Since 2016 Triba contributes to the Studio as a cultural instrument. It is a collective of women professionals that plan, review, refute, and gradually re-define the surrounding space. Triba actively reflect on topics that affect the world of Architecture, Urbanism, and more specifically Interior Urbanism. Transgressing all classifications in search of a new perspective, we find in the intersection of Urbanism, Architecture, and Art a space for open discussions about the course of our fluid society. We affirm the indissoluble link between art and urbanism by creating site-specific installations that establish new topographies of thought. In a Triba installation the observer is not only a witness but also an active participant. Every project sheds light on a societal fissure and is incomplete until the spectators insert themselves with their own regard, memories, baggage, and desires. It is in the variability of the interactions with the human that Triba installations go beyond aesthetics and culture, to venture into the terrain of ethics. We expose dilemmas and nudge participants towards the possibility of a new social contract. A city is a complex organism in perpetual flux. Triba strives to create spaces where a citizen can become an active contributor in the evolution of the urban behemoth.
Within the framework of Usina del Arte’s 2019 programming, Triba – platform for cultural content – coproduced and presented together with the artist Sissia her 360 degree visual immersion project. The project resulted from 10 years of investigation and exploration with graphite as a constitutive material for the piece.The work was accompanied by various conferences that addressed the piece from the perspective of different disciplines.
Sissia’s work brings to light references from the chemical, topographical, and astrological worlds. Working with pulverized graphite mixed with solvents, she explores the the behavior of one material as it encounters another of a different nature and the reaction that occurs when they are left uncontrolled. The 30 meter long artwork offers the spectator a 360 degree immersive experience, where the finite and structured become cyclical and infinite.
Different modes of cultural intervention are addressed in TRiBA’s proposal for Bienal Sur. Particular attention is paid to revered spaces of cultural heritage with a discourse of unity and respect.
The performance resides in three venues contemporarily: the the Jewish Libertad temple, the Russian Orthodox church, and the Catholic Santa Catalina de Siena church. The piece is made up of all its constitutive parts. None are expendable.
Through the use of different artistic and professional disciplines each part reflects on a variety of languages and perspectives. It is a piece that addresses ‘reflection’ within modern discourse, where form is relevant but not the protagonist and where the recollection of the experience enhances our observation.
- Santiago Martinez y PANTO. The project seeks to combine technical factors in the Temple with musical extracts and sounds belonging to the archives of the Israelite Congregation of Argentina, in order to generate new sounds through acoustic synthesis.
Soundscapes were projected throughout the space, evoking tradition and history through the lens of current technologies and language. The soundscapes were created by combining digital and analog snythesizers, sequencers, and spatial effects generated by samples triggered with Ableton Live software.
-Arturo Peruzzotti. Conceived to accompany the sound and other artistic interventions in the space, Peruzzotti created a contemplative atmosphere through the use of light, color, and shade. .
-Juliana iriart. Smoke in the sky, paintings in movement. The spectator is invited to see the static within movement. The paintings move slowly, continuously offering viewings from different angles.
There are three pieces, each made up by two paintings, one on each side of the stretcher and mounted on wheels. A choreography with constantly mutating relationships emerges as the space is traversed by the works. Soft, interrupted lighting and surround sound complete the otherworldy atmosphere.
-Nicolás Melmann y Coro ¨Likui¨ Agafi.
The project is a sound installation that uses field recordings made in Russia combined with instrumental and electronic music, and texts both in Russian and in Spanish sourced from Russian literature. The dialogue of these soundscapes with the sounds of the San Telmo Russian Orthodox church which have been previously captured and reproduced, transport the audience to these distant lands and culture. An auditory collage is created that describes a place, a culture, modes of human interaction, and patterns of movement in public spaces.
-Gustavo Lamas e Ismael Pinkler.
This project is based on the specific acoustic architecture of the church where it is based, where part of the choir is in the right transept, the second part in the left transept, and the organ in the central nave. A piece was composed in response to this distribution both to highlight and celebrate it.
Esplendor, Paola Vega, 2017
Based on the premise that culture is expression, TRiBA proposes ways to explore, discover, and re-establish relationships. TRiBA seeks to create beauty as a means of social connection, with the responsibility of integrating into society the legacy each project creates.
Inspired by the large format works of Claude Monet that investigates nature and abstraction, as well as Turner’s luminous painting, Vega’s project seeks to address the union of art and nature. Her monumental piece is positioned on the historical dock of Vuelta de Rocha and is illuminated by the sun and moon, altering its colors as time passes and the weather changes. It is a work that incorporates itself in its locale and at the same time transforms it.