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Texto del catálogo de la Bienalfindelmundo - Ushuaia, Argentina, marzo 2007.
Aves Migratorias [Migratory Birds]
Artistas/Artists: Edith Matzen Hirsch (1938) Fernando Goin (1968)
Curadores/Curators: Alicia Romero, Marcelo Gimenez.
[Localización/Location: Casa de la Cultura]
Artistic action designed around the red knot, a bird species threatened by actions against the biosphere. Committed to maje the value of this mobile heritage noticeable, and operating like interdisciplinary ork in progress, the project has gathered -over its course- artists, expert scientist, educational institutions and more than two hundred children. The little Argentinean creators made allusive pictorial images, which, multiplied in postcards, will convey an environmental message to their congeners all over the world. The possible implications of the project point to the constitution of a sensitive conscience as form of citicenship: the environmental instance es a petaphoric ofa apresent of forced pilgrimages. In this sense, Aves Migratorias inscribes itself in an aesthetic reorientation which, according to Reinaldo Laddaga, activates the capaciti of contemporary art to "pose itself as a place of exploration of the inadequacies and potentialities of ordinary life..." (A.R. and M.G.)
Acknowledgements: Dr. Allan Baker; Luis Benegas; Mauricio Failla; Patricia González; Dr. R.I.G. Morrison; Mark Peck; Colegio Del Botánico, Buenos Aires; Escuela "Julio Verne", Colegio Del Sur y Escuela Chowen; JIF Juvenil Instituto Fueguino, Escuela Gral. "Manuel Belgrano", Río Grande.
This project has the special support of the Embassy of Canada in Argentina, Environment Canada and the Canada School Board (District Nº. 48)
Matzen Hirsch, Edith
Bollingstedt, Alemania, 1938. Vive y trabaja en Buenos Aires.
"Fragilidad" modulates glass and ice (autobiographic material), illuminating the contiguity between rigidity and rupture, strenght and breakage. Fractures -when they occur- leave you shaken, startled, distressed. Related especially to visual poetry and multidisciplinary installations that came before it, the work falls back into the flashing of signifiers. Either waiting for the acoustic or visual image that completes the perceived fragment, or the itinerary favored by the series as a result of being unfinished, the place offered to the audience is the inquiry of finitude through intimacy. Variations manifest or hide, in the eventually of transit, the privilege of sentient experience as an act of freedom. Insisting on precaroiusness as the existential feature of the world and beings, E.M.H. interpellates the universality of the pacts that are able to redeem our essential integrity. (Alicia Romero, Marcelo Giménez)
