Liliana Farber

Sitio en Español Home

My work inquires into the constitution of the self;

how it's composed and what influences it.

I'm interested in the interrelation between the exterior and the interior, and where they border.

For that, I place myself as the subject, in the search of the unique and the common.

Liliana Farber ©2011 All rights reserved

the art book

Page 1

text
The project questions what’s beyond the historical and technical value of the defining works of art.I search for a pattern in the history of the representation through the work of THE artists.In this project I recreate their work, incorporate and redefine their messages. I look at the works themselves by questioning their contemporary-ness and my relation them. I used a book called “The Art Book (Art from A to Z)” as a guide for my project. The book lightly covers various artists, arranging them alphabetically and portraying a single image for each.

The Art Book

Photography

2006 - 2008

•

nighthawks

Page 1

text
This work deals with the culture as a monolith that shapes and distorts the “original being”. It searches the essential elements that compose this being. I worked with the Television as an intermediary media and with many layers of projections, in order to create a sort of a facing mirrors feeling, where the images are infinite and the realities are distorted.I use the Latin American soap opera world and show its effect on me, in a dance between interpretation and influence.The photographs are snapshots of a homemade video projection that captures a private performance. In this one I fiercely and desperately paint and unpaint myself in an atmosphere of nocturnal glamour.

Nighthawks

Photography

2004-2008

•

About this work

conchillas

Page 1

text
This project’s purpose is to study, search and understand the process and result of a portrait, and of a shared portrait.“Transpose of a study for a common portrait (TDUEPURC)" is a group project that aims to uncover the nature of the portrait.For each edition of the project, a group of artists choose among the small and peculiar towns around the country, settle down there for two weeks and create a series of portraits of it, using paint, music, video and photography.I was invited to participate in the 2nd edition of this project, in a town called Conchillas.Conchillas was founded by the English, and enjoyed a flourish in its early years. Soon after, though, politics drove the town to ruin. A few years ago there were plans to revive the city, spurring hope in people’s hearts that the city will return to its heydays, but again, politics got in the way and the plans were abandoned.The few remaining habitants hold themselves in an air of romance, as if theirs is a major pivot in the country of Uruguay, even though the place is hardly known. It is as if they’re awaiting a messiah that would take them back to the old glory days of the town.

Conchillas / Work realized within the frame of the collective project “Transpose of a Study for a Comun Portrait # 2: Conchillas”

Photography, 2009

More info about this project

•

erased-deleted

Page 1

text
This project focuses on the relationship between desire and memory, as axes that determine the definition and perception of ourselves. It also deals with the physical space as a second body, and it explores a non-linear approach to the subject of the self-portrait.In these photographs I try to question and unravel the edges of reality. I try to reach slightly beyond the frontal shot, the documentation, by constructing an image that subtly violates the veracity of the photo.

Erased, Deleted

Photography

2011

•

the inhabitants

Page 1

text
Masks, games, and obvious lies. This work explores the study of the self-portrait, of showing, hiding and pretending.It examines the borders between truth and fiction when creating a portrait.

The Inhabitants

Paint on photography, 20 x 15 cm

2003 - 2004

•

About this work

cv Born in 1983 in Montevideo, Uruguay; emigrated to Israel in 2010.SOLO EXHIBITIONSPart of meMarte Upmarket Gallery / Montevideo - Uruguay. 2006The InhabitantsAlianza Francesa, Cultural Institute / Montevideo - Uruguay. 2003 Education and Culture Ministry / Montevideo - Uruguay. 2003PortraitsConrad Hotel / Punta del Este - Uruguay. 2003GROUP EXHIBITIONSTranspose of a Study for a Comun Portrait # 2: ConchillasEducation and Culture Ministry / Montevideo - Uruguay. 2009Very Pop, The SoulNational Museum of Visual Arts / Montevideo Uruguay. 2008BreakEducation and Culture Ministry / Montevideo - Uruguay. 2007Music s EchosORT University / Montevideo - Uruguay. 2006Mercosur ArtistSant Pol de Mar Gallery / Barcelona Spain. 2005Latin-Americans Performances DaysEx-Teresa Art Center / Mexico City Mexico. 2005Mercosur ArtistCasal de Cataluna / Buenos Aires Argentina. 2004Youth Visual Art SalonNational Library / Montevideo - Uruguay. 2003Youth Art BiennaleINJU, Cultural Institute / Montevideo - Uruguay. 2001CURRICULAR STUDIES B.A. Graphic Design ORT UniversityGraduated with honors. Uruguay. 2004 - 2008Fine Arts (BFA)UDELAR, State UniversitySecond year. Uruguay. 2003 2004EXTRACURRICULAR STUDIES Studio Master ClassEldad Rafaeli & Eyal Landesman Studio / Israel. 2009Contemporary Art courseFAC - Contemporary Art Foundation / Uruguay. 2009Illumination courseTris, Photography Institute / Uruguay. 2009 Photography languages course, Portrait course Ojo Nuevo, Photography Institute / Uruguay. 2008 Video Art course, Image and Movement coursePlataforma, Art foundation/ Uruguay. 2005 2006 Artist ApprenticeshipAnalia Sandleris / Uruguay. 1999 - 2004PUBLICATIONSSofi Richero, The impressiveGroup Exhibition Review - Transpose of a Study for a Comun Portrait # 2: ConchillasBrecha, Weekly Newspaper, Uruguay 2009Ricardo Boglione, No pop, many soul, some doubtsGroup Exhibition Review Very Pop, The Soul La Diaria, Daily Newspaper, Uruguay 2008Diego Focaccio, Very Pop, The SoulExhibition Catalogue, Uruguay 2008Enrique Aguerre, column Just want to cure myself, Work ReviewFreeway Magazine, Uruguay 2007Work publicationBelio Magazine, Spain 2006Fernando Loustaunou, New gallery in Colon streetExhibition Review Part of meBusqueda, Weekly Newspaper, Uruguay 2006Gustavo Wojciechowski, Music s EchosGroup Exhibition Review Music s Echos Pulso/Diseno, ORT University magazine, Uruguay 2006BIBLIOGRAPHYConchillasBook published as a part of the exhibition Transpose of a Study for a Comun Portrait # 2: Conchillas, Uruguay 200920 x 20Poems interpretation by designersArgonauta Editorial and Yauguru Editorial, Uruguay - Argentina 2008

•

contact

•

Liliana Farber

lilianafarber_gmail.com

0524648340

Tel Aviv, Israel / Montevideo, Uruguay

texts

alma In spite of her young age, Liliana Farber has a solid career. Even she is not well known yet, her work is remarkable due to its vibe and detail, and a frequent touch of risk and determination.Before this project was to be undertaken, a series of meetings for reflection and analysis were carried out where she proceeded with conviction and in receptive way, sharing those features that places us in the fields of identity and roots, family, traditions, vibes, expectations, conflicts and in this case were useful for both sides to make possible to work and the right approach for her participation.In occasion of a trip through Israel, Liliana wondered about the matter of this project. Playing, in a sense, the same symbolic role of a Museum, she decided to proceed in the flat, in particular from the platform titled The Art Book: a series of artworks that the artist has been carrying out from classical pieces of the occidental history of art, which can be seen on her website.For this exhibition, the chosen work was Edouard Manet's Le déjeuner sur lherbe (1863). The Lunch on the Grass also called The Bath -Le bain-, suffered several bad reviews in the Exhibition of Rejects becoming the main attraction, object of mockery and scandal.Manet wants to reach fame through shocking the bourgeoisie () he has a corrupted taste to the odd was said in Paris. In his time, the anatomy used to be discovered under the pretext of narrating a mythological or epic episode, something that did not happen in this rural scene, where the lady looks shamelessly at the observer with an expression with which the artist shows she has found a strong and particular connection, which Farber reproduces inside a respected composition but far from its original external background. She carries this out by recognizing Manet's piece, with the acknowledge of his style, his work and history. Even she has abandoned her usual gradients to deliver abrupt contrasts between light and shadows, Farber's work shows a traditional lighting treatment. At the same time, the ignored perspective and absence of depth in the artist's work, and paradoxically the model, are for this piece the cause of accent, recognizing the formal link between both from the name chosen by Manet for his exhibition in the Exhibition of Rejects fifty years ago. Here the family characters are missing, in its place there is a bath, a curtain - as an arm in touch with the ground - and a bidet replacing the sculptor Ferdinand Leenhof. Manet, a wealth and independent author, and Victorina Meurent, model, artist and muse until 1970, are for Liliana her expressive preferences, contemporary corpus but liquid, wet at least.Diego FocaccioVery Pop, The SoulExhibition Catalogue, Uruguay 2008

•

art_book When she was a child, Liliana Farber (1983), received books with pictures of the history of painting and sculpture as presents. Books that she carefully looked without knowing at that time that they would become part of her artwork.Liliana started THE ART BOOK project, based in the homonym book with the suggestive title “All the art from A to Z” and consist in a series on photographs made from famous painters' works like Paul Cézanne, Edward Hopper, Frida Kalho or even Ingres, with the special feature of being herself the main character in each photograph.“It is not photography what I do, it is painting”, Liliana says, using a stand of technical imagery to think about a millenarian art like the pictorial. They have the added value – taking into account the risks taken by the artist – of having an education in painting but not in photography. The canvases loose their usual function and are used the way artists want without any permission given; the urgency of creation replaces the good manners.Liliana bets with her most recent work to look at the images from inside, from the personal experience and not from the Art History written in capitals. She makes them hers and she shares them with us in a healthy exercise of demythologization. She puts them back into circulation.Enrique Aguerre.Column: Just want to cure myselfWork Review, Freeway Magazine, Uruguay 2007

•

alma

art_book

•

Liliana Farber

Erased, Deleted

The Art Book

Nighthawks

Conchillas

The Inhabitants

Home

CV

Texts

Contact

Liliana Farber

spanish