gabriela schevach interviews fabiana barreda for juanele

8/7/2019 Gabriela Schevach interviews Fabiana Barreda for Juanele

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JUANELE INTERVIEWS FABIANA BASEPTEMBER 20, 2010

BARREDA’S HOMEBUENOS AIRES



dream of a little house that my parents had in

FB: More like a little house?

GS: Yes, more like a little house, with a very nice

FB: So, there was water. About the garden, whyou have?

GS: On one side of the garden there were five baway. There were flowers around them. And owas the swimming pool. A lot of sunlight. And a bad dog that came from the neighbours’ hou

FB: Lots of trees, according to what you say.

In general, I am moved by the Home, the idesomething that constructs you. That the (ideahouse. In general, then the pieces start to groto constitute themselves here and here and ththe heart. So what I do on your hand, that alreadrawing, is to construct on top of that drawingresents, for me, the state you are in. A kiss.

GS: Thanks.

F.B. In general, my work has to do with this smyou donate these memories to me and thenand I start to draw and and it relates a lot to c

one of the pieces, for me, consists in linking thihood with the feelings of the heart. That’s the it? And, at the same time, I feel I have all this u

Gabriela Schevach: What is beauty?

Fabiana Barreda: For me, beauty is like a spiritual diamond thatincarnates in the body. Yes, it has all those dimensions (laughs).Short, but with high expectations.

GS: And when you say spiritual?

FB: What am I referring to? Well, I feel that now, at the halfwaypoint of my life, that... In general, I work with sensations, withthe skin, with the body of the other, with the other’s sensibility,who, in general, gives me his or her body, space, love. And theyare emotions that become tangible thanks to the incarnation ofthe body. It’s like, in general, photography creates the aura forme, the incarnated aura. It’s as if matter that became, I don’tknow, as if something magical happens. It’s like when we talkof falling in love. The energy is for me eternal. It exists eternal-ly and it incarnates in different states, in different times. Andas you feel that you’ve come across a person for ten secondstwenty years ago and you encounter him or her again and it’sthe same. You throw an arrow into infinity and it’s going to fallin the exact place because that energy has to be with that en-ergy. It’s mystical-magical, isn’t it? And with people it’s also likethat. Fortunately, all the people in my universe are very dearfriends who help me with pictures.

So, would you allow me to take your hand? The hand, I’ve hadthe opportunity of learning, connects with the heart. So, I havea work called Architecture of Desire. I’m going to ask you, how

was your little house when you were little?

GS: I used to live in a flat, a nice, rationalist flat, but I always

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constructed. That’s where my work called “Mi hogar son laslíneas de mi mano" (My home are the lines of my hand) comesfrom. Because the little house, when you grab it, has the exactmeasures of that map. So, what I attempt to do there, it’s likea territory where you connect desire with the body. And de-sires are always something universal and private at the sametime, aren’t they? It’s like you say, I’ve got my Bauhaus home,but I want my house with a garden and I understand you be-

cause some times some intellectual appears in the family, andvalues are intellectual and very modernist, but then affectionsare related to something blander than a purist or rationalistthesis allows. In my case, I have made (models of) houses ofthe history of architecture, but they are also family homes, asthe house of the bridge, as the Ville Savoy. Anyway, they arealways houses with garden or streams.

GS: They are always houses with a strong idea of construc-tion...

FB: Yes. There, as I say, Saturn beside the Moon. That alsorelieves me because, on the one hand, there is illusion, that’sthis, that it has light. I did this piece when I had Vladimir, myson. I’ve been invited to Malba niños (Malba Kids), so then I dida series that were more like toys, fluorescent. My first houseswere transparent. When it’s transparent, it’s like a floating de-sire, still like the material of clouds. So I think I like this sensa-tion of a house of light, as a material implated in the realitythat refracts it. So, then I develop another line about, well, it’spossible to build it. If it’s not there, it’s built. If it falls, it goes.

This piece, that I love very much, I can give it to a friend whohas just separated, who feels that his or her home is the body,when you feel there’s no other territory in the universe except

your own body, your own borders. And I can alswho are expecting a baby and are building a hoto arrive in the world. So, what I like most is tgive as a present. Because that’s another bigMultiple. I found the possibility to say that corelated to power, let’s say, to surface to life, wfluctuating emotions all the time. And it also otion, as I say, a more psychoanalytic sensatio

of course, a victim of destiny, but you can buildIt is a little bit like that, isn’t it?

And after this series, I pass to one that’s morethat returns to drawing. This is the Buda Girl ais linked to the constellations. It has to do wity of, first, to do a drawing of light. I return Transparence is for me fascinating becausesaid about beauty. After many years, I’m studmy own. So, I have Venus in Virgo. And Venusas Neptune is, and is also very pure, as the vMiddle Ages’ knight.

I’m now studying fencing and archery. And, in tI start doing is to draw on the other’s body ththe drawing of the chakras is like mapping. Sofor me that immaterial space that becomes mlight. And, in fact, it’s carved with a laser, whiIt’s like Star Wars. The way you are making tcess, is for me important because it’s a drawinthat refracts light, but, in turn, it’s transparen

rial under that transparence.

And that’s the Eco Girl, and they are also frie

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Mazur, she’s Andrea Servera. I made her like a fairy and I madeher with the size, that I like very much, of Tinkerbell, I like thehologram of Princess Leia from Star Wars. It’s like a mixture ofsomething very very old such as fairies and something very fu-turistic. But futuristic from the ‘70s, the ‘80s, it’s not futuristic...I like science fiction from the ‘40s like Forbidden Planet or the‘70s because it’s more idealistic. Even Blade Runner is idealistic.My generation is from the ‘80s and I’m a bit interested in that.

GS: So transparence allows you to link architecture, which origi-nates as the subject’s idea and desire, but at the same time, itallows you to connect the subject as integrated in that land-scape.

FB: Yes. For me, the two big questions are the body and space.The space, that’s why I call it “Arquitectura Emocional" (Emo-tional Architecture), not the space as pure matter, but as re-lated to the emotions and the body. That’s why I believe thatin this work, what we’ve talked about beauty as the spiritual

incarnation, has to do with that idealization, that cosmic ar-chitecture, the map that connects us, the house. I’ve made theBuda Girl and the Buda Boy. And here, this is green, becauseit has nature. Another topic I work with is growing in nature,women who have flowers, life that returns.

In these objects, I feel I’ve been constructing a super idealizedspace. The other object, that also keeps me company, has to dowith me, are these catanas, it look like... I’m picking up my Scor-pio in the 12th House. But here is something interesting, metal.

It’s another material. It’s a material linked to the root chakra.Metal also reflects. I’ve got a series of ideas of carving poetry onthese blades. There is something also immaterial about blades.

It’s like the body in another dimension. What aabout this is the soul of the warrior. The lasSatori, is related to Japan, it has to do with thdid at the beginning, do you see? You see likemine are like the crown of thorns, the red. Wmic eroticism and super sensitive. I believe in metal, the iron, in fencing they are called “irothat are made of wood, they connect to the in

earth. I’ve started archery. In archery you thlike Sagittarius. And fencing is down to Earth awith someone else’s pressure.

GS: To cut the skin..

FB: Yes, it’s more physical. Because, otherwiphasize dematerialization. So, I say, well, let’sdown to Earth and I come back. It’s probably ris in Aries. I was never able to meditate calmly still. I feel that through these practices, that arspiritual warrior, I feel the body comes back, bto construct ideals.

And then it has a dark side, which I also find have a dark side, very intense, very strong, verthe good thing about art is the integration of force. It happens in Star Wars, it happens in a(laughs). And besides, another thing that youis how the ethical relates to morality. You dongood gesture is. Goodness doesn’t exist in its

ture, the construction of the event, the heroic ous or the act of love. And human passions gobelieve that when you start to, even like Carav

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ARQUITECTURA ECOLOGICACASA ROSADA - CARICIA - AMOR



you see Caravaggio, when you see artists I like very much, thatare linked to this extreme, I think art allows you, together withother practices like martial or spiritual arts (or whatever), to in-tegrate this drive, so that it doesn’t go against yourself, that itdoesn’t become self-destructive or destructive towards others.But it’s with the other and in a situation that’s got an aestheti-cally fighting spirit and an erotic dimension and there’s alsosomething about danger and that sensation that attracts me.

GS: As a way of control too?

FB: Well, possibly. It’s probable, as I have Scorpio in the 12thHouse.I did a seminar, well, I was experiencing a serious love crisisand I said to myself I was broken, my heart was torn. So thenI started archery. Then I’ve began fencing and my archery in-structor took me to a seminar about knives, I remember. Andthe same teacher would tell you that you could cut yourselfhere and there, he was also an acupuncture master. And acu-

puncture originates in the marks left by the warrirors’ arrows.So, as in homeopathy, cures can come from poison, as pharma-cology, whatever cures can come from the injury itself. This du-ality is what I find interesting. So, if I’d be only in this dimension,I’d be one Fabiana, but, what I’m doing consists in integratingthat dimension with this dimension. And afterward, I did a whipseminar. Do you recall the typical woman with the whip, theCatwoman? Those archetypes, as (Carl) Jung would say, alsohave to do with how it is, what I’m working on, which material,which alchemy I’m constructing.

GS: But, on the other side, in your video, for instance, a transfor-mation is visible, a very gradual...?

FB: Harmonic.

GS: I think the transformation is always presewhat you say.

FB: Yes, the possibility of transmuting. I’ve stas a first career concern. And psyche is also nimythology of the nymph Psyche, who falls i

Psyche means soul. And I think the advantageis how to find a channel of self-knowledge to tmaybe very deep injuries and very good giftstimes, you are afraid of doing really good, of And it’s very funny, isn’t it? Because it’s harof the force and the dark side, both things athat you can do a solo exhibition and that evealso scary. And you are sometimes also scathings to the worst possible position. So I thinfor transmutation. It’s just not an aim in itselows you to access your own being in a diffe

other practices under manifest, material conresound in culture, in society, in other peopleturns, transmuted, and it gives you more force

GS: And it’s then that you also need to find a fcarnating it.

FB: Yes, that’s fascinating. That’s the good tlike philosophy too. I have a background in thknowledge. Or music, but music incarnates to

difference between the force of philosopy, thafor me, art, is that we (the artists) work with oare sensations, physical experiences. That’s w

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One of the strongest subjects for me is the body, it’s to touch,to draw, that you hold the little house. You access my workunder a physical experience. And physical experiences are ir-reversible. That’s the great thing, they stay like engraving onyour body, you don’t forget them. And, as I say, all subjects areforever radically modified. That’s the good thing.

Juanele Interview by Gabriela SchevachPhotographs © Fabiana BarredaDesign by Rick Powell



PROYECTO HABITAT, GESTACIÓN



HABITAT, SATORI ARQUERA MANG



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