Cynthia Carllinni is an Argentinian artist, based in Buenos Aires and London.
She uses collage as a working method operating with and through the absurd.
For the past years, she has been researching the ‘Hysteresis phenomenon ’ in practical beliefs within ideas of migration, non borders, shamanic rituals, resistance, hope, pause and reorganisation.
When life is experienced as fractured, no longer supported by a steady stream of habitual associations, different forces collide to make cense out of the nonsense. The artist tries to recognize ‘local specificities’ in a ‘globalized world’ to further understand it’s own identity while embracing the complexities of these relations in our everyday life as a collage experience.
Cynthia sees the 'social' as a space for speculation, as a fundamental aspect in her discourse to deepen research and collective experience. The artist proposes scenarios where her practice is traversed by the encounter with the narratives of others and vice versa.
Often, the curatorial aspect of her artistic practice becomes a key methodology for research in her own work on the phenomenon of hysteresis in practical beliefs and temporality.
Immersive digital play installation in eight simultaneous acts.
Some of the questions I transit are regarding gender playwright issues, the relationship between people and the world with the advanced in technology and temporality possibilities to experience the play. Following the cyclic story line of the original script, the project is meant to be an installation where all the acts are experienced in simultaneous.
In between many play right restrictions, Becket stated on his will that only man can give life to the characters of Waiting for Godot, since women do not have prostates and the characters do.
Beyond my deep fascination with this masterpiece, the play rights is one of the main reasons I’ve chosen to use Godot as a trigger for this project, such an iconic work on theatre of the absurd, that does not freely allow for public reinterpretation and questioning of its deep relevance in our present time.
My research often takes shape in practice trough Collaborative Projects.
When dealing with a specific matter, I invite other artists whose practices somehow reflect on this, to take part by producing a specific work for the proposal.
Within a fluorescent landscape where shapes make reference to iconic elements related to water and to the stock market, such as water molecules, water mills, the stock market exchange lines on the walls, the phone ringing non stop, crypto currency fantasy water coins and fluorescent bacteria made of balloons and flour. I have invited 7 artists from UK, France, Belgium, Scotland, Argentina and the US to take part by producing a moving image piece for the installation.
The way the museum was constructed, influenced in the collaboration with the artists involved, since it is linked to imperialism and how it exploited the power dynamics that in the process, become a reading impossible to ignore.
At the end of 2020, water from California began being traded in the futures stock market of Wall Street, I thought it was a good opportunity to bring this subject to the museum and let the show be a platform for collective speculations and discussions on this issue.
When the show opens sound interventions, performance and readings are some of the events taking place.
Day Zero is a site-specific installation and a collaborative project. Commissioned by the Museum of Running Waters, Buenos Aires, Argentina.
