Tania Candiani

Desminar, curated by Gabriela Rangel, is a project that seeks to transform the viewer’s experience by focusing attention on the sound and amplified image that emanate from the floor. The installation contemplates the activation of a device that, like a deminer – which tracks the explosives left in the territory after wars – evokes the immaterial dimension of violence through sound. The work is a polyphonic lament, a generative composition that translates in real time the grooves and incisions of Fragmentos’ floor.
Desminar also contemplates the use of archival material, to link the Plaza de las Tres Culturas of Tlatelolco, in Mexico City, as another violated territory.

Commissioned by Museo Kaluz, original music by Pepe Mogt and curated by Lucia Sanromán, “Pista de Baile” is a project that explores the culture of ballroom dancing in a video installation composed of an Ultrawide screen video and tracking animation with Kinect, which synthesizes the movements of each dancer, 9 sound sculptures and engraved wooden platforms and 9 metal trumpets suspended from the ceiling.

Pepe Mogt’s original track creates variations from the halls’ iconic harmonies. Each of the tracks invites the audience to activate the piece by dancing on the wooden platforms.

The artists featured in Labor of Love, exhibition curated by Alexandra Terry, produce work that aims to expose and highlight labor practices that have been historically and systematically concealed from the public sphere. Working across a wide variety of media and using a range of conceptual approaches, the eight artists exhibited here seek to explore that which is often hidden just under the surface or kept at arm’s length: the physical, emotional, and intellectual labor that is vital to the smooth and ongoing function of innumerable aspects of our everyday lives.

Candiani participates with the three videos in the series Del Sonido de la Labor: Cantos del Trabajo, La lectora and Uno nunca ve lo que se ha hecho sino que ve lo que queda por hacer.

Candiani has worked across a wide spectrum of media to explore the fundamental relationship between people, place, labor and industry. Waterways are an enduring muse within her work. The history of Houston has long been entwined with the waterways that flow through its geography. Before the city was officially founded, this area was home to several indigenous tribes who relied on the region’s many rivers and bayous for transportation, trade, and fishing.
In the centuries to follow, the bayous and their fertile shores have nurtured agriculture, settlement, and industry, as well as the colonization, violence and exploitation that painfully became part of this landscape. In this exhibition, Candiani intersects past and present, living and lost, to channel the many voices that echo through the lifeblood of Houston.

The exhibition that Marlborough Madrid presents with the curation of Octavio Zaya is at the same time a commemorative tribute to the sixty years of “Rayuela” and an opportunity to examine and analyze how a group of 15 visual artists imagine their works, approach or are inspired in the complex universe of a literary work that is already classic for literature in Spanish.

The invitation to participate in the exhibition did not establish any requirement or condition other than the understanding of the Spanish language and the reading of the original version of Cortázar’s work.

Candiani presents the piece Talk and Response. Three improvisations for Rayuela.

Curated by Irmgard Emmelhainz and Christine Shaw is an exhibition series inspired by the primary movements of the digestive system: ingestion, propulsion, mechanical breakdown, chemical digestion, absorption, and elimination.
The first movement, Destructive Desires and Other Destinies of Excess, materializes at the mouth. As a site of ingestion, sexuality, sustenance, and language, the mouth tracks the origins and symptoms of injurious forms of interdependency that have led to our toxic world. This two-part movement focuses on artists who recognize that modern technologies at the center of a project of future worldmaking are linked to destructive desires, toxic masculinity, feminicide, dependency on fossil fuels, land dispossession, chemical contamination, wasted and remaindered populations, and the colonial technosphere to sustain life.

Tania’s piece: Four Industries