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imagery to create what critic David McCracken called, a "neat, new balance of barely suggested figures and images in a depthless field of murky abstraction." Writer Judith Russi
Kirshner described this work, in Malagrino's "Earth Calls" exhibition (1993), as a "rich array of textures, layered imagery and an uncertain imaginative terrain" that built "aesthetic connections to the forces and energies of survival." Her 1992 "Habitat" series (see above) used these strategies to reflect on issues of power and dominance relating to the land and individuals through images that suggested aerial mappings and spiritual figures of tribal cultures.
260:(1996–8) combined photographs and text to suggest the weight of absence—particularly of the human body—juxtaposing traces and fragments, such as a fingerprint or bloodstain, the imprint of a face on cloth, tattered photographs of lost loved ones, or catalogues of possessions. Writer Siobhan Somerville suggested that the work's confrontation with the political violence of Argentina summoned other traumas, such as those in Nazi Germany and Cambodia, posing questions about the representation of tragedy, the nature of evidence and the production of "facts", and the erasure of history.
374:(2010), Ellen Stone Belic Institute for the Study of Women & Gender in the Arts (2010), National Endowment for the Arts (2004, 1994, 1993), Lucius and Eva Eastman Grant (2004, 2010), and Illinois Arts Council (seven, 1987–2013), among others. In 2012, she received a State of Illinois Distinguished Artist Award (2012). Her work is included in the collections of the Bibliothèque nationale de France, The Art Institute of Chicago, Memoria Abierta (Buenos Aires),
199:, until the university was closed during the Dirty War, the period of state-sponsored violence from 1974 to 1983 in which thousands of Argentines were killed, tortured, or "disappeared." In response to the censorship of language, Malagrino learned photography; after a close friend disappeared, however, she left Argentina in 1978. She lived in Philadelphia until 1981—where she took photography courses at the
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287:(2005)—completed over roughly seven years—Malagrino returned to her native Argentina after three decades to re-map the obscured story and repercussions of the Dirty War, examining the subjectivity of history and the gap between personal memory and official "fact." Critic Janina Ciezadlo likened the film's experimental style to that of
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on foot to escape Nazi persecution and of the Karp sisters' confrontation with that past. Like
Malagrino's other work, the story is told through multiple forms: interviews with Karp's mother, Gisela, excerpts from a book George Karp wrote, home movies, photographs, documents and historical footage.
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in its interweaving of metaphor, poetic narrative (based on letters written by herself and writer Monica Flores Correa, who collaborated on the film's script), interviews with torture survivors, families of "the disappeared," journalists and junta officers, and documentary and re-created footage.
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Malagrino began her career producing experimental photographic work that used techniques such as montage, collage, found pictures, transfer, chemical manipulation, uneven development, and hand-marking. In the 1990s, she expanded her practice to site-specific installations that included digitally
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Critics suggest that
Malagrino's early black-and-white photographic work served as a springboard for poetic expression in the realm of memory and dreams. She blended smaller units to produce large works centered on the body and psyche, nature and the primordial, often obliterating the original
111:) is an American multimedia artist, independent filmmaker and educator based in Chicago, Illinois. She is known for interdisciplinary work that explores historical and cultural representation, and the intersections of fact, fiction, memory and subjectivity. Her experimental documentary,
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Reviewers noted the film's simultaneous depiction of the social catastrophe of state terror and affirmation of human perseverance, human rights and dignity, democratic values and accountability, represented in part by a coalition of women, youth and human rights organizations, such as
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256:(1995) superimposed original, appropriated and manipulated visual and audio layers and employed theater lighting to create what curator Andrea Inselman called "an intricate weaving" of personal, cultural, environmental and political histories of Latin America and North America.
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that
Malagrino found. The copy was filled with a constellation of intricate markings, handwritten notes and drawings made by an anonymous reader, which she found comparable to visual poetry.
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used video projection, light design and responsive computer programming to create an environment of exploration and reflection, centered around language, image and the content of the book.
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de Buenos Aires as a professor of French and French
Literature (1971). From 1971-5, she studied Literature and Modern Languages at the Facultad de FilosofĂa y Letras of the
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115:(2005), interwove personal narrative, witness testimony, interviews, and both documentary and re-created footage to examine the long-term effects of Argentina's
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and began exhibiting her work widely. In 1990, she accepted an appointment to the faculty of the School of Art and Design, University of
Illinois at Chicago.
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Malagrino's installations have investigated the intersection of specific global histories, memory, human action and accountability. The multimedia work
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from 1982–5 and earned an MFA from the
University of Illinois at Chicago in 1987. Between 1987–90, Malagrino was a Visiting Artist at the
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processed photographs, large murals and written texts, and in 2000, began creating experimental video works. Her experimental video,
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357:(2014), serving as co-director, co-writer and co-producer. The film tells the story of Karp's family's five-year crossing of the
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1061:(2013), Portfolio, School of Art & Art History, University of Illinois at Chicago. Retrieved January 25, 2018.
968:(2005), Portfolio, School of Art & Art History, University of Illinois at Chicago. Retrieved January 25, 2018.
892:(1998), Portfolio, School of Art & Art History, University of Illinois at Chicago. Retrieved January 25, 2018.
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167:. Malagrino is Professor in Photography and Moving Image at the School of Art and Art History of the
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Inselmann, Andrea. "Between Times/Between Worlds: Multimedia Works by Silvia A. Malagrino,"
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Bonilla, Frank and Edwin
Melendez, Rebecca Morales, and Maria de los Angeles Torres (eds).
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Ciezadlo, Janina. "Significance of the
Fleeting, Janina Ciezadlo on Silvia Malagrino,"
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In addition to her film awards, Malagrino has received fellowships and grants from the
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Borderless
Borders: U.S. Latinos, Latin Americans and the Paradox of Interdependence
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In 2013, Malagrino created the one-night, immersive, site-specific installation,
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Malagrino worked with filmmaker Sharon Karp on the feature documentary essay,
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Foerstner, Abigail. "Three Artists See the World with Distinct Inner Views,"
224:, won the Lorenzo De Medici First Prize Gold Medal Award in New Media at the
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for Directing and Best of Show (Platinum) for Cultural Documentary (2007).
203:—and has lived and worked in Chicago since 1982. She taught photography at
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Malagrino was born in Buenos Aires, Argentina in 1950. She graduated from
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Kirshner, Judith Russi. "Earth Calls: The Works of Silvia Malagrino,"
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182:, Gelatin silver print photographs, three panels 43" x 60" each, 1992
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School of Art & Art History, University of Illinois at Chicago.
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School of Art & Art History, University of Illinois at Chicago.
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580:"UIC Photographer/Filmmaker Wins Guggenheim for Documentaries,"
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Weismantel, Patricia. "Giving a Voice to Fear and Silence,"
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Center for Latin American Studies – University of Pittsburgh
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509:"Burnt Oranges. The Stream of Life— dimensions of exile,"
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864:, April 20, 1995, p. 37–39. Retrieved January 28, 2018.
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Sheboygan, WI: John Michael Kohler Art Center, 1995.
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Somerville, Siobhan. "Silvia Malagrino's Testimony."
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Foerstner, Abigail. "A Chicago Style for the '90s,"
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119:. Malagrino's art has been featured at
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1094:(2014). Retrieved January 25, 2018.
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599:Silvia A. Malagrino, Artworks
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139:of Columbia College Chicago,
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889:Inscriptions in the War Zone
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283:In her feature documentary,
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582:
576:Film Schools
575:
543:
537:
511:
488:
484:
462:
369:
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289:Chris Marker
284:
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112:
107:(born 1950,
104:
103:
33:Buenos Aires
1180:1950 births
996:Routledge:
330:Audre Lorde
293:Agnès Varda
83:Pam Bingham
41:Nationality
35:, Argentina
1174:Categories
998:Third Text
489:Afterimage
394:References
622:UIC Today
338:Carl Jung
117:Dirty War
49:Education
951:Exposure
947:Exposure
512:Jump Cut
359:Pyrenees
308:won the
388:En Foco
180:Habitat
907:(1990)
641:artnet
386:, and
279:(2005)
271:(2005)
163:, and
159:, the
151:, and
88:Awards
80:Spouse
302:HIJOS
72:Style
343:Aion
310:CINE
300:and
291:and
215:Work
187:Life
157:CINE
127:and
29:1950
26:Born
487:),
340:'s
332:'s
1176::
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171:.
147:,
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94:,
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1030:"
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