\u00abTransformation”. La Gr\u00e1fica en Overflow\u00bb, Silvia Dolinko and Cristina Blanco. Edition National Museum of Engraving, Ministry of Culture Argentina.<\/span><\/p>\n \u00abEcos: A world between the analogical and the virtual\u00bb. Biennale Sur 2021, Diana Wechsler, Saudi Ministry of Culture Edition.<\/span><\/p>\n \u00abSymbiology: Artistic Practices on a Planet in Emergency\u00bb, Valeria Gonzalez, Kirchner Cultural Center Edition, Argentine Ministry of Culture.<\/span><\/p>\n \u201cContemporary Graphic Arts of Argentina\u00bb, Edition IDB Staff Association Art Gallery Washington, USA, in collaboration with the Edition Center, Buenos Aires, Argentina.<\/span><\/p>\n “Poetic look at a historical moment” Laura Casanovas, \u00d1 Magazine, January 2021, Buenos Aires, Argentina.<\/span><\/p>\n \u201cSuspended Time\u201d A Visual Poem in Sixteen Photos, Daniel Gigena, La Naci\u00f3n, Buenos Aires, Argentina.<\/span><\/p>\n \u00abArgentine memories: Art against oblivion, Latin America Art and Combat\u00bb, Maria Teresa Constantin, Art Press number 53, March 202, Paris, France.<\/span><\/p>\n \u00abMatilde Mar\u00edn: Suspended Time\u00bb, texts Adriana Almada and Matilde Mar\u00edn, Manuela Lopez Anaya Editions, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn: Difficile de parler d\u2019utopies\u00ab, Covid-19 Tour du Monde, various authors, Editions Manucius, Institut d’Etudes Avanc\u00e9es de Nantes, Nantes, France.<\/span><\/p>\n \u00abOf borders and confinements\u00bb, Katya Cazar, Cuenca Biennial Edition, Municipal Foundation, Cuenca, Ecuador.<\/span><\/p>\n \u00abArt in social networks\u00bb, Matilde Mar\u00edn, National Academy of Social and Political Arts Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abArchaeologist of herself\u00bb, Adriana Almada and Guillermo Saavedra, OSDE Foundation Art Space Publishers, Buenos Aires, Argentina.<\/span><\/p>\n \u00abArt and Nature\u00bb, Matilde Mar\u00edn, Temas Magazine, National Academy of Fine Arts Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abContemporary Art\u00bb, Sylvia Ready and Barbara Becker, Editorial Contrapunto, Santiago de Chile.<\/span><\/p>\n \u00abThe imaginary journey of Kasimir Malevich\u00bb, Matilde Mar\u00edn and Jos\u00e9 Emilio Burucua, Kontempor\u00e1nea Edition art project, Buenos Aires, Argentina.<\/span><\/p>\n \u00abWhat is in front of me, micro-stories of urban recuperators\u00bb, Various Authors, Cultural Patronage, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMigrations in Contemporary Art\u00bb, Diana B. Weschler, Eduntref, Buenos Aires, Argentina.<\/span><\/p>\n \u00abContemporary Art\u00bb, Silvia Ready and B\u00e1rbara Becker, Editorial Contrapunto, Santiago de Chile.<\/span><\/p>\n \u00abGeneral history of art in Argentina, Photography in Argentina\u00bb, Aldo Sessa, Rodrigo Alonso, Editions National Academy of Fine Arts, Buenos Aires, Argentina.<\/span><\/p>\n \u00ab100 years of Argentine art\u00bb, Mar\u00eda Jos\u00e9 Herrera, Editorial Biblos \/ OSDE, Buenos Aires, Argentina.<\/span><\/p>\n \u00abGeneral history of art in Argentina, Engraving 1965\/2000\u00bb, Jorge Taberna Irigoyen, Editions National Academy of Fine Arts, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMeeting of looks, contemporary Argentine photographers\u00bb, Author’s image and word, La Azotea publishers Buenos Aires, Argentina.<\/span><\/p>\n \u00abWhen I sight the blue smoke of Ithaca\u00bb, Matilde Mar\u00edn, Jos\u00e9 Emilio Buruc\u00faa and Marta Lambertini, Kontempor\u00e1nea Edition art project, Buenos Aires, Argentina.<\/span><\/p>\n “Pharus Project”, Carolina Lara, Artnexus International, No. 87, vol. 11, Bogota, Colombia<\/span><\/p>\n \u00abCurrent migrations in Argentina\u00bb, Photographs Matilde Mar\u00edn, Compiler Norberto L. Griffa, Eduntref, Buenos Aires, Argentina.<\/span><\/p>\n \u00abCurrent Migrations in Argentina\u00bb, Eduntref, Buenos Aires, Argentina.<\/span><\/p>\n \u00abCurrent Argentine Art in the MALBA Collection, works 1989 \/ 2010\u00bb, Marcelo Pacheco, Eduardo F. Costantini Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn: Pharus Project\u00bb, Patricia Ready Gallery, Santiago de Chile.<\/span><\/p>\n \u00abMatilde Mar\u00edn Paradisus\u00bb, text by Adriana Laur\u00eda, Patricia Ready Ediciones ARTE + Corporaci\u00f3n, Santiago de Chile.<\/span><\/p>\n \u00abContemporary Records\u00bb, Ana Martinez Quijano, Editorial ASEA, Buenos Aires, Argentina.<\/span><\/p>\n \u201cDoesn’t Know \/ Doesn’t Answer, Contemporary Photographic Practices in Latin America\u201d, Rodrigo Alonso, Ediciones ArteXArte,Buenos Aires,\u00a0 Argentina. Photographs and Videos, Matilde Mar\u00edn, Recoleta Cultural Center Edition, Buenos Aires,\u00a0 Argentina.<\/span><\/p>\n \u201cDe Natura altered zone\u201d, Recoleta Cultural Center Edition, Buenos Aires,\u00a0 Argentina.<\/span><\/p>\n \u00abMetaphor in Art\u00bb, Elena Oliveras, Emec\u00e9 Arte, Buenos Aires, Argentina.<\/span><\/p>\n \u00abPampa, city and suburb\u00bb, Laura Malosetti Costa, OSDE Foundation Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abPersonal Worlds\u00bb, Ulises Carrion, Editorial Turner.<\/span><\/p>\n \u00abMatilde Marin. Displacements\u201d, Victoria Verlichak and Manuel Neves, Editorial Fundaci\u00f3n Alon, Buenos Aires, Argentina.<\/span><\/p>\n \u00abHomage to Borges\u00bb, Contemporary Graphic Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn \u2013 Contemporary Bricolage\u00bb, Adriana Laur\u00eda, Justo Pastor Mellado, Teresa Macri, edition of the artist, Buenos Aires. \u00abArgentina Est\u00e9tica. The Question of Art\u00bb, Elena Oliveras, Editorial Planeta, Buenos Aires, Argentina.<\/span><\/p>\n \u00abArgentine Art. Four Centuries of History (1600-2000)\u201d, Jorge L\u00f3pez Anaya, Editorial Emec\u00e9, Buenos Aires., Argentina.<\/span><\/p>\n \u00abNever More, Canadian Journal of Latin American and Caribbean Studies\u00bb, CJRCELACS, vol. 30, no. 59, Canada.<\/span><\/p>\n \u201cIn the Palm of the Hand (artists of the \u201980s)\u201d Victoria Verlichak, Fundaci\u00f3n Alon Collection Edition, Buenos Aires, Argentina.<\/span><\/p>\n \u00abContemporary Argentine Art\u00bb. MACRO, AAVV, Rosario, Santa Fe, Argentina.<\/span><\/p>\n \u00abRiver \/ Land \/ Mountain \/ Sea \/ an itinerary\u00bb, Santiago de Chile Edition.<\/span><\/p>\n \u00abMatilde Mar\u00edn. The path of the image\u00bb, Adriana Laur\u00eda, Matilde Mar\u00edn, Buenos Aires, Argentina.<\/span><\/p>\n \u00abThe road to the image\u00bb, Matilde Mar\u00edn, Jorge L\u00f3pez Anaya, Mercedes Casanegra, Adriana Laur\u00eda, Teresa Macri, International Biennial Edition of Cuenca, Ecuador.<\/span><\/p>\n Documentarte 2, Notebooks of the International Biennial of Cuenca 2003, Cuenca, Ecuador.<\/span><\/p>\n \u00abThe city of temptations: Buenos Aires in: <\/span>Temptation<\/span><\/i>\u00bb. City, Art and Technology, Fall\/Winter 2002-2003, Irma Arestiz\u00e1bal, Madrid Edition, Spain.<\/span><\/p>\n \u00abMatilde Mar\u00edn: Fragments, Myths and Traces\u00bbin: Rites of the End of the Century, Jorge L\u00f3pez Anaya, EMEC\u00c9, Buenos Aires, Argentina.<\/span><\/p>\n \u00abFr\u00e1giles\u00bb, Fernando Castro, Nuria Fern\u00e1ndez, Fernando Mart\u00edn Gal\u00e1n, Municipal Foundation for Culture, Education and Popular University of the Municipality of Gij\u00f3n.<\/span><\/p>\n \u201cScenarios\u201d, Matilde Mar\u00edn, Jorge L\u00f3pez Anaya, Victoria Verlichak, Irma Arestiz\u00e1bal, Teresa Macri, Recoleta Cultural Center, Buenos Aires, Argentina.<\/span><\/p>\n \u00abLatin American Contemporary Photography\u00bb, Antonio Ar\u00e9valo, Catalog of the <\/span>FotoGraf\u00eda <\/span><\/i>exhibition, Bruno Mondadori, Rome, Italy.<\/span><\/p>\n “Globalization, identities, nomadism” in: <\/span>Documentarte 1, globalization and cultural identity.<\/span><\/i> Notebooks of the Cuenca Biennial, Irma Arestiz\u00e1bal, International Painting Biennial, Cuenca, Ecuador.<\/span><\/p>\n \u00abMatilde Mar\u00edn (Images). Study Book on Printmaking, Musashino University Edition, Tokyo, Japan.<\/span><\/p>\n The Body of Art\/ The Art of the Body, Rosa Mar\u00eda Ravera, Recoleta Cultural Center, Buenos Aires, Argentina.<\/span><\/p>\n \u00abArt of Latin America 1981-2000\u00bb, Germ\u00e1n Rubiano Caballero, IDB Edition, Washington, USA.<\/span><\/p>\n \u00abKonex Foundation Catalog 1980 \/ 2000\u00bb, Diplomas of Merit \/ Platinum Konex for Visual Arts 1992, Buenos Aires, Argentina.<\/span><\/p>\n \u00abA violated page. Gives tenderness to injury in the construction of the artist ‘s book\u201d, Paulo Silveira, Editora da Universidade Porto Alegre, Brazil.<\/span><\/p>\n \u00abPlurality of slopes in Argentine art\u00bb in: Banco Ciudad Foundation Awards at the National Museum of Fine Arts, Jorge Glusberg, National Museum of Fine Arts, Buenos Aires, Argentina.<\/span><\/p>\n \u201cHarmonize\/Reveal\u201d, Ung Vaimeng, Macau Museum of Art, Macau.<\/span><\/p>\n \u00abIrma Arestizabal, Globalization, Nomadism, Identities\u00bb, VII International Biennial of Cuenca, Ecuador.<\/span><\/p>\n “I don’t know what about painting and art in general” (on texts by Lu\u00eds Seoane) Rai\u00f1a Lupa Ediciones in the L’Imprimerie Nationale workshops in Paris, France.<\/span><\/p>\n \u201cBridge to the Future\u201d, Witold Skulicz, International Print Triennial Society in Krakow, Ed. Drukarnia Skleniarz, Poland.<\/span><\/p>\n \u00abThe Macau International Exhibition of Prints\u00bb, Ung Vai Meng, Ed. Macau Museum of Art, Macau.<\/span><\/p>\n \u00abVideo creation in Argentina\u00bb in: Siglo XX Argentino, Arte y Cultura, Graciela Taquini, Edition of the Recoleta Cultural Center, Buenos Aires, Argentina.<\/span><\/p>\n \u00abThe metamorphosis of the hand, contemporary artists from Ibero-America\u00bb, Irma Arestiz\u00e1bal, Centro Cultural Parque Espa\u00f1a, Rosario, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn, Game of Hands\u00bb, Milan Ivelic, National Museum of Fine Arts, Santiago de Chile.<\/span><\/p>\n “The feminine: role and gender” in: <\/span>Aesthetic Research<\/span><\/i>, Jorge Taverna Irigoyen, Sumarium No. 3, Buenos Aires, Argentina.<\/span><\/p>\n “Fra possessed til Skulptur”, Helge Skodvin, Bergens Tidende Kultur, Norway.<\/span><\/p>\n \u201cArgentine Cultural Identity \u2013 It\u2019s Graphic Evolution\u201d in: 2000 Proceedings for Y2K International Symposium of Prints, Patricia Susana Cohen de Cymbalist, National Taiwan Arts Education Institute.<\/span><\/p>\n “Sculpture without borders” in: Pencil Argentina\/Revista InterNacional de Arte, Elena Oliveras, Year XIX, No 158-159, December 99 \/ January 00, Spain.<\/span><\/p>\n \u00abGames of Hands\u00bb, Alfredo Torres, Museum of Fine Arts, Santiago de Chile.<\/span><\/p>\n \u00abThe Rocket Four, Making Artists Books Today\u00bb, Gunnar Kaldewey, Stuttgart, Germany.<\/span><\/p>\n \u00abArt of the 80’s \/ May and Oscar Martinsen Collection\u00bb, Irma Arestiz\u00e1bal, Buenos Aires, Argentina preface to the collection catalogue.<\/span><\/p>\n \u00abJorge Glusberg, Current Graphics \/ 12\u00bb, National Museum of Fine Arts, Buenos Aires, Argentina.<\/span><\/p>\n Pleasure and Challenge. International Biennial of Graphic Arts\u201d, Victoria Verlichak, Ljubljana, Slovenia.<\/span><\/p>\n “Of the game of hands, of other games” in: Game of hands, Alfredo Torres, catalogue, Torres Garc\u00eda Museum, Montevideo, Uruguay.<\/span><\/p>\n \u00abMatilde Mar\u00edn, Contemporary Book-Art\u00bb, 43rd International Book Fair, Warsaw, Poland.<\/span><\/p>\n “Experimental: Rubli and Mar\u00edn” in: <\/span>History of Argentine Art<\/span><\/i>, Jorge L\u00f3pez Anaya, Emec\u00e9 Editores, Buenos Aires, Argentina.<\/span><\/p>\n \u00abAnother Graphic\u00bb, Mar\u00eda Jos\u00e9 Herrera, Andreani Foundation, Buenos Aires, Argentina.<\/span><\/p>\n \u00abImages of Argentina, Analogies\u00bb, Irma Arestiz\u00e1bal, Santillana Foundation Edition, Madrid, Spain.<\/span><\/p>\n “Making Artists Books Today”, Wulf Von Lucius, Gunnar Kaldewey, Lucius & Lucius, Germany.<\/span><\/p>\n “Matilde Mar\u00edn, interview” in: Revista Mora, Section interdisciplinary areas of women’s studies. Faculty of Philosophy and Letters. Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn\u00bb in: <\/span>Thirty years of Argentine art (A partial vision)<\/span><\/i>, Ferm\u00edn Fevre, Publications of the National Library of Buenos Aires, Argentina.<\/span><\/p>\n \u00abThe Promised Land\u00bb, Irma Arestiz\u00e1bal, Borges Cultural Center, Buenos Aires, Argentina.<\/span><\/p>\n \u00abRecurrences. Argentine art of the generation of the ’80s\u201d, Irma Arestiz\u00e1bal, Prologue for the exhibition catalogue, Museum of Contemporary Art, Sof\u00eda Imber, Caracas, Venezuela.<\/span><\/p>\n \u00abA proposal for reflection\u00bb, Alberto Collazo, Museum of Contemporary Art, S\u00e3o Paulo, Brazil.<\/span><\/p>\n \u00abBlind. The art of seeing\u201d, Gloria Bosch, Susanna Portell, Museu d\u2019Art Girona, Spain.<\/span><\/p>\n \u00abCassandra\u00bb, Magazine of Contemporary Culture, No. 4. p. 3 and 5, Editorial Vinciguerra.<\/span><\/p>\n \u00abLabyrinths\u00bb, Contemporary Graphic Edition, Buenos Aires, Argentina.<\/span><\/p>\n “Incisions & Fragments”. Matilde Mar\u00edn, Jorge L\u00f3pez Anaya, Editions Fernando Arce, Chile.<\/span><\/p>\n \u00abContemporary Argentine Engraving\u00bb, Osvaldo Svanascini, Editions of the Congress, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn, test and rehearsal\u00bb in: In <\/span>The Palm of the Hand,<\/span><\/i> Victoria Verlichak, Buenos Aires, Argentina.<\/span><\/p>\n \u201cFrom sea to sea\u201d, Guillermo Whitelow, Las Condes Cultural Center, Santiago de Chile.<\/span><\/p>\n \u00abFive Argentine Artists in Tokyo\u00bb, Nelly Perazzo, Striped House Museum of Art, Tokyo.<\/span><\/p>\n \u201cOut of the Center?\u201d, Irma Arestiz\u00e1bal, Museum of Fine Arts, Caracas, Venezuela.<\/span><\/p>\n “Engraving in Argentina” in: Critical History of Argentine Art, Aldo Galli, Telecom Edition and Argentine Association of Art Critics, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMatilde Mar\u00edn, O papel como um meio\u00bb, Ferm\u00edn Fevre, Museu da Gravura, Funda\u00e7\u00e3o Cultural de Curitiba, Brazil.<\/span><\/p>\n \u00abInterNacional de Gr\u00e1fica\u00bb, Ernesto Mu\u00f1oz, Museum of Contemporary Art, Santiago de Chile, Chile.<\/span><\/p>\n \u00abMostra Am\u00e9rica\u00bb, Argentina from Buenos Aires, Aline Tortosa, Funda\u00e7\u00e3o Cultural de Curitiba, Brazil.<\/span><\/p>\n \u00ab1\/1 Variable Edition\u00bb, Victoria Verlichak, Filo Espacio de Arte, Buenos Aires, Argentina.<\/span><\/p>\n \u00abThe engraving in Argentina\u00bb, Guillermo Whitelow, Municipal Museum of Arts, Gyor, Hungary.<\/span><\/p>\n \u00abGraphics International\u00bb, Museum of Contemporary Art, Ernesto Mu\u00f1oz, Santiago de Chile, Chile.<\/span><\/p>\n “Matilde Mar\u00edn, \u201cPaper as a medium”, Nelly Perazzo, Museum of Modern Art, Mendoza, Argentina.<\/span><\/p>\n \u00abAir Bridge 1\u00bb, Nelly Perrazo, Museum of Contemporary Art, Santiago de Chile, Chile.<\/span><\/p>\n \u00abMatilde Mar\u00edn, Paper as a medium\u00bb, Ferm\u00edn Fevre, National Endowment for the Arts, Buenos Aires, Argentina.<\/span><\/p>\n “Paper as a medium” in: <\/span>Notes on handmade paper,<\/span><\/i> Ricardo Crivelli, Buenos Aires, Argentina.<\/span><\/p>\n \u00abMyths of Creation\u00bb, with a prologue by Nelly Perazzo, Arte Dos Gr\u00e1fico Edition, Bogot\u00e1, Colombia.<\/span><\/p>\n \u00abPaintings from Argentina\u00bb, Nigel Cameron, The Rotunda Exchange Square, Hong Kong.<\/span><\/p>\n \u00abContemporary Argentine Art\u00bb, Marcelo Pacheco, Antorchas Foundation, National Museum of Fine Arts, Buenos Aires, Argentina.<\/span><\/p>\n \u00abIbero-American Artists\u00bb, General Catalog (1900-1990), Editorial Arabel, Madrid, Spain.<\/span><\/p>\n \u00abArtists of Buenos Aires\u00bb, Jorge Glusberg, Museum of Modern Art, DF, Mexico.<\/span><\/p>\n \u00abMatilde Mar\u00edn, recent graphics\u00bb, Nelly Perrazo, Banco Patricios Foundation, Buenos Aires, Argentina.<\/span><\/p>\n \u00abIdeas and Images from Argentina\u00bb, Philip Verre, The Bronx Museum of the Arts. New York, USA.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Selection<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-242","post","type-post","status-publish","format-standard","hentry","category-biography"],"_links":{"self":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/242","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/comments?post=242"}],"version-history":[{"count":7,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/242\/revisions"}],"predecessor-version":[{"id":5745,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/posts\/242\/revisions\/5745"}],"wp:attachment":[{"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/media?parent=242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/categories?post=242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.matildemarin.com\/en\/wp-json\/wp\/v2\/tags?post=242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}2020<\/h3>\n
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