Silvia Rivas

She has represented Argentina in the Mercosur Biennial, Porto Alegre, 3rd and 5th editions, in the 8th Havana Biennial, and in Bienalsur 2019.

With a high-speed camera to achieve defined images of minimal instants, she records the performances for her series Momentum. Pieces from this series that include materials such as Carrara marble or porcelain, were shown in the exhibition Migraciones en el Arte contemporáneo at MUNTREF in the 2019 edition of Bienalsur and at RolfArt.

In 2018's Fuerza Diagonal moves from subjective perception to a group perspective. The title of this series is inspired by Hannah Arendt's eponymous concept and refers to action with the other as a transformative possibility.

The existential - and even metaphysical - concern deepens in the immediately subsequent works, when the human figure reappears as the guiding thread of poetic reflection: Momentum (2017), Fuerza diagonal (2018).

With the title Pequeños paraísos ensamblados (2015), Rivas develops a series of small video installations, small edens to which we can aspire as urban dwellers, tiny, almost clandestine spaces, foreign to the experience of metropolitan life and its offers of electronic pleasure.

In 2010, he presents Zumbido in the Contemporary Program of the Museo de Arte Latinoamericano de Buenos Aires, with large projections and surround sound. This series deals with the condemnation to permanent action through scenes in which a woman and a swarm of flies interact. In 2014 he manages to exhibit the complete series at the Museo Municipal de Bellas Artes Juan B. Castagnino in the city of Rosario, Argentina, generating a journey through several rooms, in which obsessive actions and rhythms follow one another. The set of drawings Odisea Invisible closes the tour. That same year, under this title, he made an intervention with graphite on the walls of Fundación Proa.

In Zumbido (2010) he exacerbates the power of metaphor in that, he does not portray any existing reality outside the electronic framework. The flies represent something beyond them.

In 2004 he mounted Todo lo de afuera at the Buenos Aires Museum of Modern Art. Recording the action of a group of adolescents at risk. The work explores the link between the subject, its relationship with the environment and with the other. At the same time, Rivas makes a series of portraits of young people taken as archetypes and returns to the theme of landscape in Pequeño acontecimiento-Paisaje a definir. The Río de la Plata and the horizon of the plains are shown as a poetic analogy to Argentine identity and history.

The protagonism that the body is acquiring as the axis of some existential conflicts are becoming flesh when Rivas begins to work with performers, who, being taken as archetypes, provide a concrete and situated corporeality, as seen in Todo lo de Afuera (2004) or Fuerza diagonal (2018).

During the economic and social crisis in Argentina, Rivas produces the work Llenos de esperanza in which the social problems can be read metaphorically from an existential point of view. The political commitment of the work is aligned with the premise of the 8th Havana Biennial, in which he participates in 2003. For this same work he received the Argentine Video Award at the Biennial of Art, National Museum of Fine Arts.

Among other distinctions, in 2001 she received the Guggenheim Fellowship and the Konex Award, diploma of merit for the five-year period 1997-2001 and, in 2002, the Argentine Video Award at the Art Biennial of the National Museum of Fine Arts; in 2005, the video post-production residency grant from the Wexner Center for the Arts, Columbus, Ohio. In 2006 and 2007, she was awarded third and second prize, respectively, at the Salón Nacional de Artes Visuales in New Media and Installations. In 2012 he received again, the Konex Award diploma to the merit corresponding to the decade 2002-2012.

From 1990 onwards, she incorporated video as an expressive medium to address the theme of time with greater precision. Her concerns about time and the human dimension lead her to problematize the medium and she begins to make audiovisual installations. In an interview the artist states:

Cuentas de vidrio, one of his first video installations, participates in the International Video Art show, at the Museo Nacional de Bellas Artes in 1990, where he will later hold a solo exhibition of his objects. In 2000, he received a Guggenheim Fellowship with the project Notas sobre el tiempo (Notes on Time), which allowed him to mount a twelve-channel video installation at the Cronopios hall of the Centro Cultural Recoleta in Buenos Aires in 2001, in the midst of the institutional explosion in Argentina. This exhibition, in which he conveys the urgency and cacophony of the social climate, is considered a turning point in his production. In an introductory text to Rivas' work, Eugenio Viola refers:

In 1981 she graduates from the National School of Fine Arts "Prilidiano Pueyrredón" with a specialty in sculpture. At the same time, she trained with Kenneth Kemble, in whose workshop she worked as a drawing teacher, and with Víctor Grippo, whom she considers her main reference and with whom she reflects on materials and the power contained in them.

Silvia Rivas (Buenos Aires, Argentina, 1957) is an Argentine visual artist known for her multi-channel video installations. In Latin America she is considered a precursor in the area of expanded video. Her work is characterized by the crossing of materialities and technologies in which she uses both electronic devices and ancestral techniques. Her production is organized in thematic series of video installations, drawings, photographs or objects. Interested in revealing the metaphorical power of different materialities, she uses the electronic medium and the moving image to record stillness, the imminent and the subjective perception of time.