In Maluf's exhibition project, the language of three-dimensional works is combined with the installation format. With this in mind, and the characteristic spatial layout of Gallery 5 of the Emilio Caraffa Museum with its great heights, the works participate from their immanence in a dialogue with the circumstance.


In themselves, the works are presented not only as pieces but as processes that reveal the visual grammar of the artist, including sketches, raw material, unfinished pieces, and more. This poetry of forms and formats then proposes what the artist describes as "imaginary architecture", where the works are conceived as "geometric inhabitants" with their own identities. Thus, the exhibition is put together through the generation of "several possible routes, with rhythms, breaks, comings and goings, different angles and perspectives." Thanks to these dispositions, and the variants of light and shadow, shape and gaze, the works take on entities that are directly and internally related to the visitors; It is no accident that the shadows and colors –or absences of- are translated from the work to the floor, the walls and even the ceiling.


Teresa Maluf moves through an artistic search that invokes life in her entire process and in such a way that the viewer's experience is enveloping and at the same time a refuge from suffocating everyday life.

In the words of the curator, Dante Montich: “In tune with the contemporary, and from the rhetoric of the geometric, Teresa Maluf's project points to conceptual developments in which the limits between design, architecture and object, between matter, support and work, or between space and reception are taken into consideration... For the artist, her geometric world is not only a sphere of formal presence, but a metaphor of human space, a vital environment. The "presence" of the forms, their dynamics and intensity are enhanced in the interplay of relationships that occurs in the space itself, not as a support, but as an inhabited territory.

The quality of the designed and constructed object shifts to that of the subject possessor of a particular destiny. Participating in this, the viewer's experience is immediate, visual and visceral; for the rest it is an experience that does not claim to comfort reason. The installation not only facilitates a space of possible forms, of aesthetic formulations and of relative gazes, it also promotes reflection on the strategies of art; this is, perhaps, it’s main statement.”

Teresa Maluf (b. Córdoba, 1949) is an architect and visual artist. As an architect, she carried out her profession in her hometown and for eight years in Maputo, the capital of Mozambique.

Between 2005 and 2010 she studied at the Faculty of Arts of the National University of Córdoba and she also trained in the workshops of Carlos Peiteado, Jorge Torres and Dante Montich. She conducted artwork clinics with Tulio de Sagastizábal, Irene Kopelman, Annanké Assef and Justo Pastor Mellado. Since 2009 she has been dedicated solely to the production of Visual Arts. She has received numerous prizes and distinctions, made numerous individual exhibitions and participated in collective exhibitions and art fairs.

Her works can be found in public and private spaces, parks and museums, and in private collections. In 2019, the provincial government of of Córdoba commissioned her work SINCRONÍA: a sculpture of 6 meters in height and diameter installed in the 14-hectare Parque del Chateau where the Contemporary Art Center currently operates.




Curator: Dante Montich

Until June 5th

Emilio Caraffa Museum

Av. Poeta Lugones 411 - Córdoba, Capital