Daniel et Edouardo Torres
Tierradendro




Conversation
Exibition catalogue
Le Livre d’art & Drawing Lab, Paris




ANAÏS LEPAGE: YOU’VE DEVELOPED A DAILY DIALOGUE. HOW DID THAT START?

EDUARDO OTERO TORRES: Those daily exchanges with Daniel started many years ago, probably when the physical distance between us increased after he moved to France and I moved to Argentina. Our conversations include our respective works of art, but also our lives, family and everyday things that are important to us. We don't separate anything.

AL: HOW DO THESE DISCUSSIONS INFLUENCE YOU INDIVIDUALLY?

EOT: These conversations nourish us every day. Daniel has this ability to continuously ask questions about the world around him. Before they turn into works of art, he shares them with his family and friends, a whole network of people. I know I’m one of them too. His work draws on all these conversations and opinions. This often opens up horizons and new questions for him. It is his way of thinking about the way we look at things. That issue is essential for him: who looks, who is looked at, how and from where do we look. And in what way our gaze is reinforced by sometimes unconscious perception biases.

DANIEL OTERO TORRES: Our exchanges let me direct my thoughts and work in certain directions. Like Eduardo said, it’s vital for me to consider the beholder and what kind of view we are trying to achieve, so that it can be materialized in the works. I simply raise questions and open perspectives so people can develop their own critical eye. The challenge is not to create works that express my personal outlook, but that they offer a vision larger than mine, a holistic one, or at least a multilayered and open one, in which the beholder's subjectivity comes into play. I do not want to impose anything. My discussions with Eduardo help me pursue this aim and find an appropriate approach.


AL: COULD YOU SAY MORE ABOUT THE REVOLUTIONARY FIGHTERS AND
HOW THEY CAME TO BE?

DOT: Over the course of my research, I have gathered a whole iconography of struggles from various regions around the world. Since our first discussions for creating "Tierradentro" with you, Anaïs, the idea of focusing on the depiction of female fighters took hold. I was also very aware of the complexity of engaging with such a theme. I didn't want to appropriate these stories or struggles, but to create a place where they could appear and exist in a common space, in sync with our time. Eduardo, with his field knowledge of such issues, allowed me to place myself at a distance to let the work exist independently


EOT: Working on battles and revolutions raises the question of how their history has been told so far. How these stories have been geared to serve certain narratives, for example, the military struggle as a very serious thing, a men's affair, with women's involvement being reduced to menial tasks. I think what Daniel is doing here also extends beyond the fight, past those portrayals, in order to shed light on people and aspects that had been made invisible. And even celebrate them. The exhibition is a celebration, a memorial for these women fighters. For Daniel, history is cyclical.
Rather than a reiteration of the same thing, it is a process of ongoing transformation in which conflicts regularly resurface in different places. The issues of power, visibility, and discrimination are continuously addressed. The spirit of revolution, of change, is within each of us. We should recognize and celebrate it.


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About



Anaïs Lepage is an independent curator and writer based in Paris.

Trained in Art History at the École du Louvre, in Museum Studies at the Université du Québec à Montréal (UQAM), and in Curatorial Studies at the Paris I Pantheon-Sorbonne University, Lepage multiplies experiences in France and abroad. She started at the Maison Rouge - Foundation Antoine de Galbert in Paris, at the Museum of Contemporary Art in Montreal and, alongside Guillaume Désanges, at the Verrière - Hermès Foundation in Brussels. Then, she worked as assistant curator at the Museum of Contemporary Art in Chengdu, the Museum of Modern Art in Paris, and the Louis Vuitton Foundation.

 With a fondness for collective dynamics, she co-founded the HEIWATA curatorial platform, based in Paris, Mexico City and Toronto, and participates in the queer and feminist writing  workshop How to SupPRESS Universty Writing led by Émilie Noteris. She has collaborated with AICA International, CNEAI, the Palais de Tokyo and the Cité Internationale des arts in Paris. Since 2019, she is teaching exhibition curating at the Sorbonne University. 

Her research focuses on the excesses and secrets of art history in connection with sensitivities and spiritualities as well as postcolonial, gender and feminist studies. She is particularly attached to words, forms and gestures generated outside of rationalist thinking  : drawing on occult and mystical sources; or being inspired by affective flows, emotions and the sentimental life. Practices that often cross issues of resistance, struggle, healing, and ecosystems preservation.

Deploying a holistic conception of curating, she question the forms of writing about art by shifting critical, fictional and intimate narratives in collaborations, performances and podcasts.
 
Infuenced by radical pedagogies, she begins a research on the  emotional labor in her positions of curator, teacher, and art worker. 

She has developed a particular interest in the artistic scenes of the Americas and the Caribbean, Scandinavia and South Africa.

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Anaïs Lepage est commissaire d’exposition indépendante, historienne de l’art et autrice.

Formée en histoire de l’art à l’École du Louvre, en muséologie à l’Université du Québec à Montréal et en études curatoriales à l’Université Paris I Panthéon-Sorbonne, elle multiplie les expériences en France et à l’étranger. Elle débute à la Maison Rouge à Paris, au Musée d’art contemporain de Montréal et aux côtés de Guillaume Désanges à la Verrière – Fondation Hermès à Bruxelles. Elle s’investit ensuite en tant que commissaire assistante au Musée d’Art Contemporain de Chengdu en Chine, au Musée d’Art Moderne de Paris, et à la Fondation Louis Vuitton.

Affectionnant les dynamiques collectives, elle a cofondé la plateforme curatoriale HEIWATA, basée entre Paris, Mexico et Toronto, et participe à l’atelier d’écriture queer et féministe How to SupPRESS Universty Writing mené par Émilie Noteris. Récemment, elle a collaboré avec l’AICA International, le CNEAI, le Palais de Tokyo et la Cité Internationale des arts à Paris. Depuis 2019, elle enseigne le commissariat d’exposition à l’Université Paris 1 Panthéon-Sorbonne.

Ses recherches portent sur les excès et les secrets de l’histoire de l’art en lien avec des sensibilités et des spiritualités ainsi que les études postcoloniales, de genre et féministes. Elle s’attache particulièrement aux mots, aux formes et aux gestes générés hors d’une pensée rationaliste : puisant dans des sources occultes et mystiques ; ou s’inspirant de flux affectifs, d’émotions et de la vie sentimentale. Des pratiques qui traversent souvent les questions de résistance, de lutte, de réparation, et de préservation des écosystèmes.

Déployant une conception holistique du commissariat, elle réfléchit également aux formes d’écritures sur l’art en déplaçant les registres critique, fictionnel et intime lors de collaborations, de performances et de créations radiophoniques.

Inspirée par les pédagogies radicales et engagées, elle commence une recherche sur le “travail émotionnel” à l'oeuvre dans les rôles de commissaire d'exposition, d'enseignante et de travailleuse de l’art.  

Au fil des rencontres et des projets, elle a développé un intérêt particulier pour les scènes artistiques des Amériques et des Caraïbes, Scandinave et d’Afrique du Sud.