Carolina Magnin

C a r o l i n a M a g n i n

L a t e n c i a s 2005-2006

Slide projection

Slide projection

Slide projection

Slide Projection

Latencias is an installation composed by 50 slides, located in 4 different projectors. The projection size is 150 x 100 cm (variable sizes). The images are projected on black translucent cloth of 300 x 150cm (variable sizes). Because of the cloth translucency and the distance between the clothes and the room walls (not less than 100 cm.), the images are also projected on them.

In a second instance of the installation, there are two projectors that with the help of a mirror system project the images on the floor. The projectors in both instances are at the ceiling and outdated one from eachother with a difference of a few seconds.

L a t e n c i a s Installation view

Centro Cultural Recoleta

A é r o p o s t a l e 2007-2008

151-2 Aéropostale, 2007-2009, 100 x 160 cm./ 60 x 100 cm., photography..

177 Aéropostale, 2007-2009, 80 x 120 cm., photography.

. 925-3 Aéropostale, 2007-2009, 70 x 100 cm., photography.

656-53 Aéropostale, 2007-2009, 60 x 100 cm., photography.



2080 Aéropostale, 2007-2009, 60 x 100 cm., photography

1-4317 Aéropostale, 2007-2009, 120 x 70 cm., photography.

1-‐

511 Aéropostale, 2007-2009, 60 x 100., photography.

Aéropostale is a work on the idea of memory, its fragility, recollections. The reference to memory is related it with personal memory, which I consider unique and formative of our individual identity. In the case of Aéropostale, I took postcards from my family’s collection; I photographed and intervened them to create the atmosphere I wanted; a trip to the past. The work is also made up of an installation in which images are placed over and inside pieces of furniture. Next, it is transcribed the text that artist Gabriel Valansi wrote about my work: The memory and the dreams seem to be both big territories where Carolina Magnin’s images float. It is in this precise edge where her photographic offer begins to take its form. Her images seem to be involved in subtle atmospheres of dream. The trip, the evanescence of the facts captured in the memory, the passage between emotional states, are the ellipse and the magic that orbit Aéropostale. Like in all her work, Carolina Magnin creates her images with high beauty. Gabriel Valansi

A é r o p o s t a l e installation view

A é r o p o s t a l e s/t

S/T, 2009, 50 x70 cm., photography.

S/T, 2009, 50 x 70 cm., photography.




T i m e l i n e ��2010

Duraclear print, variable measures












In Timeline, I used a 16mm film from my grandfather as the starting point. The fragments

that make up the project are images taken from the film, printed on a material called Duraclear, which is similar to the photographic plates used to produce radiographic images. The images are placed in old negatoscopes. Timeline is a work about individual memory; it’s not historical memory, but rather the memory we all carry with us, unique and quite fragile that makes us what we are. With this work I attempt to rescue that intimately private memory and somehow bring it to a universal plane with each recipient’s history. Prints of unconscious images. Referring to the photographs themselves, I am very interested in the texture that appears from the fusion of the passing of time over the original material (the film spans from 1930 to 1943) and the conversion of the movie to a digital format. I consider it’s important to preserve the tonality that emerges from the images as I appropriate the material by placing it on a contemporary support.

“The chest is small and contains a secret in the shape of a film. Contiguous images, appreciated past in the form of an X-ray, from an imperfect present. There are no certainties or diagnoses. These are gaps where the substance of things leaks: That immateriality that forms the memories. Distance and time taking opposite directions. The more we move away, the smaller become the things we see. As time goes by, we see everything clearer. It is in that game of mirrors and distances where life occurs, that is the magic. The Timeline of Carolina Magnin suggests: A little bit of poetry. Seconds dropping, (gentle as feathers), being caught in some motionless air, hanging from transparencies of jade. Memories like diadems threaded in the inside of a chest that opens up. A film running differently everytime. Light filtrating itself in the frame of the past. And us, amidst. Breathing. “ Jordi Arnaz Barcelona, July 10th 2010

T i m e l i n e installation view

Gachi Prieto Gallery ��

256337-09H , 2010, 36.5 x 43 cm., duraclear print.

5423-llH, 2010, 38 x 45 cm., duraclear print.

256337-03K , 2010, 13.5 x 20 cm., duraclear print.

Triptych 25668-06R, 2010, 45 x 135 cm., duraclear print.

Diptych 5489-08G, 2010, 14.5 x 18 cm., duraclear print.

Timeline, wooden box, video in random, 35 x 25 x 10 cm, 2010. http://vimeo.com/22387215

Installation video http://vimeo.com/20114590

D E C 6 1 ��2011��

NO.57, 2011, 80 x 120 cm /27 x 40 cm., photography.

NO.149, 2011, 80 x 120 cm. / 27 x 40 cm., photography.

NO.73, 2011, 100 x 150 cm. / 27 x 40 cm., photography



NO.91, 2011, 100 x 150 cm. / 27 x 40 cm. , photography.


NO 35, 2011, 80 x 120 cm. / 27 x 40 cm., photography.

NO. 70, 2011, 100 x 150 cm. / 27 x 40 cm., photography.

DEC61 “”Nothing distinguishes the memories of other times: it is only later that they are recognized, in their scars. " – Chris Marker, La Jetée DEC61 is a work in which I revisit my father’s images on transparencies. The theme of reminiscing, memory and its influence on the singularity of existence, the passing of time and the personal reformulation of past experiences. The direct relationship between memory and the direction of our life as individuals are the basic elements of construction. The passage of time in the images not only because they are from the past but because they are represented trough the marks of time, the dust of time.The photos show what it is hidden in the slides. Images from the unconscious; mental landscapes; places that are situated between images from past time and dreams.

A R C H I V O M D C 2012

Archivo M D C 2012 wood /slides 80 x 35 cm.

Archivo M D C is an instance of the piece Archivo. I’ve been working since 2006 on the subject of personal memory. Archivo is a project on the endless images of memory, its structure, access and lastingness. This is a work built with collected slides, each a transposition of a remembrance, an impression of a personal past. At the same time, a slide -the object- bears the passage of time: dust, human contact marks; the distinction of being unique, of refraining from the photographic standard of reproducibility. It is this feature that gives the slide a fragile, blurry entity, just like the personal memory. Each image is sole and irreplaceable, yet they relate to each other in this structure, trough a dialogue of textures, colors and materials. Archivo is therefore a piece assembled from the pasts of many people, merged into a single, irreproducible memory, pierced by time. The photographic installation consists of a structure of 270 x 300 cm. containing at least 19,000 slides, covering a wall from floor to ceiling in the ways of a large archive. The collection of these pasts represents in turn the conceptual idea of the piece: to expand to a universal frame the representation of a memory. It is important, therefore, that this work have the dimensions of a wall or an entire room, with the detail of an old slide box, on a much larger scale. It must be an active system that contains itself and its observer; that traces each time a new relationship between past, present and future. A fragment of history, its testimony; a document that changes over time like memories change when they come to the conscious level; many remembrances stored in a single archive in perpetual alteration. The observer of this work is to be warned that he or she will become part of the object’s memory from the very moment of entry. Every movement, every glimpse, the pieces shifted, the dust removed, shall leave a mark on the piece, shall change it without return, just like a memory printed on a slide.

Á n i m a 2013

Nº 15 2013 180 x 130 cm. Photographic printed glass

Nº 58, 2013, 130 x 180 cm., photographic printed glass.

Nº 68, 2013, 130 x 180 cm., photographic printed glass.



No 50, 2013 52 x 72 50 cm. Photographic printed glass on french style tableNo

Ánima installation, 2013, photographic printed glass, 15 x 24 cm each image, installation variable measures.

Á n i m a installation view

Emilio Caraffa Museum

The lucid opacity of the memory What led Walter Benjamin to be interested in the tumbledown Parisian alleyways of the 19th century while Nazism was advancing through Europe? Things recently disappeared give off a peculiar brightness, and in that ultimate splendour they may say more about the present than the obviousness that surrounds us. In the world dominated by the digital image, Carolina Magnin found a singular treasure in photographic transparencies, now fallen into disuse. Many of us can still recall those family gatherings, the magical darkness, the expectant waiting for the ritual of that home cinema where family photos alternated with views of European cities brought back as souvenirs of some journey. The artist’s work begins in the gesture of salvaging and conserving those old boxes of slides that modernisation so often consigns to the rubbish. She began years ago with her family albums, and today has gathered a numerous heritage, for her passion as a collector does not result in a personal memento but rather it intuitively homes in on a valuable substrata of collective memory. How does the artist reveal that accumulated and silent memory? She scans its pure materiality. If all photography is an imprint in light of what was in front of the camera lens, the tactile eye of the scanner makes visible the tiniest marks that time has deposited on the surface of the slide: fingerprints, dust, slight scratches, discolouring… Carolina Magnin’s images emerge just like a vast mysterious storehouse of the subconscious of a past era. Her work is often abstract: evocation is not so much by motives as by textures that convey an atmosphere and subjectivity. The memory is valuable because it stalks oblivion. Transparency and opacity are in dialogue in these photographs of the artist revealing the phantoms that give density to our identity. Valeria González University of Buenos Aires

C A R O L I N A M A G N I N Visual artist, curator and codirector of the run artist space La Ira de Dios. Lives and works in Buenos Aires, Argentina. Carolina Magnin was born in Buenos Aires in 1975; she studied Arts at the University of Buenos Aires (UBA). She made the career of photography at the Escuela Argentina de Fotografía and during 2002 she studied at the International Center of Photography (ICP) in New York. She made workshops with Gabriel Valansi and Tulio de Sagastizabal and participated in exhibitions at the Centro Cultural Recoleta and the Alliance Française, so in Gachi Prieto Gallery. Carolina got a Mention Prize in the Metrovias contest, Second Prize in the Macstation Paradigma digital contest. She was selected in the Platt Award for Visual Arts, Photography Biennale Arte x Arte , Catena Prize for Contemporary Photography and in the Salon Nacional de Artes Visuales (2008, 2009). In 2010 she made an individual exhibition at the Gachi Prieto Gallery and she got a Mention Prize at the Salon Nacional de Artes Visuales. Also since that year, Carolina is codirector and curator of the run-artist gallery La Ira de Dios, specialized in photography, video and new media. In 2011, she have participated in Jose Luis Lorenzo Collection at the Museum Palacio Ferreyra, Córdoba. Carolina was selected in the Itau Prize for Visual Arts in 2012 and also in the Renaissance Photography Prize in London, where she has showed her work in Mall Galleries. During 2013 she participates in a show in Linus Gallery in Los Angeles, USA and presents Ánima, an individual exhibition at the Emilio Caraffa Museum.

[email protected] www.carolinamagnin.com

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Carolina Magnin