Trouvailles – Festival Voies Off 2018, Arles, France

This July 3 opens at the Auberge de Jeunesse Arles, a new exhibition called Trouvailles, which brings together four of my works: # 1 Zyklus, The morning, Love on the wall and the most recent and unpublished: Oneing. There will also be a media-art piece made with Lisandro Peralta and the artist’s books # 1 Zyklus, and El amor en el muro.

The exhibition is part of the Voies Off Festival, which gather a path of exhibitions and independent photographic initiatives that flourish every year throughout the French city of Arles, in the magnificent setting of the Rencontres de la photographie d’Arles.

It can be visited at the Auberge de Jeunesse Arles, at 20 Avenue Foch, from July 3 to August 15, from 5 pm to 9 pm. All are pleasantly and lovingly invited, on either side of the ocean, online or in person.
Vernissage: July 3, 6PM, Auberge de Jeunesse Arles, at 20 Avenue Foch, Arles, France


This exhibition has had the support of the Federation Unie des Auberges de Jeunesse, the Argentine Chancellery, the Senate of the Province of Buenos Aires and the wonderful, generous and tireless friends who shared, supported and collaborated in many and beautiful forms with me to carry out this project to those who offer my full gratitude.

 also had the honor and fortune that talented Shigeko Lauren Gaskill wrote this text for the exhibition, I hope you enjoy it.


by Lauren Shigeko Gaskill

In Mad Love, André Breton recounts a day browsing the antique market in Paris with Giacometti. The two happen upon singular objects, objets trouves, which they transform into Surrealist objets d’art. These trouvailles come to exceed finite ontologies through the artist’s intervention.

The works comprising Marina Losada’s Trouvaille, photographed between 2010 and 2016 emerge from her own role as observer of environments evolving from the concrete fixity of the urban to the mystery of nature’s sublime. Such evolution challenges the conventional notion of progress, permitting us to eschew hegemonic conceptions of the world, as we step into a cyclical paradigm.

The cycle governing life and death, the passing of the seasons that we witness in the photographs from #1 Zyklus, synchronizes with the musical fugue, in seeming infinite ascent, that accompanies the images of a solitary tree photographed by Losada. All become iterations of a disrupted cycle of seasons with no beginning or end. As the melody proves to cycle back despite itself, the denuded tree blossoms again.

Through this media-art work alongside art book and photographs, we are drawn into a trompe l’oieil reverie. Tree or hyper realist street art? Sign or simulacrum? It is only at the meeting place of earth and tree where our question is resolved.

The Love In the Wall affixes the ephemeral to the concrete through anonymous graffitied messages left to be witnessed by passersby. Love, a force in constant state of flux, is never the same between two sets of people nor across the span of a single relationship. Through this body of work, Losada intervenes into the demonstrations of love herself, morphing them into photographic objets trouves, while giving them new life through circulation.

In The Morning Losada turns her gaze on the oft unseen pockets of nature. Dark meets light in these photographs, where fractals of color strike us to the core, as something once familiar, now arrests. To look upon these pictures is to step into the ritual of daybreak, and wander amidst the fleeting first glimpses of sunlight when, it is held in mystical traditions, a porosity between the heavens and earth permits access to higher forms of consciousness.

If Losada’s earlier works in this constellation examine the intersection of nature and human intervention, her most recent work, Oneing, takes an even more abstracted approach to such cycles. With this series of diptychs, Losada counterposes earth and sky, skewing perspective, while creating poetic composites. There is a decentering effect as we look back to the start for answers, which the works, in fact, encourage us to answer from within.

El amor en el muro, at Arles

With great joy, I want to share with you the news of an exhibition of Love on the wall.
I want to invite you to the opening of the exhibition at Comptoirs Arlesienes gallery, in Arles, France this Saturday 16 at 18 pm.
Until 25 June, you can visit this exhibition curated by Line Lavesque, and shared with the talented colleague, Marie Sommer.
I’m also showing in the gallery a new production, which is presented to the public for the first time in the gallery.



Temps Suspendu. Opening

I have the great joy to invite you to the opening of Temps Suspendu in Comptoirs Arlésiens of jeune photographie Gallery in Arles, France.
This Friday at 18hrs the exhibition opening and will stay in the gallery directed by Line Levesque to 27 December 2014. There will be exhibited pictures of my new job, The morning.
Temps Suspendu

Altres mirades sobre l’art

Roma is a lucid, fast, sharp water-eyed man, passionate, an inevitable revolutionary. I met him a few years ago at the Escola Massana in Barcelona, ​​where he teaches. As we talked we toured the old building. I love exploring the spaces and he knows every inch of the place, was an amazing guide. I remember formidable spaces and stairs, roofs, walkways, white classrooms, libraries. Later we thake look to some photos and we recognized in several ideas.
This summer I returned to Barcelona. Had coffee with Pere and Romá. He surprised me with this book, where among other things, talks about Love on the wall photos. Obviously, Romá realized the truth, and I love how he say it: Love on the wall photos are falsely cold. Yes.
I like, I’m toched about him call to action, I like the thrill of the action in his young students, I really like his claim and validation of the buried history of his country. The clarity of mind that a country with fear, which erases his past can not make just laws and act accordingly. Without fear of inconveniencing lashes and declares the death of photojournalism, art urgency, despises forced aesthetic discourses and machismo. He is direct and acerbic, shakes us. Calls to move, to keep us awake and alert, ready for action.
Thank you, thank you very much. I love your text in Altres mirades sobre l’art, it’s windy, so dissipates the fog of the mainstream. It is an honor to walk over there.

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