Pinturas y obras bidimensionales
Serie: Ingravidez La evolución geométrica La obra de Josefina Di Candia está marcada, fundamentalmente, por la curiosidad. Sus formas expresivas responden, con el correr del…
Serie: Ingravidez La evolución geométrica La obra de Josefina Di Candia está marcada, fundamentalmente, por la curiosidad. Sus formas expresivas responden, con el correr del…
Licenciada Nacional en Artes Visuales, Pintura, egresada de la Universidad de las Artes. UNA, (título internacional) luego de haber cursado estudios artísticos, en las Escuela Nacional de Bellas Artes “Manuel Belgrano”
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Josefina Di Candia, Visual Artist Italo & Argentina.
International Career: París, Francia, Buenos Aires, Argentina, New York, Miami, EEUU, Norway, Uruguay, Italia, Sri Lanka, etc.
Arts: painting, drawing, collage, mixed media, installations, art book, experimental music, performances, printmaking, lithographs.
by Josefina Di Candia
Josefina Di Candia explores the crossing of painting with a more present body action. The manifestation on the fabric of the immaterial effect of corporeal energy. That energy, is sensitized in contact with the material producing an alchemy; close to the primary, to the essential, to the unconscious.
Music sometimes brings about the abstraction of complex swarms, of a mathematical dimension, which dissolves in the infinite and which charges the body with an energetic substance combined with its own, to decant in a plasticity almost non-visual. Being a transitive act, an emptying to be present in the work of art.
The poetics of making energy visible. We are faced with a language that -as a consequence-is visual. This alchemy participates in the organicity of the universe, is the «zero», the beginning or the end? lt indicates the consecutive, the extremes to frame an instant that finally is that eternity. The immaterial sensibility through the experience of the vacuum in the pictorial action.
Transforming into an iconic image of timeless signs, living in a constant present.
The signs that write the energy, are stories of poetry traversed by the enigma and the germinative mystery of the creation.
She studied at the National School of Fine Arts “Manuel Belgrano”, graduating as a national teacher of fine arts. (4 years) She continues to study, National Fine Arts Teacher “Prilidiano Pueyrredón”, graduating and she is professor of fine arts in painting. (3 years) Obtained the Degree in Visual Arts at the National University of Arts in 2009. International title.Buenos Aires, Argentina.
She specialized with great plastic arts masters as Rubén Locaso, Guillermo Roux; Fermín Eguía, Josefina Robirosa, Antonio Pujía, Anna Rank, disciple of Alpuy (Torres García school), Miguel Angel Vidal and Haydée Calandrelli (disciple of H. Moore).
Throughout her artistic activity she participates in numerous collective and individual exhibitions.
She was a guest artist at the Academy of Fine Arts in New York, the Florence Biennale, the Museum of Modern and Contemporary Arts « A. Ortiz Echagüe » in Atzara, Sardinia, Italy; as well as at the National Museum of Quinquela Martin, in Buenos Aires. She also took part in an exhibition in the Cité Universitaire de Paris, “Casa Argentina”, gallery. She was selected for a residency in Arts at the Cité Internationale des Art, Le Marais, Paris in 2014/5. She show her Artbook since 2014 at MOMA PS1, New York., USA, etc.
She was selected, again, for a residency in Arts at the Cité Internationale des Art, Le Marais, Paris in 2017.
Artistic activity in the Cite Internationale des Arts. Le Marais Paris:
Perform experimental music concerts, 2014 and 2017.
First performance, 2014, “Jeux Browniens”. Performance I
Second performance, 2017, ¨A dialectic between territorial spaces¨, is virtuality a Poetry ? Performance II
Open Studio, 2018. «The Line that dances»
She was selected to exhibit, during the month of February 2018 and 2019 at the Grand Palais. Salon Comparaisons. Paris.She is interested in photography and videos, made in Germany. Di Candia performed concerts: experimental music, piano. 2014/5/7 She exhibits her art and takes trips to different countries: USA, New York, Boston, Miami, WA State, Istanbul, Turkey, Italy, UK, France, Spain, Germany, Holland, Brussels. She is a professor at the National Museum of Decorative Arts and at the University of Arts of Buenos Aires, Argentina.
Josefina Di Candia, an Italian/Argentine citizen, has performed several artistic activities, installations, performances, experimental music besides the classical techniques such as painting, drawing, and lithography. Alternating stays in Italy, New York, UK and France, now she lives in Buenos Aires. Tirelessly, she demonstrates her creative spirit, her passion for plastic and visual arts, revealing a permanent personal and artistic growth. The President of France, Francois Hollande invited Josefina Di Candia, to the “Réception à l’Elysée à l’occasion de la semaine de l’Amérique Latine et des Caraïbes” on June 4, 2015. This invitation was strictly personal, and it was due to her artistic activity in Paris during her artistic residency at the Cité Internationale des Arts, Le Marais, Paris, during 2014/5.
Josefina Di Candia completes his training in our country and abroad, taking an interest in art history, experimental music, philosophy and literature.
I have visited New York several times, experiencing the boundless dynamics where art merges with life freely and expansively. This invitation was made by the Academy of Fine Arts in Tribeca. I took part in group exhibitions and in 2010, I performed a solo exhibition at the Art Gallery of the Argentine Consulate in New York. New York exerts a special fascination over me, such subterranean energy which rises with a zigzagging movement along each of its eclectic buildings; the gridded street pattern, just like Buenos Aires, contrasts with the implacable cut of irregular buildings, in relation to the sky. This sky becomes more tangible and its colors limit with the improbable: from a raging, deep blue yellow, strident red or pink sunsets which delimits the city block.
Skies and buildings on the horizontal surrounded by water. These images of colors play with blocks of darkness, where it brings forth the shadow that hides in order to imagine and view that fragment that catches our attention, by referring me to Hopper’s work. The sky light scatters everywhere, spreading like mirrors, multiplying unusual deformations drawn upon the diagrams, almost suggesting the Venice canals; it’s filtered through us as rays, reflecting on the mirrored buildings and thus, everything becomes light and bright. Both night and day, surprise us with an unusual mysterious climate, a unique city, where we can always perceive something «latent».
Cityscapes of New York
It’s well known that Hollywood’s tinsel myths had rather prosaic beginnings. In or around 1912, they arrived to California, hard men, used to the wheeling and dealing of New York’s grittier suburbs, immigrants from Middle and Eastern Europe, wise guys–very smart too–, yet hardened by the bitter strug- gles in the schmatta business, the rag trade, so similar to the now picturesque (but then bru- tal) existence of the «cuenteniks» that sold on the installment plan around the barrios in Buenos Aires. But while their «porteño» cousins settled for «my son the doctor (or shopkeeper, or shrink)» fantasies, the rag men from Lower East Side, Brooklyn and the Bronx moved to LA with their extended families and started the mother of all dream factories, under the famous white sign on the mountains (very climbable hills, in fact–everything is magnified in Hollywood). And why did the early film industry cross the country, like the 19th century pioneers before them? Because of the light. That sublime light. Foretelling Technicolor, even though the movies were then monochromatic and silent abstractions.What Josefina Di Candia achieved with these New York pictures a century later is the insertion of that deep and overwhelming blue of an Angeleno afternoon behind the worldly, financial edifices of the 21st Century’s New York downtown.These pictures deny the dust clouds of this century’s foundational event, they deny the free-falling bodies, the rubble and the blood, to offer a New York imagined by a successful entrepreneur or a hedge fund manager (perhaps a lucky great-grand-nephew of one those rag men?) Because the New York depicted here is a tempting brand-new city, without history or conflicts, a cinematic backdrop waiting for actors and actresses to deliver the close-up they’ve always thought they deserved. Her sky’s blue is not that of NYPD uniforms or of the swampy source of jazz. There’s no room for that in this city, not anymore.
Gustavo Turner, Writer. Los Angeles, CA.
“…. What we see is absorbed by the passage of time, what we perceive of each moment, of what is observing us.
What remains is the feeling of a sensation, the compact way of defining ourselves; so as to leave ourselves open to be seen.
It is the ephemeral, the brief moments that creates history; that is relived in each glance. In each segment, the image, tells us something about ourselves, we perceive ourselves.
Creating the passage of time…”
Josefina Di Candia
MoMA PS1 Art book. USA.
University Degree (Diploma) in Art (Licensed Artist of Visual Art with the orientation painting), Institute of the National University of Art, Buenos Aires.
Graduated BA in Fine Art degree, “Profesorado Nacional Prilidiano Pueyrredón de Bellas Artes”, en pintura. (Nacional School of Fine Arts), Bs.As.
Graduated BA in Fine Art degree,”Escuela Nacional de Bellas Artes Manuel Belgrano”
(National School of Fine Arts), Buenos Aires. Music
7 years of piano and 3 of clarinet; In the «Julián Aguirre» Conservatory Bs As.
Level 9 of ENGLISH
Level 5 of FRANCES: Institute of higher education in living languages Juan Ramón Fernandez «. Government of the city of Buenos Aires.
Residence in the Cité internationale des arts. Le marais PARIS. Study trip to Germany.
Residence in the Cité internationale des arts. Le marais PARIS. Study trip to Madrid.
Residence at the Cité Internationale des Arts, Le Marais. PARIS, three months, study trip to GERMANY.
Study trips: Germany, the Netherlands and Belgium.
Travelled to France, Spain and Germany, to further her studies. Performance and open Studio, in Paris. Residence at the Cite Internacionale Des Arts. (Three months).
Travelled to France. Individual show in Paris.
Travelled to Istambul, Italy and England to further her studies.
Travelled to New York. Individual show.
Travelled to Washington State, Great Britain and Italy to further her studies. Biennale di Firenze.Italy.
Lithograph Workshop.Travelled to Boston and New York, USA. Colective show at the Nacional Academy of NewYork.
Participated in a fresco project organized by Maestro G. Roux.
Travelled to Italy to further her studies.
Attended a workshop given by Eduardo Faradje and Guillermo Roux.
Studied drawing and painting under Maestro Guillermo Roux.
Attended a Philosophy Seminar on «Introduction to the History of Art as represented in
Western world» (by J.E.Burucua), and «The Horizontal theory of artistic technique” and «Artistic techniques and the Industrial Revolution» by E. Peñaflor, Buenos Aires.
Studied with Ana Rank and Fermín Eguía at the «Escuela Superior de Bellas Artes «Ernesto de la Cárcova», Buenos Aires.
Studied watercolour techniques with Fermin Eguia, at the «Escuela Superior de Bellas Artes «Ernesto de la Cárcova», Buenos Aires.
Awarded a scholarship by M.N.A.D.
(National Museum of Decorative Arts) to study with Josefina Robirosa; course on: «The Structure and Expression of the Human Figure» by Carlos Fels at the ”Escuela Nacional de Bellas Artes Prilidiano Pueyrredón», Buenos Aires..
Studied under teachers such as: Rubén Locaso, Guillermo Roux; Fermín Eguía, Josefina Robirosa, Antonio Pujía, Anna Rank, Julio Alpuy (School of Torres García), Miguel Angel Vidal and Haydee Calandrelli, disciples of Henry Moore. Also studied Art History and Philosophy in order to enrich her cultural and knowledge of Art.
Course on “Preparation for the support of painting” at the «Instituto Técnico de Restauración» (Institute for Conservation-Restoration).
Course on watercolour painting by Guillermo Roux at M.N.A.D. (National Museum of Decorative Arts), Buenos Aires.
Course on drawing by the artist Miguel Angel Bengochea at the «Escuela Superior de Bellas
Artes «Ernesto de la Cárcova», Buenos Aires. Course
on «History of Argentine Painting» by E. Anaya at
M.N.A.D. (National Museum of Decorative Arts). Course on airbrush techniques by R.Mazzoni.
Course on drawing at the M.E.B.A. workshops by Antonio Pujía.
Course «A Panorama of the Essence of
Forms in the Far East» by R Nuñez at the San Martin Theatre.
Alberto Bellucci – Director of the National Museum of Decorative Art
Guillermo Roux – Artist
Pedro Roth – Artist
Josefina Robirosa – Artist
Rafael Squirru – Art Critic
Fermin Fevre – Art Critic/Curator
Josefina Di Candia’s charcoal sketches on canvas, as well as those done using mixed techniques, are real masterpieces.
I was mostly impressed by “El maniquí” (The
mannequin), which is 180 cm by 70 cm. The central black mass strikes the educated eye with the blow of a mace. Her paintings keep up with these sketches, specially the oil paintings, not only because of Josefina Di Candia’s mastery of techniques (is unmistakable in each and every one of her works) but also because the artist has found her sources of inspiration in the world of toys. Dolls and toys, along with teddy bears, are harmonically arranged and directed by a baton that responds to Josefina Di Candia’s most intimate yearnings.
I enjoyed watching Josefina Di Candia’s works. As I
walked by the pictures I thought “Luckily she has
not let herself be persuaded by the winds that dictate the rules of artistic correction for this decade”. Fortunately she has not become a toy of her intellect, the place where words and images only fluctuate in the fantasy of ideas. She glides naturally, one step at a time. She fully enjoys each moment letting the next arising image look after itself. She knows that ideas represented literally and rationally hardly suggest an experience, leaving the echoes and suggestions
brought by intuition. Josefina’s toys are those of her
childhood brought to the present. In her paintings toys become loquacious, both ambiguous and clear at the same time, sometimes silent and others eloquent. Through them we take a peek into a fascinatingly expressive world. How good!
Josefina resorts to her origin for inspiration in her work; her deep knowledge of objects and situations shown on her canvasses place us closer to her. Josefina lays herself bare in her experiences. She transmits her feelings making use of the “ingredients” that she has inside herself: the toys, the story books, the tales read and heard that got engraved in her mind. She resorts to all this to share her intimacy with us generously. It is worth pausing in front of these pictures, as they are doors that open for us her soul, a child’s soul, with its contrast of light and shadows, its amazement, fantasies, sounds, happiness and sadness. These are paintings to stop at, paintings to awaken in us memories of our latent childhood. This figurative language, sketched at times, unfinished, as all children’s games, opens to us the possibility of getting into Josefina’s work and
finding our own emotions, memories, hopes and the chance of recovering the child inside each of us.
Josefina Di Candia’s toys crowd together in the silent corners of her workshop. The relentless light of a lamp directed towards them by the painter perhaps, uncovers them and surprised on the shelves they reveal their odd and at times perverse reality. Laden by a hidden fetishism and haunting projections the toys painted by Josefina Di Candia
are representations of the limit of what is human.
It seems as if the inert matter of which these toys are made of (wood, cloth and china) would transform them into beating flesh at any time. A tragic sense of humour runs within themselves. They laugh and cry at the same time in a frozen instant; life and death, heaven and hell, good and evil. Perhaps the distant idols, the tribal totem, the golem Frankestein, without forgetting those erotic toys of the sultan of One thousand and One Nights and today’s robots were created by man to conjure up his fears or the fright of feeling alone in front of the universe. Man lightens them up to represent them and with an incisive stroke, he interrogates them. This is what we see in the works of this painter. She is the only one to know the answer.
Director of the National Museum of Decorative Art.
Josefina Di Candia lives in a creative environment consisting equally of shapes and dreams, of matter and clouds, of concreteness and evanescence. Figurative dreams, capable of creating a rich speech in the receiver come out of those dreamt shapes, painted with great artistic mastery.
This time the artist has chosen to duel with the frightening innocence of toys; those fragile smiling shells that look at us without really looking and that in heterogeneous groups lie in ambush from shelves and incredible positions. It is neither hard to imagine nor misguided to suppose that, as soon as the doors of the exhibition rooms are closed, Josefina’s toys would come to life, order themselves, assemble their pieces and forming circles, gossip and murmur at night in mischievous witch gatherings. And as in the game of the statues, although they return to their daily stiffness with the break of each new day, they always pose differently. The associations that the artist creates through fragmentation, duplication and reflection (Van Eyck’s Velazquez’s and Parmegianino’s eye/mirror games are present in Josefina Di Candia’s acute vision) enables the spectator to trace his/her own itinerary within the maze of paths that branch off. It is not by chance; in any case it is not a coincidental chance, that this exhibition takes place in a complex named after Jorge Luis Borges.
Music is another cherished presence of roots and memories that seek their echo in the spectator. Josefina and her toys dance and play on a collage of aged scores and her work turns into sounds. It is also feasible to imagine here the transfiguration of the Nutcracker into a royal soldier, of Offenbach’s automat in the bone and flesh Olympia who falls in love with Hoffmann or the transfiguration experienced by the group of toys that each night revive inside the “fantastic toyshop” that Respighi turned into ballet thanks to Rossini. These are transfigurations that each of us can unravel into his/her own different dream thanks to Josefina’s own dream
(Otra Cara) In Her World, (The World Within), Another View,
(Out of the Norm)
With her toys and dolls, Josefina creates a visual metaphor that brings into light an infant’s vision of the world, through their illusions and daydreaming. It’s completely in contrast to the world we know today. Overcome by a life of hardship, filled with violence and corruption, vanity, cruelty and speculation, we find here a childlike “innocence of life” probably long forgotten by adults.
It’s another way of looking at things. She sets out to show us that hope and illusion, and the belief of a simpler world is possible. The artist develops this «leitmotiv» in her work, through the use of plastics, which lavish in all sincerity on her canvas. That’s why her work presents a refreshing view that cheers up a life filled with disenchantment and pessimism.
In most of the artwork today, there is «a void emptiness», nihilism, only representations of darkness. Josefina has chosen something positive instead, from the depths of the broken, to the glory of the triumphant. It manages to reclaim the power of expression and communication to painting. It’s all done here, a testament to her belief.
Buenos Aires, October, 2003.
Online bilingual classes: Spanish / English
Teaching at the National Museum of Decorative Art since 1992. Annual and summer courses. Painting, drawing, engraving, ect.
Online courses in English and Spanish.
Teaching in primary and secondary schools.
I worked at the Museum of Latin American Art in Buenos Aires, during the end of November, December, 2019, and the beginning of January, 2020.
From 2006 to 2015
I worked as a teacher at the National University of Fine Arts. UNA.
Since 1992 teacher at the Nacional Museum of Decoratifs Art.
Since 2006 teacher at the Nacional University of Fine Art
Was teacher at the university Museologica Argentina.UMSA.
Teacher at the Guillermo Roux Foundation.
Assistant of the importance artist.
Curated important show and worked as Visitor Guide at the National Museum of Decorative Art
Teacher in private and national schools.
2007 – 2015
Lecturer/Tutor at the National Museum of Decorative Art, the National University of Fine Art, and at her private studio.
Lecturer at the summer workshop at M.N.A.D. (National Museum of Decorative Art).
Lecturer at the «Universidad Museología Social Argentina» Art Department and at the M.N.A.D. (National Museum of Decorative Art).
Lecturer at M.N.A.D. and at the “Fundacion Guillermo Roux” workshop. (2004 – 2007)
1998 – 2003
Lecturer/tutor in drawing and paintin at the M.N.A.D., and at her private studio.
Curator for the collection display at the National Library.
“Landscape” summer workshop at her private studio.
Lecturer/tutor in drawing and painting at the “Fundación Guillermo Roux” workshop.
Curator of the collection display at the «EX Casa de la Moneda in San Telmo».
Lecturer at the Sara Garcia Uriburu Workshop (Studio). Curator of the collective Works at the P. Piola «Espacio de Arte».
Lecturer/tutor in drawing and painting at the M.N.A.D., Assistant lecturer to Carlos Cañas in Fine Art at the M.N.A.D.
Worked as Visitor Guide at the M.N.A.D. Exhibition of “Russian painting from 1930’s to 1990’s”.
Josefina Di Candia, Artista Plástica/Visual