{"id":4969,"date":"2021-12-01T20:34:08","date_gmt":"2021-12-01T20:34:08","guid":{"rendered":"https:\/\/www.matildemarin.com\/bricolage-contemporaneo-la-necesidad-nucleo\/"},"modified":"2022-03-02T18:06:15","modified_gmt":"2022-03-02T18:06:15","slug":"bricolage-contemporaneo-la-necesidad-nucleo-eng","status":"publish","type":"page","link":"https:\/\/www.matildemarin.com\/en\/bricolage-contemporaneo-la-necesidad-nucleo-eng\/","title":{"rendered":"Contemporary Bricolage \/ The Need"},"content":{"rendered":"<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div class=\"promo_box\" style=\"background-color:#faeed1;\"><a href=\"#obra-bc-la-necesidad\">Works<\/a> | <a href=\"#publicaciones-bc-la-necesidad\">Publications<\/a> | <a href=\"#exposiciones-bc-la-necesidad\">Exhibitions<\/a> | <a href=\"#video-bc-la-necesidad\">Video<\/a> | <a href=\"#textos-bc-la-necesidad\">Texts<\/a> | <a href=\"#extra-bc-la-necesidad\">Additional<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<h2 class=\"p1\" style=\"text-align: center;\">Bodies are places of existence<\/h2>\n<p class=\"p2\" style=\"text-align: center;\">Jean Luc Nancy<\/p>\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div id=\"16462443751879577241\" data-gallery-id=\"2178\" data-items=\"0\" data-columns=\"3\" data-gutter=\"0\" data-type=\"masonry\" data-layout=\"wide\" class=\"portfolio_filter_wrapper masonry infinite_grid portfolio-content content gallery three_cols wide\" data-columns=\"3\">\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated1\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Lima, Per\u00fa). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-07-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-07.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-07.jpg\" alt=\"Need (Lima, Per\u00fa)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated2\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Santiago, Chile). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-10-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-10.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-10.jpg\" alt=\"Need (Santiago, Chile)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated3\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Valencia, Espa\u00f1a). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-09-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-09.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-09.jpg\" alt=\"Need (Valencia, Espa\u00f1a)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated4\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Paranaibo, Surinam). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-02-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-02.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-02.jpg\" alt=\"Need (Paranaibo, Surinam)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated5\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Barcelona, Espa\u00f1a). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-08-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-08.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-08.jpg\" alt=\"Need (Barcelona, Espa\u00f1a)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated6\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Bogot\u00e1, Colombia). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-06-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-06.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-06.jpg\" alt=\"Need (Bogot\u00e1, Colombia)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated7\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Buenos Aires, Argentina). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-03-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-03.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-03.jpg\" alt=\"Need (Buenos Aires, Argentina)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated8\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (Sao Paulo, Brasil). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-04-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-04.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-04.jpg\" alt=\"Need (Sao Paulo, Brasil)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element masonry  classic3_cols blur\">\n<div class=\"one_third gallery3 static filterable gallery_type animated9\"><a data-rel=\"photography_gallery_2178\" data-title=\"Need (New York, USA). Analog and digital photographs, 70 x 100 cm, 2002-2005\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-05-300x227.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-05.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/Bricolagecontempor\u00e1neo-Lanecesidad-05.jpg\" alt=\"Need (New York, USA)\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div class=\"one_half \" style=\"\">\n<div class=\"video-container\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/641650727?title=0&amp;byline=0&amp;portrait=0\" width=\"\" height=\"\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div>\n<p>\n<strong>Bricolage Contempor\u00e1neo<\/strong><br \/>\n<h8>Authors: Adriana Laur\u00eda, Teresa Macri and Pastor Mellado, Buenos Aires, 2005<\/h8>\n<\/div>\n<div class=\"one_half last \" style=\"\">\n<div class=\"video-container\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/641650876?title=0&amp;byline=0&amp;portrait=0\" width=\"\" height=\"\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div>\n<p>\n<strong>De Natura (zona alterada)<\/strong><br \/>\n<h8>Curator: Mercedes Casanegra, Cronopios Room, Recoleta Cultural Center, Buenos Aires, Argentina, 2008<\/h8>\n<\/div>\n<p><br class=\"clear\"\/><\/p>\n<hr class=\"thick\"\/>\n<div class=\"one_half \" style=\"\">\n<div class=\"video-container\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/641651041?title=0&amp;byline=0&amp;portrait=0\" width=\"\" height=\"\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div>\n<p>\n<strong>TODAV\u00cdA, Pensamiento y Cultura en Am\u00e9rica Latina<\/strong><br \/>\n<h8>Guest artist: Matilde Marin, OSDE Foundation Publication, Buenos Aires, Argentina, 2009<br \/>\n<\/h8>\n<\/div>\n<div class=\"one_half last \" style=\"\">\n<div class=\"video-container\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/641651085?title=0&amp;byline=0&amp;portrait=0\" width=\"\" height=\"\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div>\n<p>\n<strong>Lo que tengo frente a mi<\/strong><br \/>\n<h8>Authors: Laeticia Mello and Mercedes Urquiza, Ley de Mecenazgo, Buenos Aires, Argentina, 2015<\/h8>\n<\/div>\n<p><br class=\"clear\"\/><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px;\">\n<div class=\"standard_wrapper\">\n<div id=\"16462443751976628829\" data-gallery-id=\"4974\" data-items=\"0\" data-columns=\"2\" data-type=\"grid\" class=\"portfolio_filter_wrapper infinite_grid portfolio-content content gallery two_cols contain\" data-columns=\"2\">\n<div class=\"element grid  classic2_cols blur\">\n<div class=\"one_half gallery2 static filterable gallery_type animated1\"><a data-rel=\"photography_gallery_4974\" data-title=\"De Natura (altered zone) Recoleta Cultural Center, Cronopios Room, Buenos Aires, 2008\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/01_Exposicion_Bricolage-Contemporaneo_La-Necesidad_01_CCRecoleta_2008_Marin-300x206.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/01_Exposicion_Bricolage-Contemporaneo_La-Necesidad_01_CCRecoleta_2008_Marin.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/\/01_Exposicion_Bricolage-Contemporaneo_La-Necesidad_01_CCRecoleta_2008_Marin-705x529.jpg\" alt=\"\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<div class=\"element grid  classic2_cols blur\">\n<div class=\"one_half gallery2 static filterable gallery_type animated2\"><a data-rel=\"photography_gallery_4974\" data-title=\"De Natura (altered zone) Recoleta Cultural Center, Cronopios Room, Buenos Aires, 2008\" data-desc=\"\" data-thumb=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/02_Exposicion_Bricolage-Contemporaneo_La-Necesidad_02_CCRecoleta_2008_Marin-300x206.jpg\" href=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/02_Exposicion_Bricolage-Contemporaneo_La-Necesidad_02_CCRecoleta_2008_Marin.jpg\"  class=\"fancy-gallery\"><img decoding=\"async\" src=\"https:\/\/www.matildemarin.com\/sitio\/wp-content\/uploads\/\/02_Exposicion_Bricolage-Contemporaneo_La-Necesidad_02_CCRecoleta_2008_Marin-705x529.jpg\" alt=\"\" class=\"preview\"\/><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><br class=\"clear\"\/>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div class=\"two_third \" style=\"\">\n<div class=\"video-container\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/641650569?title=0&amp;byline=0&amp;portrait=0\" width=\"\" height=\"\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div>\n<\/div>\n<div class=\"one_third last \" style=\"\">\n<strong>What I have in front of me<\/strong><\/p>\n<p><h8><strong>Concept and direction:<\/strong> Matilde Mar\u00edn<br \/>\n<strong>Interviews:<\/strong> Mercedes Urquiza<br \/>\n<strong>Text:<\/strong> Laeticia Mello<br \/>\n<strong>Edition:<\/strong> Daniela Muttis<br \/>\n<strong>Production:<\/strong> Vanesa Trosh<br \/>\n<strong>Projection format:<\/strong> MP4<br \/>\n<strong>Dimensions:<\/strong> 1920&#215;1080<br \/>\n<strong>Sound:<\/strong> Stereo<br \/>\n<strong>Running time:<\/strong> 7:30 mins.<br \/>\nBuenos Aires, 2015<\/h8><\/p>\n<div class=\"pp_accordion_close has_icon\">\n<h3><a href=\"#\"><i class=\"fa fa-plus\"><\/i>Concept of the video:<\/a><\/h3>\n<div>\n<p>\n<h8>A new urban landscape that opens up more and more space with the growth of the political vicissitudes of which we are daily senders, is the main interest not only of sociologists, economists, and anthropologists, but also of artists who, within the framework of this new context, they have taken care to record this development through images, testimonies, and objects.<br \/>\nIn this video Mar\u00edn proposes to offer a space in connection with the arts. Seeking to understand and explain the activities carried out by urban reclaimers from interviews, videos, activities and a new series of car photographs, which will enable a greater understanding for the crossing of these socio-cultural platforms.<\/h8>\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n<p><br class=\"clear\"\/><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div class=\"pp_accordion_close has_icon\">\n<h3><a href=\"#\"><i class=\"fa fa-file\"><\/i>Project: COLLECTORS<\/a><\/h3>\n<div>\n<p class=\"p1\"><b>Concept:<\/b><\/p>\n<p class=\"p1\">Cardboard and paper, cooking string, branches, stones, packing tape, bags, food, lines in space, are summoned by these new COLLECTORS.<\/p>\n<p class=\"p1\">The entire work is developed as a frieze of one of the current urban situations; when presenting this project, I think that what exists has surpassed representation and art must recover the capacity to ask questions and transmit. That is why I am interested in projects in context.<\/p>\n<p class=\"p1\">The \u201cCOLLECTORS\u201d project is made up of photographs that are part of a survey that I have been carrying out in cities of different Latin American countries, Spain and Vietnam since 2004. This project intends to account for new codes and situations that have operated in today&#8217;s cities.<\/p>\n<p class=\"p1\">Harvesting is currently not a happy but necessary and daily practice in most of the world&#8217;s big cities; It is the way to collect the waste left by others to be able to sell it and transform it into food. The artwork then acts as a metaphor that recalls what L\u00e9vi-Strauss -in the field of anthropology- called \u201cbricolage\u201d: the primitive man who lives from his finds and from his harvests. These photos belong to the cities of Buenos Aires, Santiago de Chile, S\u00e3o Paulo, Lima, Bogot\u00e1, Paramaribo, Hanoi and Barcelona, \u200b\u200bincluding Manhattan.<\/p>\n<p class=\"p1\">The waste COLLECTORS show us images with a strong symbolic importance that are based on the craftsmanship of their work and this underpins the aesthetic power of an idea. As an artist I feel that their work is above all about a matter of intensity.<\/p>\n<p class=\"p1\">Their collecting vehicles put on stage transform and comment, almost better than in any other way, on the relationship between being (artist) and doing (artistic), that still surprising lack of differentiation, which amalgamates in the creative act, object and subject.<\/p>\n<p class=\"p1\"><strong>Matilde Mar\u00edn<\/strong><br \/>\nBuenos Aires, 2005<\/p>\n<\/div>\n<\/div>\n<div class=\"pp_accordion_close has_icon\">\n<h3><a href=\"#\"><i class=\"fa fa-file\"><\/i>A haven for the storm<\/a><\/h3>\n<div>\n<p class=\"p1\">Today, a few times we let ourselves be surprised by a cart filled with cartons and folded plastic bottles <span class=\"s1\">parked<\/span> outside our homes.<\/p>\n<p class=\"p1\">Nor striking we see a man or woman pushing with all his might what appears to be a blanket of protection and mobile hope.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">No longer we look at them with those eyes of sadness and disappointment we used to back in 2001 when the crisis that ensued with important social and moral consequences began, lasting for years.<\/p>\n<p class=\"p1\">Today we recognize those men and women as workers, as a new figure that got inserted into the economic system, based on an elaborate weft of waste disposal activity, currently regulated by law urban waste management and known under the name of urban waste collector.<\/p>\n<p class=\"p1\">But it is important to remember this extensive process lazed by multiple changes. In the context of a country immersed in economic instability, the phenomenon of the <i>corralito 1, <\/i>inflation and ferocious recession; the work of waste collection provided a possibility of income and shelter to the unemployed and homeless figure who evolves into a worker able to market wastes through a distribution code.<\/p>\n<p class=\"p1\">In this context, many of the people who were engaged in different activities or jobs in the informal labor circuit, began to turn to the work of collection. This is possible due to easy access and routine that involves collecting materials, an activity that does not require an initial economic capital and it is possible to place it in any time.<\/p>\n<p class=\"p1\">The collection then became a survival strategy.<\/p>\n<p class=\"p1\">This process sparked interest and funding from the government of the city of Buenos Aires, also from different companies, government agencies and stakeholders that enabled the transformation of marginal activity into a social, productive and integrated one into our economic system.<\/p>\n<p class=\"p1\">This new urban landscape that is increasingly opening more room to growing political adventures of which we are daily recipients, is the main interest not only of sociologists, economics and anthropologists, but also artists who under this new context have been busy recording<span class=\"Apple-converted-space\">\u00a0 <\/span>new images, testimonials and objects of this development.<\/p>\n<p class=\"p1\">Among them the production of the artist Matilde Mar\u00edn has been of great relevance. A professional with extensive experience in the field of visual arts, renowned for her photographs, photo performances and videos, media to which she has dedicated exclusively over 20 years in her studio in the neighborhood of San Telmo, located in the Arts District. Mar\u00edn has spent much of her career on the development of ambitious educational projects, seminars and workshops for artists in various universities in Argentina, Santiago de Chile Colombia, Brazil, Puerto Rico, Barcelona, USA and Japan; where she generously shared her practice and knowledge.<\/p>\n<p class=\"p1\">The project at hand is no exception. Mar\u00edn proposes through it, to provide a space in connection with the arts. Seeking to understand and explain the activities developed by the urban waste collector through interviews, videos, educational activities and a new series of photographs of carts, which will enable a greater understanding for the crossing of these socio-cultural platforms.<\/p>\n<p class=\"p1\"><b>Men live of their findings and their crops<\/b><\/p>\n<p class=\"p1\">The first work of Mar\u00edn linked to the figure of the <i>cartonero 2<\/i>was her <i>Bricolage Contemporary <\/i>Series (2002-2014), a project that takes its name form the concept addressed by the anthropologist L\u00e9vi &#8211; Strauss <i>The Savage Mind<\/i> (1962).<\/p>\n<p class=\"p1\">The author designates the term <i>bricolage<\/i> as a concept that allows men, to manage in the near range, a way to understand and control surrounding reality.<\/p>\n<p class=\"p1\">The text proposes a reflection on the characteristic patterns of mythological thinking and states that men in the act of collecting, use materials available in their environment , in order to solve new problems, the man of L\u00e9vi-Straussian thought lives of his finding and crops.<\/p>\n<p class=\"p1\">Mar\u00edn re signifies the concept of <i>bricolage <\/i>and updates it by proposing that contemporary men also live on the findings, but of an urban collection and recycling. This thought impacts the concept of her work and makes the protagonist of video performances and photographs, where she runs an act of collection in the city of survival as a social document.<\/p>\n<p class=\"p1\">In the series, Mar\u00edn holds in her hands breads, cardboards, glass jars, bags, branches and food as an urban <i>bricolage.<\/i><\/p>\n<p class=\"p1\">The methodology of work for these images is significant for the construction of the narrative. The artist sketches and records material that organizes under a script indicating the story and the technica nature of the shots.<\/p>\n<p class=\"p1\">The artist frames and defines, each fragment that will shape the narrative in the process the portraits are drawn on a black background created from peripheral darkening effects, and accent lighting that illuminates and stands the hands that contain the objects enhancing the aesthetic power of the images and managing to preserve the real time of the very action of collection.<\/p>\n<p class=\"p1\">Mar\u00edn portraits<span class=\"Apple-converted-space\">\u00a0 <\/span>as a symbol of reflection of what she has observed in the poetry of <i>bricolage:<\/i><\/p>\n<p class=\"p1\"><i>\u201c&#8230;The characteristic feature of mythical thought, like bricolage on a practical level, consists of creating structured ensembles using residues and leftovers from events. Odds and ends, an Englishman would say, or, in Spanish, sobras y trozos, fossil evidence of the history of an individual or a society\u2026\u201d The Science of the Concrete, The Savage Mind, 1962.<\/i><\/p>\n<p class=\"p1\"><b>The urban hand cart: sustenance and token charm<\/b><\/p>\n<p class=\"p1\">Argentina, Colombia, Chile, Espa\u00f1a, Camboya y Vietnam son algunos de los sitios donde Mar\u00edn ha documentado el creciente protagonismo de los carros de mano bajo las particularidades de cada contexto social. Para ello, la artista recorre exhaustivamente las ciudades, buscando las huellas y rutas de los recolectores en su af\u00e1n de sustento.<\/p>\n<p class=\"p3\">A partir de esta investigaci\u00f3n, Mar\u00edn comienza en el a\u00f1o 2002 la Serie <i>La Necesidad<\/i>, la cual contin\u00faa desarrollando hasta la actualidad enmarcada en un \u00abwork<i> in progress\u00bb.<\/i><\/p>\n<p class=\"p3\">Argentina, Colombia, Chile, Spain, Cambodia and Vietnam are some of the places where Mar\u00edn has documented the growing role of handcarts under the particularities of each social context. To do this, the artist exhaustively travels through the cities, looking for the traces and routes of the waste collectors in their quest of livelihood.<\/p>\n<p class=\"p3\">Based on this research, in 2002, Mar\u00edn began the Series <i>The Need<\/i> which she continues to develop up to the present day as part of a \u00abwork in progress\u00bb. In this Series, the figure of the <i>cartonero <\/i>and his cart are the central theme in a careful selection of photographs where the artist seeks to isolate him from the marginal role to which he is so often associated.<\/p>\n<p class=\"p3\">In these photographs, the cars or vehicles reconditioned to fulfill the function of transfer, are transformed into elements of an unusual aesthetic and symbolic load.<\/p>\n<p class=\"p3\">Mar\u00edn observes that its users objectify them, decorate them and re-signify them, giving them a totemic value. This fact turns the cars not only into functional mobiles, but they also become \u00abtreasures\u00bb of the city full of identity.<\/p>\n<p class=\"p3\">In this work of great development and urban archaeology, Mar\u00edn explores the border between the space of art and the space of non-art as a poetics of social reunification; allowing a deepening, interest and recognition of the role of urban waste collectors within the cultural and artistic field.<\/p>\n<p class=\"p5\"><strong>Laeticia Mello<\/strong><br \/>\nExcerpt from the publication \u201cLo que hay frente a mi\u201d, Barcelona, 2015<\/p>\n<p>\u2014<\/p>\n<p><h8>1. Corralito was the informal spanish name for the economic measures taken in Argentina at the end of 2001 by minister of economic Domingo Cavallo in order to stop a bank run, and which were fully enforced for one year. The corralito almost completely froze bank accounts and forbeit withdrawals from US dollar-denominated accounts.<\/h8><\/p>\n<p>2. Cartonero is the Spanish name for a waste collector or a person who salvages reusable or recyclable materials thrown away by others to sell or for personal consumption.\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div  class=\"one withsmallpadding ppb_text\" style=\"padding:30px 0 30px 0;\">\n<div class=\"standard_wrapper\">\n<div class=\"page_content_wrapper\">\n<div class=\"inner\">\n<div style=\"margin:auto;width:100%\">\n<div id=\"16462443751115175917\" data-gallery-id=\"4979\" data-items=\"0\" data-columns=\"4\" data-type=\"grid\" class=\"portfolio_filter_wrapper infinite_grid portfolio-content content gallery four_cols wide\" data-columns=\"4\">\n<div class=\"element grid  classic4_cols 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