SILVIA RIVAS AND THE LIMITS BETWEEN TIME AND SPACE
Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.
“Chronotopia,” derived from the ancient Greek ‘chronos’ (time) and ‘topos’ (space), is a term that emphasizes how Silvia Rivas' work challenges the relationship between time and space, blurring the boundaries between the two.
Rivas begins to experiment with the expressive possibilities connected to expanded cinema since the late nineties, incorporating in works -which gradually become more technically complex- elements of performance, installations and multimedia, creating innovative works that play with perception and space.
This explains her predilection for video-performance, a medium that allows her to play with space and time in a dynamic way. Over the years, Rivas has pushed the boundaries of this medium, blurring the boundaries between live action and pre-recorded images to create powerful, thought-provoking works on diverse themes such as identity, memory, society and perception.
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Silvia Rivas. El revés de la armadura (Así lo propio). 2021 . Videoinstalación de canales variables con vigas de hierro, sonido estéreo por cada canal de video
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Silvia Rivas. Fuerza diagonal (Pose inicial). 2019. Video digital, sonido estéreo
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Silvia Rivas. Momentum (Ejercicio individual). 2015 . Videoinstalación monocanal
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Silvia Rivas. Fuerza diagonal (Trinchera) 2019 Video digital, sonido estéreo
The term 'expanded cinema' is used to describe a film, video, multimedia performance or immersive environment that transcends the traditional boundaries of cinema and rejects the one-way relationship between audience and screen.
With his keen interest in the limits of audiovisual expression, Rivas delves into the essence of the moving image, harnessing the power of video to cross temporal thresholds, capture fleeting gestures and illuminate meaningful circumstances, creating a seductive experience that captivates and inspires the gaze.
All of the works on display have been spatially reconfigured to dialogue with the Museum's architecture and adapt to the specific needs of the site. Rivas' artistic research address themes of identity, memory, society and perception, inviting the viewer to a deep emotional connection and to question meaning beyond the moving image.
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Silvia Rivas El revés de la armadura (Así lo propio) 2021 Videoinstalación de canales variables con vigas de hierro, sonido estéreo por cada canal de video
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Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá – MAMBO.
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Fotografía de Gregorio Díaz. Cortesía del Museo de Arte Moderno de Bogotá – MAMBO.
Silvia Rivas (Buenos Aires, 1957, where she lives and works) has had solo exhibitions in major Argentine institutions, such as Centro Cultural Recoleta (2001), Museo de Arte Moderno de Buenos Aires (MAMbA) (2004), Espacio Fundación Telefónica (2005), Museo de Arte Latinoamericano de Buenos Aires (MALBA) (2010), Fundación Andreani (2022), among others.
She has represented Argentina in several biennials such as the Mercosur Biennial (Porto Alegre in 2000 and 2005), Havana (2003) and Bienalsur (2019). Among other distinctions: the John Simon Guggenheim Fellowship (2001), the video post-production grant from the Wexner Center for the Arts, Ohio (2005), and the Konex Award in Video Art for the decade 2002-2012.
Her work is part of public and private collections such as the Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Latinoamericano de Buenos Aires (MALBA), Museo de Arte Moderno de Buenos Aires (MAMbA), Colección Amalia Lacroze de Fortabat, Museo Municipal de Bellas Artes Juan B. Castagnino, Museo de Arte Contemporáneo de Rosario (MACRO), among others.
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