jocelyn Wolff
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2012: Nuevas Tendencias, Museo de Arte Moderno de Buenos Aires (MAMBA), Buenos Aires, Argentina
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2011: The Ultimate Realities, 11th. Biennale de Lyon, A Terrible Beauty is Born, Lyon, France
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RUB: Perspectivas sobre la obra de Diego Bianchi (Perspectives on the Work of Diego Bianchi)
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2011: Lo cotidiano de doce artistas, Museo de Arte Contemporáneo de Salta, Salta, Argentina
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RUB: Perspectivas sobre la obra de Diego Bianchi/Perspectives on the Work of Diego Bianchi
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RUB: Perspectivas sobre la obra de Diego Bianchi/Perspectives on the Work of Diego Bianchi
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2009: Un ritmo que nos sigue (A rhythm that follows us), Performing Arco 09, Madrid, Spain
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Villa, Javier (2017). "Press Release - El Presente Está Encantador/ The Enchanting Now".
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2012: La isla de los links (The Links Island), Luis Adelantado Gallery, México DF, Mexico
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2012: Reglas y condiciones (Rules and Conditions), Mite Gallery, Buenos Aires, Argentina
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2017: Naturaleza, refugio del hombre. Centro Cultural Kirchner, Buenos Aires, Argentina
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2007 Ouro sentimental, Museo de Arte Contemporáneo de Niteroi, Río de Janeiro, Brasil
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2013: Into the wild meaning, Visual Arts Center, Texas University, Austin, Texas, USA
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2013: Estado de Spam,(State of Spam),Alberto Sendrós gallery, Buenos Aires, Argentina
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2015: Under de Si (co-direction with Luis Garay), Wiener Festwochen, Vienna, Austria
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2009: La crisis es estética (The crisis is aesthetic), X Bienal de la Habana, Cuba
30:) is an Argentinian visual artist. He lives and works in Buenos Aires, Argentina.
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2007: Premio arte, BA-Petrobras a las Artes Visuales, Buenos Aire, Argentina 2006
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2012: Economic Choreography, U-Turn Project Rooms, Arteba, 21 Edition, Argentina
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2015: The predictions of a One-Night King, Chalet Society, Fiac, Paris, France
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He is represented by the Galerie Jocelyn Wolff in Paris, France. He won the
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2016: Shutdown, Barro Arte Contemporáneo gallery, Buenos Aires, Argentina
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2007: É jhuno, mas parece Novembro, Galería Polinesia, San Pablo, Brasil
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2007: Wake me up when the present arrives, Locust Projects, Miami, USA
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2015: Hacer con lo hecho, Museo Arte Moderno Cuenca, Cuenca, Ecuador
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2015: WasteAfterWaste, Project Gallery, Pérez Art Museum, Miami, USA
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2007: Jardines de Mayo, Casa de la Cultura, Buenos Aires, Argentina
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2006: My summer bunker Project, Luis Adelantado Gallery, Miami, USA
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2013: 13th Istanbul Biennial, Mom, am I a barbarian? Salt, Turquey
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2015: The Work in Exhibition, Galerie Jocelyn Wolff, Paris, France
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2013: Premio Braque, Universidad 3 de febrero, Caseros, Argentina
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scholarship. He subsequently received a scholarship to attend
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Diego Bianchi received his degree in graphic design from the
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2012: Aire de Lyon, Fundación PROA, Buenos Aires, Argentina
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2007: From deep inside, Luis Adelantado Gallery, Miami, USA
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2015: Experiencia infinita, MALBA, Buenos Aires, Argentina
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Buenos Aires (2013, 2015); an Antiproject workshop at the
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2018: Pervert Vitrine, 7 rue de la République, Marseille
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Museo de Arte Moderno - MAMBA, Buenos Aires, Argentina
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2017: Museo abandonado . BIENALSUR, Valparaíso, Chile.
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Pontbriand, Chantal. "A late evening in the future".
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2015: My Buenos Aires, La Maison Rouge, Paris, France
535:Skowhegan School of Painting and Sculpture alumni
495:Barro Arte contemporáneo, Buenos Aires, Argentina
257:2016: Oasis, Dixit Arte, Buenos Aires, Argentina
148:2019: Soft Realism, Galerie Jocelyn Wolff, Paris
47:(Maine, USA), from which he graduated in 2006.
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403:Katzenstein, Inés (2019). "Irreversible".
373:Katzenstein, Inés (2019). "Irreversible".
45:Skowhegan School of Painting and Sculpture
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16:Argentinian visual artist (born 1969)
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472:"Waste After Waste - Press Release"
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530:University of Buenos Aires alumni
77:Buenos Aires Museum of Modern Art
450:"Artforum Review: Diego Bianchi"
448:Gainza, María (October 2006).
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56:Universität der Künste Berlin
52:Universidad Torcuato di Tella
476:Pérez Art museum, Miami, USA
349:"Diego Bianchi Konex Award"
321:"Diego Bianchi – Biography"
120:The Suspension of Disbelief
81:El presente está encantador
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491:"Shutdown - Press Release"
470:Ostrander, Tobias (2015).
246:Selected group exhibitions
40:University of Buenos Aires
489:Sztulwark, Diego (2016).
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66:from Argentina in 2022.
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509:Categories
407:: 262–269.
377:: 262–269.
307:References
114:(2017) or
333:1 October
28:Argentina
457:Artforum
132:Shutdown
116:Multileg
459:: 275.
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453:(PDF)
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100:Arman
360:2022
335:2019
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