Fotografía – Silvia Rivas https://silviarivas.com/en Fri, 21 Nov 2025 13:33:28 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.1 https://silviarivas.com/wp-content/uploads/2019/02/cropped-sr-icon-2019-1-32x32.png Fotografía – Silvia Rivas https://silviarivas.com/en 32 32 Transcurso y urgencia https://silviarivas.com/en/transcurso-y-urgencia/ Wed, 01 Nov 2023 18:47:01 +0000 https://silviarivas.com/?p=3330

 

Passing and Urgency, of the series Passing and Urgency, 2017.

About the series

The liquid flows like life, constant, undifferentiated in time. An instant triggers change; in that moment, both the circumstances and the angle of perception are others.

The minimum measure of the instant and its conclusiveness, in relation to what flows, where instants are either lost or contained.
Time marked by a fragment of space traveled, a fragment that is exhausted. The actionis superimposed on the dispassionate passing, the regularity of the series, a flow in unlimited time and space.

 

Video Still.

Works

Passing and Urgency I

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency IV

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency V

Photography | Lambda printing on photographic paper. 121 x 200 cm. 2009

Passing and Urgency XI

Photography | Lambda printing on photographic paper. 125 x 210 cm. 2009

Passing and Urgency (2017)

Video installation | Two or three video channels. HD video. Stereo sound. Variable dimensions. 1′ 54″ loop. 2017

Passing and Urgency (2019)

Video installation | Four video channels. HD video. Stereo sound. Variable dimensions. 1′ 54′′ in loop. 2019

Exhibitions

Notes on Time. Recoleta Cultural Center (CCR). Buenos Aires, Argentina, 2001

Landscape to Be Defined. Diana Lowenstein Fine Arts, Miami, Florida, United States, 2010

Nature: Refuge and Resource for Humankind. Kirchner Cultural Center (CCK). Curated by Gabriela Urtiaga, Ana María Battistozzi and Laura Buccellato. Buenos Aires, Argentina, 2017

Shared Absense. Rolf Art, Buenos Aires, Argentina, 2019

Argentina Today. Banco do Brasil Cultural Center. Curated by Frankin Espath Pedroso and Adriana Rosenberg. Sao Paulo and Río de Janeiro, Brasil, 2009

]]> Nocturnos https://silviarivas.com/en/nocturnos/ Mon, 30 Oct 2023 13:34:01 +0000 https://silviarivas.com/?p=3118

 

Nocturnal, Moons and Anubis, of the series Nocturnal, 2003.

About the series

The moon illuminates with its borrowed light,

A stray dog wanders, a scavenger of noble ancestry.

 

Lost Anubis. Video still.

Works

Lost Anubis

Video installation | Single channel for monitor. DV Video. Stereo sound. Variable dimensions. 6′ 20′′ loop. 2002

Nocturnal I

Photography | Lambda printing on photographic paper. 70 x 53 cm. 2003

Nocturnal VIII

Photography | Lambda printing on photographic paper. 38 x 114 cm. 2003

Nocturnal XI

Photography | Lambda print on photographic paper. 27 x 34 cm. 2005

Nocturnal XII

Photography | Lambda print on photographic paper. 27 x 34 cm. 2002

Nocturnal XV

Photography | Lambda printing on photographic paper. 38 x 114 cm. 2003

Three moons

Photography | Lambda printing on photographic paper. 2002

Exhibitions

Landscape: An Immersive Art Experience. Casa Naranja. Curated by Florencia Battiti and Daniel Fischer. Córdoba, Argentina, 2020

5006 Gallery. Design Suites Hotel. Buenos Aires, Argentina, 2005

Festival de la Luz. Del Infinito Gallery. Buenos Aires, Argentina, 2004

Before Now. Miguel Frías Contemporary Art, Buenos Aires, Argentina, 2004.

Nocturnal. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2003.

Art in progression III. Centro Cultural General San Martín. Buenos Aires, Argentina, 2003

]]> Todo lo de afuera https://silviarivas.com/en/todo-lo-de-afuera/ Tue, 24 Oct 2023 16:00:17 +0000 https://silviarivas.com/?p=3061

 

Everything Out There, documentation at Museo de Arte Moderno de Buenos Aires, 2004.

About the series

Everything Out There is the question, the undefined object, the diffuse wish.

The body is the limit and this limit is the only certain thing.
These are empty moments, there is no event whatsoever, everything is circumstance.

Sometimes the conviction is to play the game indefinitely. The contact of one body with the other is the only reference, there is no reliable surrounding, the balance is precarious, the surface of support abandons, the other one lets go.
The force of gravity hides somewhere and the anchor is the conflict.

Like in the hours of insomnia, there is no mark to trace the path.
And so things are … someone sings to themselves to sustain themselves so that the echo sets the limits of everything that is inside.
Everything Out There irremediably, remains outside. Inside is the abyss and desire, the crackle of anxiety and a song of consolation.

 

Video still.

 

Everything Out There, A Gram of Dust, The Surface Won't Loose, from the series Everything Out There, 2004.

Works

Everything Out There

Video installation | Variable channels and devices. DV video. Stereo sound. Variable dimensions. 6′ 11″ in loop. 2002

 

Video still.

Distortion

Video installation | Single channel. Black tulle screen. DV video. Stereo sound. Variable dimensions. 11' 9" loop. 2004

A Gram of Dust

Video installation | Single channel. DV Video. Stereo sound. Variable dimensions. 14′ 29′′ in loop. 2004

The Surface Won't Loose

Video installation | Variable channels. DV Video. Stereo sound. Variable dimensions. 19′′ in loop. 2004

Black Abyss in a White Landscape

Video installation | Single channel. 12″ monitor. DV video. Stereo sound. Variable dimensions. 7′ 59″ in loop. 2004

Marsh (Structure)

Intervened Photography | Lambda and gouache printing on photographic paper. 2005

Marsh (Succession)

Photography | Lambda and gouache printing on photographic paper. 2005

Exhibitions

Chronotopies.  MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curatedy by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies.  Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

Everything Out There. Museum of Modern Art of Buenos Aires. Buenos Aires, Argentina, 2004.

The Victors and the Vanquished. Museum of Modern Art of Buenos Aires. Curated by Ana María Battistozzi. Buenos Aires, Argentina, 2014

Intersections. Technology, Nature, Subjectivity. Arte x Arte Gallery. Curated by Jorge Zuzulich. Buenos Aires, 2009

Casa Abierta, Open House Embassy of the Argentine Republic. Curated by Gabriela Salgado. London, United Kingdom, 2006.

Video Integracija – Video Integration. Belef Center. Belgrade Summer Festival. Project author: Gabriel Savić Ra. Spanish selection: Nora Ancarloa y Marga Ximénez. Belgrade, Serbia, 2005.

The Subtle Vertigo of the Image. Parque de España Cultural Center. Curated by Claudia Laudano. Rosario, Santa Fe, Argentina, 2005.

Nunca Más/Never Again. Natalie and James Thompson Gallery. San José State University. Curated by Graciela Smith. San José, California, United States, 2004.

MAMbA – Fundación Telefónica Prize: Art and New Technologies. Espacio Fundación Telefónica, Buenos Aires, Argentina, 2004.

]]> Tiny Events https://silviarivas.com/en/tiny-events/ Tue, 17 Oct 2023 17:55:05 +0000 https://silviarivas.com/?p=2991

 

Tiny Event, of the series Tiny Events, 2005.

About the series

The portrait is the tool to show the singularity, isolation, or rather, the incommunicability of the individual, but fundamentally, to show the individual in their condition as such. That condition, common to all, is the only available means to establish a link.

A person is presented in their present, in a single action that extends indefinitely in time. In this action and its uncertain potentiality, the story concludes. The confrontation of these two temporal series reveals the fissure between these beings and a possible context; it is not a circumstance, but a condition.

This gap, or off-centered gaze, is the syntax of the discourse, the necessary component to express the condition of the being. Everything is counterpoint between these physiognomies glued to a background devoid of spatial references and the passage of a walker who, looking down, briefly registers the remnants of an alien tumult. On one side, a landscape that harbors nothing but the useless, the scene of the trivial, a surface that does not reach the status of "place"; on the other, the forceful presence of a face, of a subject, and their individuality as the only possible place.

A change of attitude is not necessarily read in the signals or gestures of the body, at least not in an evident way. The intensity of the gesture contradicts grandiloquence. Moreover, in this case, looking up and seeing is not a guarantee of anything; it is an internal event. There is no certainty; it only opens up a possibility. As Kierkegaard would say, here "truth is subjectivity," and subjectivity is confined within the limits of a body.

Tiny Event. Video Stills.

Works

Red Dreams I

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Black Dreams I

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Dark Dreams

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Light Dreams

Intervened Photography | Inkjet and gouache print on Magnani paper. 50 x 50 cm. 2008

Balloons and Streamers

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2006

Ceibo Flower II

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2006

Holes II

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 150 cm. 2007

Black Plane

Intervened Photography | Inkjet printing, graphite and acrylic on Magnani paper. 50 x 200 cm. 2006

Tiny Events

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 45 x 200 cm. 2008

Many

Intervened Photography | Inkjet printing of ink, graphite and acrylic on Magnani paper. 49 x 147 cm. 2008

Broken Skyline

Video installation | One or two channels. DV Video. Stereo sound. Variable dimensions. 3′ 30′′ loop. 2006

Tiny Event

Video installation | Five channels. DV video. Stereo sound. Variable dimensions. 3′ 39′′ in loop. 2006

Exhibitions

Focus – Photography. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2021

Digital Media. La Nau, University of Valencia. Curated by Cristina Ghetti and Andrea Racciatti. Valencia, España, 2008

Multimedia Images of a Complex World. Visions from Both Sides of the Atlantic. Sala de Santa Inés, Seville; Hospital Real, Granada, Spain; Recoleta Cultural Center (CCR), Buenos Aires; Department of Visual Arts Prilidiano Pueyrredón, National University of the Arts (UNA), Buenos Aires; Centro Multimedia, National Center for the Arts, Mexico City; Estación Indianilla Cultural Center, Mexico City; Laboratorio de Arte Alameda, Mexico City, Mexico; Alliance Française and Fundación Ludwig, Havana, Cuba. 2008

Tiny Events. Diana Lowenstein Fine Arts. Miami, Florida, United States, 2007

Adaptacions Urbanes III. MX Espai 1010. Curated by Micaela Patania. Barcelona, España, 2007

Visual Arts National Salon. Palais de Glace. Buenos Aires, Argentina, 2007

Rivas + Trilnick. A possible extension. RO Gallery. Curated by Alina Tolosa. Buenos Aires, Argentina, 2006

Denegri-Golder-Rivas. Video installations. Espacio Fundación Telefónica. Curated by Laura Buccellato. Buenos Aires, Argentina, 2005

Credits

  • Performers: Young people from Fundación Crear Vale la Pena, Centro Puertas al Arte.
]]> Paisaje a definir https://silviarivas.com/en/paisaje-a-definir/ Tue, 17 Oct 2023 15:40:51 +0000 https://silviarivas.com/?p=2956

 

Migrants, of the series Landscape to Be Defined, 2007.

About the series

To speak of the Río de la Plata as a surface, as a stage, as a neutral platform.

The river analogous to the plain with which it merges.

To seek to define a landscape of attraction and shelter or, later, of danger and rejection.
To define it by its minimal geometry that only catches the eye in the very light trace of the horizon, by the color of earth melted in water... or by the reverberation of the light crying what it hides in the soft texture of the plane.
Half earth, half water, a sad mantle that covers names and blurs the traces of a battlefield, a fertile mantle that gave more than expected. A temperate home where, at times, it becomes difficult to feel at home.
The ubiquitous and flickering outline of the horizon is only ahead, it responds to the poles of violence, of refuge, of depletion and abundance. The horizon is direction and certainty, a line behind which inevitably lies a livable reality. Petals rain down, like thousands of individual stories.

Video still.

Works

Migrants

Video installation | Two channels. DV Video. Stereo sound. Variable dimensions. 2′ 19′′ in loop. 2007

River II

Photography | Inkjet printing on photographic paper. 53 x 152 cm. 2008

River VII

Photography | Inkjet printing on photographic paper. 53 x 152 cm. 2008

Exhibitions

Landscape to Be Defined. Diana Lowenstein Fine Arts, Miami, Florida, United States, 2010

Centenario Roggio Visual Arts Award. Emilio Caraffa Provincial Museum of Fine Arts, Córdoba, Argentina, 2008

Landscape To Be Defined (Migrants) Art Gallery Jolie Bistro. Curated by Fabián Trigo. Buenos Aires, Argentina, 2012

Reality and Utopia. 200 Years of Argentine Art: A Vision from the Present. Academy of Arts of Berlin, Pariser Platz venue. Curated by Diana Wechsler. Berlin, Germany, 2010.

636. Six Rivers, Three Countries, Six Artists. Museum of Contemporary Art (MAC). Curated by Mario Fonseca. Santiago de Chile, Chile, 2008.

]]> Zumbido https://silviarivas.com/en/zumbido/ Mon, 16 Oct 2023 21:28:27 +0000 https://silviarivas.com/?p=2864

 

Buzzing (Dynamics), documentation at MALBA, 2010.

About the series

To point out the coincidence, or rather, the misalignment between a cause and its effect.

To attach qualities in a certain temporary action.

The synchrony, slightly displaced or fatally chained, between an intention and its result. An action: a consequence… the reversibility, the vicious circle.

To insist, to exert an influence
or the frustration of this attempt.

From purpose to nonsense, exasperation and irony are issues that circulate through a simple action.

 

Buzzing (Faith) Detail.

Works

Buzzing (Dynamics)

Video installation | Single-channel or three synchronized channels. HD video. Digital animation. 5.1 sound. Variable dimensions. 3' 42" loop. 2010

Zumbido (Dinámicas), Trienal de Acihi 2025.

Dynamics (Scenes)

Photography | Glyclee printing on photographic paper. 29 x 110 cm each. 2011

Never-ending Weave

Video installation | Single-channel. HD video. Digital animation. 5.1 Sound. Variable dimensions. 2′ 10′′ loop. 2010

Buzzing (Faith)

Video installation | Variable channels for 12′′ monitors. HD video. Digital animation. Stereo sound. Variable dimensions. 6′ 5′′ loop. 2010

Buzzing (Faith).

Buzzing 1

Drawing | Graphite on magnani paper. 110 x 450 cm. 2010


Detail.

Exhibitions

Aichi Triennale 2025: A Time Between Ashes and Roses. Aichi Arts Center. Curated by Hoor Al Qasimi. Nagoya, Japón, 2025.

Chronotopies. MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curated by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies. Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

That Fragile Balance. Bienalsur 2023. Brazilian Embassy in Argentina. Curated by María Cristina Rossi. Buenos Aires, Argentina, 2023.

Silvia Rivas, Video installation. Paseo de las Artes, Palacio Duhau, Park Hyatt. Buenos Aires, 2017

Momentum. Rolf Art. Curated by Valeria González. Buenos Aires, Argentina, 2015

Buzzing-Invisible Oddyssey Museo Municipal de Bellas Artes Juan B. Castagnino. Curated by Horacio Zabala. Buenos Aires, 2014

Entre tiempos… Presencias de la Colección Jozami en el Museo Lázaro Galdiano. Museo Lázaro Galdiano. Curated by Diana Wechsler. Madrid, España, 2014

Buzzing. Alon Foundation for the Arts. Curated by Horacio Zabala. Buenos Aires, Argentina, 2012

Naturally Artificial. Centro Cultural del Bicentenario. Curated by Graciela Taquini. Santiago del Estero, Argentina, 2012

Buzzing. Contemporary 26. Museum of Latin American Art of Buenos Aires (MALBA). Curated by Franklin Espath Pedroso. Buenos Aires, Argentina, 2010.

Acquisitions, Donations and Loans. Works from the MALBA-Costantini Foundation. Museum of Latin American Art of Buenos Aires (MALBA). Buenos Aires, Argentina, 2009.

 

Zumbido (Dinámicas), Trienal de Acihi 2025..

Press

Credits

  • Performer: Julia Edo
  • Technical collaboration: Juan Pablo Ferlat
  • Sound design: Luciano Azzigotti
]]> Layers https://silviarivas.com/en/layers/ Wed, 04 Oct 2023 19:30:40 +0000 https://silviarivas.com/?p=2759

Layers XI, of the series Layers, 2009.

About the series

In the construction of digital images, layers are added that, like masks or veils, rectify the base image or generate a coherent illusion. Here, while making use of languages and unlike points of view, that logic, though not broken, is at least altered. The opposites are accentuated. Petals, flies, moths become symbolic elements that fly over or emerge from superimposed possible settings; everything that possesses identity is diffused, diluting itself in the coexistence of alien realities.

Layers IX, of the series Layers, 2009. Detail.

Works

Layers VII

Intervened photography | Gliclée prin, tracing paper and pins. 45 x 80 cm. 2009

Detail.

Layers XIII

Intervened photography | Gliclée printing, tracing paper and pins. 60 x 116 cm. 2009

Detail.

Layers X

Intervened photography | Gliclée printing, tracing paper and pins. 60 x 158 cm. 2009

Layers XIV

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Layers XI

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Detail.

Detail.

Layers XII

Intervened photography | Gliclée print, tracing paper and pins. 60 x 110 cm. 2009

Detail.

Exhibitions

Silvia Rivas, Video installation. Paseo de las Artes. Duhau Palace. Park Hyatt Buenos Aires. Buenos Aires, Argentina, 2017

Momentum. Rolf Art. Curated by Valeria González. Buenos Aires, Argentina, 2015

Buzzing. Alon Foundation for the Arts. Curated by Horacio Zabala. Buenos Aires, Argentina, 2012

]]> Fuerza diagonal https://silviarivas.com/en/fuerza-diagonal/ Wed, 27 Sep 2023 18:34:17 +0000 https://silviarivas.com/?p=2477

 

Knot IV, of the series Diagonal Force, 2019.

About the series

Even though it involves acting in an era in which "the public realm has lost the power to enlighten", it aims to supersede this situation in order to reflect upon the human condition of understanding action as thought, and thought as a faculty of the individual that can only be realized in relation to one another.

Diagonal Force (2019) is a series intertwining different mediums and materials to revisit the exploration initiated in the video installation Everything Out There (2004), in which a group of disparate people strive to occupy a single space while holding each other back every time one of them threatens to give up the struggle. The subjectivity of those engaging in this action enters into tension with the abyss of everything that (in spite of them) remains outside.

In the image, we see bodies modulating over tensions that are simultaneously activated within themselves and in others.

The materiality of the work brings into play the metaphorical potential of sources that refer to the pictorial tradition, photography, and the moving image.

The title of the series, Diagonal Force, alludes to the concept proposed by Hannah Arendt, interweaving a repertoire of actions that play out at the point of collision between the past, of uncertain origin, and a future with a trajectory as infinite as it is unknown.

Thus, pointing to the present moment as the only circumstance.

Video still.

Works

Gleam

Video installation | Single-channel. HD video. Variable dimensions. 5′ 24′′ loop. 2019

Starting Pose

Object with video | Two channels. 17" HD monitors, glass, iron. HD video. 0' 20" loop. 29 x 94 x 19 cm. 2019

Detail.

Trench

Video installation | Variable channels. HD video. Variable dimensions. 5' 24" loop. 2019

Reflection

Object with video | Single-channel. 24" HD monitor, iron. HD video. 34 x 55 x 16 cm. 4' 01" loop. 2019

Void

Object with video | Single-channel. 24" HD monitor, iron, glass. HD video. 3' 03" loop. 34 x 55 x 16 cm. 2019

Detail.

Considerations

Object with video | Single-channel. 24" HD monitor, iron, glass, terracotta. HD video. 4' 27" loop. 37 x 55 x 20 cm. 2019

Detail.

Organism

Video installation | Two channels. HD video. Variable dimensions. 4' 14" loop. 2019

Video still.

Knot 4-1

Photography | Inkjet print on cotton paper. 110 x 58 cm. 2019

Knot 4-6

Photography | Inkjet print on cotton paper. 43 x 22 cm. 2019

Gleam II

Photography | Gliclée print on photographic paper. 49 x 27 cm. 2019

Sketches

Drawing | Graphite on Moleskine notebook paper. 2019

Exhibitions

Chronotopies. MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curated by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies. Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

Diagonal Force. Rolf Art, Buenos Aires, Argentina, 2019

Trabucco New Media Award. Federico Klemm Foundation. Buenos Aires, Argentina, 2020.

A volte pensó che… Prometeo Gallery, Lucca, Italia, 2020

Federico Jorge Klemm Award for the Visual Arts. Federico Klemm Foundation. Buenos Aires, Argentina, 2020.

Diagonal Force. Full dome. Bogotá Planetarium. Bogotá, Colombia, 2019.

Process

Previous
Next

Press

  • Silvia Rivas: un puente entre Lessing y el discurso de lo actual. By Ana Martínez Quijano. Ámbito financiero, 2019.

  • Impulso y dinamismo en la quietud. By Ana María Battistozzi. Revista Ñ, 2019.

  • ArtBo. Bogotá busca dejar su marca en el mercado de arte de la región. By Eduardo Villar. Revista Ñ, 2018.

Credits

  • Performers: Brenda Guidetti and Teresa Sevilla
  • Choreography direction: Cecilia Bazán
  • Production and coordination: Mayra Ferreyra Basso
  • Assistance in the production of materials: Cecilia Paganini
]]> El revés de la armadura https://silviarivas.com/en/el-reves-de-la-armadura/ Wed, 27 Sep 2023 14:19:45 +0000 https://silviarivas.com/?p=2434

 

Exuviae, of the series The Reverse of the Armor, 2021.

About the series

To what extent do we coincide with the forms we invent? Are they emanations of our being or only the product of our doing and acting?

How do we live the statements of the times from our fantasy and individual culture, from our living matter?

To what extent, as matter, are we penetrated by or alienated from the objects and environment we produce? With exhausted salvation strategies that will inevitably leave us exposed?

By exploring material qualities of plasticity, resilience and fragility, with emotional and psychological states, an attempt is made to investigate our resources and capacity for resistance in the face of situations of extreme vulnerability. The intention is to make visible the tension between the inevitable tearing of what shields us and the desire to preserve its image and integirity intact.

It is about enacting mental images with the intention of pointing to these questions from the subject’s point of view, their unrest, and their fears.

Through the convergence of mediums and materialities, the work delves into our integration as natural beings with the environment and transformed matter.

This dialogue of materialities and mediums, with its formal and technological resources, becomes evident as a poetic in itself.

Video still.

Works

Exuviae

Video installation | Three-channels. Intervened tissue paper and tracing paper screens. 4K video. Stereo Sound. 4' 5" average in loop. 2021

Detail.

Detail.

Thus Our Own

Video installation | Variable channels. LED screens and double T-iron beams of 2200 x 420 cm. 4K video. Stereo sound. 2' 30" average in loop. 2021.

Video still.

The Reverse

Video installation | Single channel. 4K video. Stereo sound. Variable dimensions. 1' 14" loop. 2021.

Video still.

The Armor

Object | Blacksmiths's pliers tissue paper, linseed oil. 60 x 25 x 0.32 cm. 2022

Thus Our Own (photography)

Photography | Still of video. Inkjet printing on Hahnemühle paper. 47 x 24.7 cm. 2022

Neither I, Nor Body, Nor Instrument

Performance | 2022

In collaboration with Belén Parra, Amalia Tercelán and Lara Stilstein.

Exhibitions

Chronotopies. MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curated by Eugenio Viola y Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies. Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

The Reverse of the Armor. Andreani Foundation, Buenos Aires, Argentina, 2022.

Premio Fundación Amalia Lacroze de Fortabat. Art Collection Amalia Lacroze de Fortabat, Buenos Aires, Argentina, 2021.

Process

Previous
Next

Credits

  • Performance: Brenda Guidetti y Teresa Sevilla
  • Choreography direction: Cecilia Bazán
  • Production and coordination: Mayra Ferreyra Basso
  • Production and assembly: Cecilia Paganini
  • Sound Design: Rocío Morgenstern
  • Costume: Belén Parra
  • Photographic register: Daniela Mac Adden and Juan Pablo Ferlat
  • Special thanks: CheLA
]]> Momentum https://silviarivas.com/en/momentum/ Mon, 07 Aug 2023 16:38:41 +0000 https://silviarivas.com/?p=1722

Individual Exercise I, of the series Momentum, 2015.

About the series

Defining the instant before any given event as a potential unit of time, one in which conventional timekeeping grinds to a halt, evoking the impending fragilty of the moment, stretching it, holding onto its fleeting nature.

A moment, intangible, as a thought, as a decision, but preceding it... It is a moment measured by its ephemeral and dramatic resistance.

In vain, we attempt to control the course of our lives. Perhaps, our potential is only realized as an experience in the precise moment just before the outcome, in the state of vertigo, in the sensation of waking up falling.

Works

Individual Exercise I

Video installation | Single channel mounted at height. HD video. Stereo sound. Variable dimensions. 1' 35" loop. 2015

 

Video still.

Delay

Installation | Single channel. Tracing paper screen. Limoges porcelain pieces, 19 x 19 cm. HD video. Variable dimensions. 0' 24" loop. 2015

Detail.

Retard

Installation | Single channel. Carrara marble slab 200 x 100 cm. HD video. Stereo sound. 1' 35" on loop. 200 x 200 cm. 2015.

Detail.

Dureé 2

Video installation | Four channels. HD Video. Variable dimmensions. 1'22" loop. 2015.

Detail.

Dureé I (on paper)

Photography | Gliclée print on cotton paper. 25 x 140 cm each. 2015

Letting Go-Falling

Video installation | Two channels. HD video. Variable dimensions. 0‘ 16″ loop. 2015

Video still.

Girl

Video installation | Two or three channels. HD video. Variable dimensions. 0‘ 03″ loop. 2015

Video still.

Decision

Video installation | Single channel. HD video. Variable dimensions. 0‘ 58″ loop. 2015

Exhibitions

Chronotopies.  MUNTREF, Contemporary Arts Center - Immigrants Hotel Venue. Curatedy by Eugenio Viola and Diana Wechsler. Buenos Aires, Argentina, 2025.

Chronotopies.  Museum of Modern Art of Bogotá (MAMBO) Curated by Eugenio Viola. Bogotá, Colombia, 2024.

Migrations in Contemporary Art. MUNTREF, Contemporary Art Centre - Immigrants Hotel Venue. Curated by Diana Wechsler. Buenos Aires, Argentina, 2015.

Momentum. Rolf Art. Curated by Valeria González. Buenos Aires, Argentina, 2015

Silvia Rivas, Video installation. Paseo de las Artes, Palacio Duhau, Park Hyatt. Buenos Aires, 2017

Touching Time. Casa de las Culturas – Villa Carmen. Tigre, Buenos Aires, Argentina, 2018

After the future. Images to recompose the society/nature relationship. Bienalsur 2019. National Museum of Fine Arts of Neuquén. Curated by Florencia Battiti y Fernando Farina. Neuquén, Argentina, 2019.

National Visual Arts Salon Award. Palais de Glace and Kirchner Cultural Center. Curated by Diana Dowek, Diego Perrotta, Marcela López Sastre, Daniel Fischer y María Amalia García. Buenos Aires, Argentina, 2021

I Want To Be With You Museum of Modern Art of Bogotá. Curated by Eugenio Viola. Bogotá, Colombia, 2020.

Monocanal. Skin as a boundary. Canal Choreographic Center. Curated by Mario Gutiérrez. Madrid, Spain, 2021.

Focus – Photography. Diana Lowenstein Gallery. Miami, Florida, United States, 2021.

ArtBo Site Selection. ArtBo. Bogotá, Colombia, 2018

Process

Previous
Next

Press

  • ArtBo. Bogotá busca dejar su marca en el mercado de arte de la región. By Eduardo Villar. Revista Ñ, 2018.

  • El agua como cuerpo. By Mercedes Casanegra. El gran otro, 2016.

  • "Momentum" en Rolf Art. By Marcela Costa Peuser. Arte Online, 2015.

  • Algo que está por ocurrir. By Ana María Battistozzi. Clarín, 2015.

  • A la caza de lo inasible. By Cristina Civale. Página 12, 2015.

Credits

  • Performers: Valentina Azzati and Gustavo Lesgart
  • Body dramaturgy direction: Gustavo Lesgart
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