Teresa Pereda (1956 - )



    The work Chods, Color de Oro, belongs to the series Objetos mágicos (1992-1998) in which the majority of the works represented come from the Mapuche culture. And they allude to the territory which, by adoption, I refer to as originary: a certain mountainous area of Patagonia where I passed by earliest childhood.
    Colour of the sun. It represents an Andean textile, a poncho, square on and close up. The sackcloth base and tiny horizontal painted lines refer to the weave of the textile, a materiality implying an intense empathy, and by means of which I try to achieve an encounter with an original dimension, from that other reality, that of the origin, of the land, of the beginning of the days and nights, or time, of the earth, of our earth. I develop two different superimposed registers: I trace signs which determine the majesty of space. In this way I establish a play between the clarity of the signs and the less focused background which is as if viewed through through half-closed eyes.
    In this context I try to restore absence: here, the history and memory of a territory in direct relation to our sense of identity. Reflecting on history and culture functions as a mechanism for anchoring ourselves, a register of memory, by means of which we can think in terms of the future.


    From the mid-nineties I began research into the concept of 'autochthonous' land as a consubstantial witness to human life and to the cultures which had developed on it (mestizo, indigenous, immigrant). The knowledge of and feeling for the earth have been present in my life since childhood and constitute the active principle which has led me to embark on different projects.
    The work Territorio derives from a premise: the 'gathering of soils' which I request from people who inhabit our territory, and in this case the soils were collected in two regions of Argentina, in Misiones and in the humid pampa of Buenos Aires province. On undertaking these journeys I travelled geographical distances but also social, economic and cultural distances. In so doing I sought to reconcile, to link, to add up the components of the country, to bridge the fragmentation.
    In the glass boxes, land and maps represent a place of encounter with daily life. The soils acquire the character of a mobile layer, changing, where memory is the track of the flowing dust, the trace registers the geological memory of the place and also the affective memory of those who inhabit this territory. The maps record a geographical space, the existential base and essential alternative in order to put down roots and grow.
    The multicultural, the indigenous world and the marginalisation of certain social groups concerns me deeply, as an artist, as a woman and as a citizen of Argentina in the Latin America of today. It is from this inflection that the route I follow takes its meaning.

    Teresa Pereda

    Translated from the Spanish by Valerie Fraser


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