Punta del Este, Uruguay, Saturday, February 8, 1980.

Argentine Painter in Punta del Este......

With the sponsorship of the Embassy of the Argentine Republic, an exhibition of Argentine painter Ana Candioti opens today, February 9 at 8 p.m. at AYCART (art house) Rambla del Puerto and 14th Street in Punta del Este. The distinguished artist has participated in numerous collective exhibitions since 1971, has given courses and received awards and mentions in National Painting Salons. Rafael Squirru, the prestigious Argentine critic, says about Ana Candioti: "I was part of the jury that had the satisfaction of awarding Ana Candioti at the National Salon of Rosario, a responsibility that I shared with Manuel Múgica Lainez, among others. Although young, her works were making their way among worthy artists of established merit. The time that has passed has not disappointed that vote of confidence regarding the quality and solidarity of purpose of the painter of Latin American ancestry. Her art, with its rare severity in its formal approach, well-constructed images, vibrant color, and firm drawing, "mark her out as one of the values ​​that appear from time to time in our midst and that allow us to speak without hesitation about the international level of the Rioplatense school."

Montevideo, Uruguay, Saturday, February 9, 1980.

Ana Candioti Exhibits in Punta......

Just as the current issue of LA CRÓNICA SEMANAL was going into print, the exhibition of Ana Candioti was being inaugurated. This young and talented Argentine painter is hanging her works for the first time in a gallery in Punta del Este. The exhibition, which is sponsored by the Argentine Embassy in Uruguay, has become one of the events of this season since the doors were opened....
For understandable reasons of time, it is impossible for us to deliver the complete article, so the commentary will be included in our next issue.

Montevideo, Uruguay, Sunday February 10, 1980.

Ana Candioti exhibits at "Aycart"......

"Criticism is important for any artist as long as it is done seriously and based on plastic and literary knowledge" says Ana Candioti, Argentine by birth, with important studies completed, this painter exhibits at "Aycart", Casa de Arte, located on the Rambla del Puerto and 14th Street. "This exhibition is made up of fifteen works, still lifes, paintings and a series of backlit figures. I really like the insertion of white in the color."...
Ana Candioti says that her painting is not violent, but quite the opposite. "I like to transmit the silent presence of things. My painting is not a scream, it is something that is there; like present." The Argentine painter shows in the dialogue an evident concern for the technical. "I have been studying since I was fourteen. First, I studied Fine Arts in Buenos Aires, which consists of four years of school and three years of teaching. As a complement, I also trained in a private workshop. I have a certain rigor with respect to the technical, a need for purification. It is like an austerity that responds to the obligation to express." ...
With regard to other painters, other artists whose work satisfies her, she says that "when I follow another painter, I do it for the technical aspect, for some plastic element more than for the subject matter. I follow Japanese painting a lot because of the work on the canvases, I also like Lacamer, for the relationship of light and shadow, and I have been very impressed by the painting of Blanes, whose painting I had the opportunity to restore. I have been particularly interested in his work with light, the cut-out between it and shadow. Ana Candioti has held various exhibitions throughout her career, in which she has even won awards. In 1976 she received a mention at the National Salon (Buenos Aires), and in 1978 she was awarded second prize at the National Salon (Rosario). As of tonight, this painter with a deep technical concern and the focus of a constant search will be exhibiting here in Punta del Este. "The final objective of my painting?" she says. "It is difficult to define and it occurs through a process. That's how I started working with light and discovered the Sun."...

Alfonso Lessa.

Punta del Este, Uruguay, Friday, February 15, 1980.

Painter Candioti: Expressions that count......

"I find my best expression in white."...

(by Ana Candioti, at 9:30 p.m., on the 9th, in the Aycart art gallery, referring to the excellence of her painting exhibition, inaugurated in the gallery idem).

Buenos Aires, Argentina, Saturday, December 18, 1982.

Gillette Award......

The Gillette Foundation has joined the companies that support the national arts: "New values ​​of Argentine painting" (Manzana de las Luces, Perú 272) can be visited until the 20th from 12 to 22....
This exhibition raises the problem, which we thought had been overcome, between quality and anecdote. Of course, at this point in time, it is appropriate to lean towards artistic quality. In this sense, an aesthetically valid painting, that of Mario Agatiello. Juan Doffo combines well matter, space and expression. In the painting - "En medio el barro" - by Victor Hugo Quiroga (First prize), the success lies in the landscape for its pictorial values; the figure is a mere anecdote. ...
Good studies, those of Ana María Candioti, especially "Citizen I". Personal for its workmanship and style. ...
The flowerpot (3) by Ines Bancalari. Francisco Tavarez's confusing images, illustrative "My son... (Second prize)." Francisco Travieso's elementary vision: "The pampas, red sky, an important theme that requires a greater plastic depth. Adolfo Nigro's shipments are fine. The set includes oil notes by Ana Eckell. Carlos Eduardo Bisolino, absent from the exhibition, appears in the catalogue.

Buenos Aires, Argentina, Tuesday, June 28, 1983.

New values ​​of the country's plastic arts......

The Undersecretary of Culture of the Municipality of Quilmes, in charge of Professor Martha Sordelli Cigliano, has organized an exhibition entitled "New Values ​​of Argentine Painting" at the Municipal Museum of Visual Arts, led by Aldo Severi. Mario Agatiello, Inés Bancalari, Ana Candioti, Lesner Tavarez and Francisco Travieso take part in it. In this exhibition, the joint evolution of the five artists named can be appreciated....
Agatiello is one of the best geometric values ​​that has emerged in recent years. Her investigations of light, colour and simultaneous contrasts, that is, building towards endless rhythms that generate structures through games of planes, spells in the shadows, in the middle of a jewel-like atmosphere achieved by a palette that includes a thousand greys and the interiority of its protagonists...
«Ana Candioti, with studies in national schools and nothing less, as a student of Héctor Giuffré, is an expressionist whose definitive characteristic is based on spectacular contrasts of light and shadow - without effects - with tense vibrant realization.»...
We can expect all kinds of excellent repercussions in her works....
Lesner Tavarez contains in her paintings an intense extroversion combined with coarse matter and form in which we can see, as in the rest of the artists presented, a wealth of knowledge of the craft. ...
A captivating surrealism is mixed with the gestural imposition of baroque expressionism, creating dreamlike, direct, fractured, pathetic and unprecedented images. Figures, symbols and signs contribute to the protagonists of the meanings of the man of...

Buenos Aires, Argentina, August 30, 1984.

BANCO PATRICIOS FOUNDATION......
ITS ART ROOM OPENS TOMORROW, 7 PM...

Exhibitors: Lulsa Bardavid - Drawings / "Ana Candioti" - Acrylic Painting / Diana Dowek - Acrylic Painting / Rebeca Gultelson - Drawings / Carolina Muchnik - Oil Paintings / Estela Pereda - Object Drawings / Teresa Pereda - Oil Paintings / Stella Sidi.

Buenos Aires, Argentina, September 15, 1984.

Banco Patricios Foundation Cultural Center......

The Banco Patricios Foundation inaugurated a cultural center, which will operate in the premises of Piedras 521. The brand new entity has a library with books that analyze subjects on art and social sciences, as well as a gallery for exhibitions and a microroom for seminars. It is worth noting that the opening ceremony of the center coincided with the beginning of the exhibition "Women in the Plastic Arts, Today", which will remain open until the 28th....
The opening meeting brought together a large crowd and marked another achievement in the intense work of cultural and artistic dissemination of said Foundation, including the series of conferences on "Cooperativism and Society", at Corrientes 2589 and the series of meetings on the subject "The... (shortened note, apologies).

Buenos Aires, Argentina, September 20, 1984.

BANCO PATRICIOS FOUNDATION......

"Women in the visual arts today" is the title of the collective exhibition taking place at the Banco Patricios Foundation, Piedras 521. Luis Barbavid, "Ana Candioti", Diana Dowek, Rebeca Gultelzon, Carolina Muchnik, Estela Pereda, Terosa Pereda and Stella Sidi are participating.

Buenos Aires, Argentina, Saturday, February 23, 1985.

Art and testimony......

Belonging to the Movement for the Reconstruction and Development of National Culture, sixteen artists exhibit their works at the Maúl Scalabrial Ortiz Cultural Center, Chacabuco 1072....
The works presented have the property of testifying to a reality through the investigation of a social problem; this transcends in the plastic proposals that become spokespeople for a society that tries to establish a new order. The works reflect an exacerbation that is conveyed by the matter, color, gesture and distortion of the image, emphasizing a narrative that speaks about a wounded interiority that is evidenced by an apparent disarticulation. Some canvases or drawings retain a critical lucidity in their language, providing elements that reason as elucidatory judgments. The contestatory is expressed by a subtle irony of conjunctions of images, other works retain the objectivity of a graphic chronicle. ...
Using glued wood and fabrics, in the case of M. Amigo, he achieves a direct impact of popular art, with the capture of precise and representative signs; L. Maresca expresses deterioration, with an assembly of clothes and posters; D. Dowek with two works, one of them made as an unfolded poster, sets the tone for the entire exhibition; F. Fazzolari alludes to his dramatic, or dramatic memorins; A. Candioti recreates a realism of thriving chronicle; M. Paksa presents a drawing of classical beauty that encloses a symbolic conjunction; E. Cerrato with a demarcatory geography leads us to lost and rescued territories; A. Sánchez with a painting-object points out fruitless searches. These artists are joined by other works that are oriented towards the proposals stated above. The exhibition will remain open throughout the month of February....

Rosa Faccarο

Buenos Aires, Argentina, Saturday, February 18, 1989.

Ana Candioti, mirror of a harsh reality......

Her paintings reflect the typologies and customs of the American hinterland...
It had been a good couple of years, at least, since I had visited Ana Candioti's studio. Although during that time I had seen some paintings hanging in an exhibition far from the center, the latest paintings could be said to have taken me by surprise....
A brilliant disciple of Héctor Giuffré, she had remained tied to the severe approaches of her teacher, but without losing the good that she had assimilated, she now showed herself to be the owner of her strong and original personality. ...
Although closely linked to each other, the works generally comprised two stages: the series of works from Purmamarca, a small town in the Quebrada de Humahuaca, in Jujuy, and the series of the stevedores, painted in the port of Buenos Aires, which will be shown in the middle of the year at the Centro Cultural Las Malvinas on Florida Street....
As a good painter, Ana Candioti is quite sparse; even so, she managed to establish a dialogue that helped me in my task of investigating the forms that unfolded before my eyes and perhaps something of the process that led to them....
Hers could be described as social painting, as it is linked to an analogous period of Antonio Berni and to the great figures of Mexican muralism, except that her gaze is more objective, less committed to doctrinal messages. Ana shows the observed reality in the Shakespearean style, mirroring nature, intuiting that nothing is more powerful than naked reality. At most, and for primarily compositional purposes, she allows herself certain liberties in the scales of some head, some body, some structural detail. She is attentive to that aspect of her art that suggests the possibility of considering her an expressionist realist. In any case, I think that the adjective can be misleading, given the rise of expressionism in terms of self-confidence, to which we are accustomed by the trans-avant-garde avalanche....
Ana's paintings never lose their calm, she composes and paints according to the classical canons and the poetic license to which I refer seems to me closer to the medieval spirit, which gave greater size to some characters than to others based on considerations of their relative importance, but I make the caveat already noted, in her case the variations in scale are dictated by the pure plastic interest of the characters, an interest that may, or may not, have its roots in psychological considerations or that make the documentary record of the characters. In this register of types there is undoubtedly a preference for the physiognomies of the interior that most relate us to the rest of our America. She is also fascinated by the contrast between the primitive and the current, between quenas and bass drums and the microphones that amplify the sounds....
To venture into the world of Ana Candioti is to venture into a dimension that, although harsh, is still real with respect to certain aspects of our land and those who inhabit it....
After the visit, these characters pursue us, not to ask for commiseration or gifts, but to demand consideration and respect....

Rafael Squirru...

Photo: One of Ana Candioti's paintings...
(fragment)

Davis, CA, February 19, 1990.

The art of human ecology......

Ana Candioti is an artist with a mission. Her powerful portraits of indigenous people from Argentina, Bolivia, various Mayan communities and the United States are on display at the UCD Memorial Union Gallery through Feb. 21. This is an excellent exhibit for school-age children, university students and Davis residents....
The artist's portraits support a human ecology movement for preservation of indigenous cultures throughout the world. Florida art critic Carol Damian, the visual arts department director at Florida International University, has written, "She not only captures their physical appearance, she also endeavors to depict them within the context of their history and traditions. Their faces become a testimony to the past and to enduring pride."...
Candioti, a native of Argentina whonow lives in Miami, is a slim, attractive woman in her late 50s, who exudes energy and pas sion for her work, which requires tremendous physical stamina and dedication. The MU Gallery paintings are butatiny fraction of her work....
Her strongest portraits almost seem alive. "Little Girl," one of the "Mava Alive Culture Series," is a large portrait of a dark haired girl with gorgeous brown eyes. Her blouse is beautifully embroidered in the style of her Mayan community, but she looks sad or frightened, about to burst into tears....
Candioti explained this portrait last week to a group of children from Napa's St. Helena Elementary School, who were visit ing the gallery. The little girl is from a small, indigenous Mayan community, whose residents do not believe in having their photographs taken. Despite this, the community leaders are determined to preserve their culture at all costs....
Children brought up in the Mayan culture are taught to be afraid of cameras, and Candioti captured that fear in her portrait. The fact that the community leaders trusted her enough to allow the photographs to be taken, proves that she is a most unusual artist. The portraits may appears simple images, but they are, intation....
When Candioti first comes to nity, she's introduced to the people that cultural leaders. She then get-toler potential subjects as individuals trust, and, with their permission photographs from which her painting are created....
Most of the faces in this exhibilan store but proud and dignified. "Veraemy is a lovely pastel, drawn with a king technique. A light glows around that ful woman's face. "California", an pastel, is another strong image of a woman in a blue shawl....
She stares at the viewer, as if she waste step out of the painting and tell hattory. "Maternity" is a large, colorful painting of a mother breastfeeding her child, who get up lovingly at the mother's tace. Homeowner looks tired, but strong....
Candioti's empathy for these obvious....

Photo: "Little Girl," by Ana Candioti...
By Marilyn Moyle, Enterprise art critic....
and Greg Riht, Enterprise photo.

Buenos Aires, Argentina, July 5, 1990.

ANA CANDIOTI AND THE HARDNESS OF EXISTING......

"The hunger's shed", oil and tempera, 1.20x1.20 mts....

Cancioti is the owner of the situation in her immense canvases, unquestionably, her vigorous image, hard-rooted, is consolidated to the extent that she moderates the violence of the color. From there, by not saturating the space, her works result in a more refined art, more sober, but more daring paintings. The composition takes us by the throat, the image preludes the hatching of thought. It faces the knowledge of events. These workers are generators of energy, the same that the artist needs to paint them, but visionary energy, which has turned them into something more than what they are for the future, has turned them into a symbol, they personify the action of work in the Argentine ports and the doubt, the wait, the impotence. Candioti imposes his significance at first sight and his coloristic treatment in these oils and tempera paintings of more than 1.50 meters impose an outstanding volume....

Teresita Pociella

Buenos Aires, Argentina, Saturday, July 14, 1990.

The subjective realism of Ana Candioti......

Taking care of the group of paintings that Ana Candioti exhibits at Sisley (Arenales 834) that are guided with success by its director, Luisa De Barreiro, is a pleasant task. A disciple of the distinguished painter and excellent teacher Héctor Giuffré, Ana Candioti pursues her own goals attentive to a problem that extends a certain period of Berni's work, of whom we consider her a legitimate heir, every time we think of "Los Desocupados" by the genius from Rosario. What has been said goes beyond the subject matter, which in this case makes us know the stevedores of the port of Buenos Aires, and the different stages they go through from the moment they are hired until they complete their tasks, giving the painter a valuable visual argument to deal with the human figure in full activity. ...
It would be wrong to believe, despite what has been said, that we are faced with an anecdotal or primarily illustrative painting. Ana Candioti is a painter and knows that what is painted is the painting and not the subject, above the painting....
Her essential approach, then, is concentrated on a careful composition, perhaps one of the most difficult aspects when it comes to works of ambitious complexity such as those I am about to comment on. To compose is to distribute the forms in space and when it comes to incorporating several human figures in the same canvas, not all achieve the sober balance that Ana Candioti achieves. It is this balance, which beyond the movement of some scenes, lends to her groups, to most of them, a curious hieraticism, as if the workers were transformed into presences of a feeling of the transcendent, as if the artist treated them with the same reverent attitude with which the apostles appear in some biblical scene. ...
What has been said is reinforced by the fact, to which I draw the viewer's attention, that the size of the faces does not always correspond to the traditional perspective, but rather they are treated according to a subjective perspective that sometimes gives greater size to the most distant ones. This connects with the medieval concept of the importance given to the motif, from which the size is derived and not the other way around. The Renaissance would correct these arbitrary actions according to the new perspective of geometric rigor. This detail, apparently insignificant, reveals to us the spirit of Ana Candioti's work, which determines the totality of the atmosphere that she achieves through all the plastic ingredients. It is a subjective realism of rare power....

Rafael Squirru

Buenos Aires, Argentina, 1993.

ANA CANDIOTI......
WORKERS, FARMERS, MEN AND WOMEN OF OUR PEOPLE ARE REFLECTED IN HER WORK...

Thinking he was doing good things, a painter painted me one day, but he painted me on the outside because he couldn't see inside. ...
When will that painter come to paint what I feel? The desire to live life without sorrow or torment. ...
Atahualpa Yupanqui...

"Dark skin color and everything that makes up the indigenous identity is considered Latin American. They just rejected a painting of mine in a specific Argentine art competition, because they didn't identify the character, who is from Jujuy and has aboriginal features, as distinctly Argentine."...

Ana Candioti paints what the men and women, workers and farmers reflected in her paintings feel, because she feels the injustice and exploitation they suffer as her own. That is why he can paint them from the inside and transmit his feelings, and also, for the same reason, he manages to move us....

• Was your style always realist? What was your training?...
- At the Academy of Fine Arts they start from European styles to teach us. I don't know now, I'll tell you about my training. I graduated in '71 at Belgrano and in '75 at Pueyrredón. Afterwards my path was individual. I studied in Héctor Giuffré's workshop, and there I had my first contact with realism and social painting. Then, little by little, I started connecting with reality, especially with the workers, once I became politically aware. I met the peasants of the northwest. I studied the styles of Argentine painting, because they don't teach us them either; so for me it was quite a task to investigate the history of Argentine painting. I took the social art of the 40s: Berni, Quirós, Collivadino, De la Cárcova, Spilimbergo, etc. The culmination is Berni, and it seems that after him we never go back to that....
I am interested in what Berni calls the "new realism," which is not naturalism but a realism based on the sensations that reality causes in one; it is a subjective realism. Through portraits or images of workers I express my feelings, everything that they transmit to me....
My decision to be a realist is totally linked to the theme, to the content; that is to say that form and content are a unit. It is not by chance that I am interested in maintaining the realist style....
• How did you begin to develop your current theme?...
- I came into contact with the peasants from the meetings of copleros in Purmamarca. Also in Tucumán, at the copleros festivals of Tafi del Valle and El Mollar. There I had the opportunity to get to know all those working people, from the countryside, from the land, up close....
Later, when I no longer have the opportunity to travel, where I find a greater number of workers of peasant origin is among the dockers of the port of Buenos Aires. Afterwards, I insist on developing that theme....
The theme is received, as a spectator, through the expressions of the faces. I do not illustrate the way of working, but I am interested in personalization, showing the faces, the expressions, the skin color, the way of dressing, the hands of the worker; all that which makes up our identity, even though our identity is not yet recognized from there. Rather, we are identified as descendants of Europeans, because it is seen more from Buenos Aires....
• Is there a back and forth with the people portrayed? How do the paintings reach them?...
- The dock workers have come to my studio; they saw themselves and were excited to see themselves portrayed. But they are interested in one spreading their situation in any way, through art, through journalism. That is why they respect and collaborate with the testimonies and with the elements that one may need to work....
But the culture of going to see an exhibition is not accessible to working people. Not because of the place, but because it does not fit into their life schemes, their assessment. They are in such a limiting situation, fighting for the most basic things, that this is secondary for them....
It is very interesting to people who go to an art gallery. When I exhibited all my work from the port in an art gallery in Barrio Norte, I was very struck by the interest of the people who live there, who are from a high social and economic class. They expressed their astonishment that this situation exists. I regretted not having held a round table discussion, because there were many questions....
I have had the experience in the north, when I went to exhibit in Purmamarca about the copleros there, of a coplera buying a painting from me, at affordable prices. They are interested in seeing it, and even having it in their house. They feel proud that one takes care of them, and it is important because they are always wanting to spread the word about their dramatic situation. And in the port even more so, because they are ten blocks from the government house and nobody finds out about the dramas that happen there....
• How was your experience last year in Spain?...
- In Spain, at first, my work was rejected by all the galleries because Latin American art doesn't catch on. They don't want to see us even in paintings. Then, I managed to get in through a gallery and the museum of the San Fernando Academy in Madrid, which was interested in one of my paintings. At the Seville Fair, one of the paintings was rejected because social painting, as well as realism, is a repressed art for them....
They invited me to do an exhibition this year; I don't know if I'll be able to do it, and I also don't know if it's worth it because in Spain right now there is a cultural decline. I was there for six months, and I had the feeling that we are growing culturally and they are going downhill. One of the reasons why I wasn't interested in staying to work there, even though I had the opportunity, was because it seemed to me that the artistic and cultural level would drop. In Spain, commercialism, technical perfection, preciousness, or the abstract are promoted; and the more inconsequential the subject matter, the better....
• And here in Argentina?...
- Here, too, everything social is rejected, because it is linked to politics. I have been asked several times if I have political partisanship. I don't think it's bad to have political partisanship; on the contrary. I consider the commitment I take with painting as my form of militancy, as Berni did, as many did. Right now, that is considered something old-fashioned, out of fashion. Of course, art is never in fashion, nor does it have to be....
What bothers me about my painting is that the subject matter is current, and that they are subjects that are not seen but that no one wants to see either. I paint a family in a slum, dockworkers, or any exploited worker. There are many subjects like that in Argentina. This has to do with what they want to sell us, that in Argentina there is no hunger, there are no poor people, that we are a first world country, which is ridiculous. As long as there is economic dependence, we will never be a first world country. Obviously they want to sell us an image that is not exclusive of official artistic production, which promotes, through art, this feeling that we are a country without problems....
• What is your latest work?...
- Now I am working on and trying to develop, a bit like a finishing touch to the port theme, a mural of 9 by 3 meters, in three panels, about hiring, which is the most dramatic moment. Now things have been resolved in a different way, but when I went three years ago, hiring was done by hand and out of five thousand shipwrights, very few came to work. They were crushed against the bars and the foremen. During the five to ten minutes that hiring lasted, it was a convulsion. It was very shocking to see that. ...
It is very important for me to develop this mural. It could be displayed in a union, somewhere where the worker and his family have access. It is the only way.

Buenos Aires, Argentina, 1995.

ANA CANDIOTI'S PAINTING EXHIBITION......
"Nobody loves what they don't know and nobody knows what they don't frequent."...

The art critic Enrique Gené began his opening speech at the exhibition with these words. We agree with this assertion, particularly on this occasion....
Ana Candioti frequented the port of Buenos Aires and recorded in her paintings the age-old sadness and pain in the eyes of those men who sell their labor force in the "hunger warehouse."...
She thus highlights the misery of this port city, where she was born, and the contrast between the Russian containers on the port side of the road (what at the time was called compensated exchange), a painting made in 1989, and the grain stevedore who observes the spectator from the top of a truck (1994)....
He also frequented the Calchaquí Valleys. He represented men and women with their faces furrowed by wrinkles and the suffering to which they are subjected by backwardness and large estates....
He has also portrayed other faces and aspects of our daily life, from Atahualpa Yupanqui to the family of a port worker, or a precarious drinks shop crammed with Coca-Cola advertising. To this he adds studies of hands, nudes, where as in the rest of his work, he once again demonstrates his perfect mastery of the technique....
The exhibition is a passage through his last years (1981-1994). It includes the last work of a period, in which mannequins are represented, before he definitively turned to realism. In this case, realism implies not only an aesthetic style but also a deep approach, a taking of a position, a commitment to those whom she paints, to the true makers of our history....
Ana Candioti is a witness of her time. Her work is a faithful record of a subjugated Argentina, documents of history - in the best style of Antonio Berni - that speak for themselves of what Ana frequents, knows and loves....

By Β.Α.

Buenos Aires, Argentina, 1995.

Social painting in the port of Buenos Aires......
Peasants and dockworkers in the art of Ana Candioti...

In a few blocks, two worlds confront each other. A few meters from the Casa Rosada and the sophisticated Puerto Madero, a Menemist exaltation of a false "first world", the port workers fight. La Marea spoke with the artist Ana Candioti, who approached them and recorded the life and tasks of the port in her paintings....
- Starting from your own research in the port, you have made a pictorial series that takes dockworkers as protagonists. How did you come to this social painting?...
-Social painting is a previous decision: painting based on a theme. I came to the port as a consequence of that decision; but it was not the first thing I did in social painting. My work at the port was part of a research project that I completed in two periods: first with a group of artists and then with people from the Pichon-Rivière School of Social Psychology. Social painting requires direct contact, seeing the real situation, looking for all kinds of documentation. Before the port, I worked with peasants in the NOA. I traveled to Jujuy and Tucumán to establish contact with that cultural and labor reality. ...
- How did you get in touch with them?...
-I met them personally when the Movement for the Reconstruction and Development of National Culture brought copleros from the NOA to the Capital. I know Gerónima Sequeira and others. I talk a lot with them, I get worried, I want to see what the living conditions they tell me are like. They had to do with the human images I was looking for. During the first period of the dictatorship I had painted a series of shop windows with mannequins without clothes; that could have to do with the missing people, there were no human figures. When I decided to work with human beings, what interested me most was the working people, and I discovered that most of them are from the provinces and a large part from the NOA. So I went there....
It is interesting to see how everything is linked, because when I started to work on this urban theme, I found that in the port there are workers of peasant origin. Some also......
- What social theme do you propose to work on?...
-Always. To show something you have to know it well. Although in the artistic field knowledge is not enough. You also have to feel it, because to be able to do it artistically you have to express the feeling. You have to develop something affective and sensitive. But first there is knowledge....
- What differences did you find between the peasants from the north and those who came to work in Buenos Aires?...
-There the work is more individual and familiar, one family isolated from another, the harvests depend on the weather conditions. In general they are very poor people who rent fields. A very natural life where domestic technology has not yet entered. Here in the port the work is more social, a task shared with many others. When I was working there, there were about 5000 very politicized stevedores, fighting for their rights and their source of work. It was the time when unemployment began. From 1989 onwards, problems with jobs began. The issue was hiring, which was done on a catwalk where the foremen walked, parading as if they were going to the gallows, and there the......
...a clapper a few blocks from the Government House....
In the first hiring that I witnessed with three other artists, they organized a security fence around us and held spontaneous meetings where they exposed all their problems. It was heartbreaking....
- Did you paint there?...
-No, I took photos and sketches based on which I painted in my studio....
- Were they able to see the paintings?...
- Yes, I invited them to exhibitions. We had made a deal in some way: they would facilitate our access to the port, since there were places where even with a permit from the Prefecture you couldn't go because it was dangerous, like the ships, the shacks or the hiring. In exchange, I would not paint some signs that they needed, they would come to look for them here, at my workshop. Later, when I did an exhibition in 1994 with the former students of the Colegio Nacional Buenos Aires, they went and were very impressed. It was such an interactive work that our relationship still continues. I also gave them my solidarity in this last conflict. Juan Reyes, the current union leader, accompanied me to document the hiring. ...
- You were just talking about the shack. Why don't you tell us what it was?...
- The shack was formed around the hiring shed, which they called the "hunger shed." They built huts around it to wait for the hiring. A place that served as a lunch spot, and also a place to spend the night, since most of them cannot return home because they do not have money for the trip. Nor do those who did not get a job return: out of modesty, they avoid returning home without their daily wages....
The shack is also where they do politics and deal with their affairs. It is very difficult to enter. Later it was razed by bulldozers....
- In addition to taking photos, you recorded the stories. How did this help you?...
- Knowing these stories allowed me to get into the situation. I think that an artist does not... (illegible text)....

Photo: Ana Candioti, Hiring. Oil.

Buenos Aires, Argentina, 1996.

Ana Candioti......

"Hombres del Puerto", paper, 50x70 cms., tempera on paper....
She has exhibited in Buenos Aires in galleries and institutions of the country since 1971....
Her most recent and upcoming exhibitions:...
- 1990, Sisley Gallery. Buenos Aires. "Hombre de Puerto". Paintings....
- 1990, Centro Folklórico Fortines y Tolderías. Benito Juarez. Province of Buenos Aires. Paintings....
- 1992, Portraits and Characters. Galeria Novart. Madrid....
- 1993, Date granted for January '93 in the exhibition hall "Picasso y Velázquez" of the Caja Rural of the city of Toledo. Spain. ...
- 1993: Date granted for February of '93 at the Elisa Cendrero Museum in Ciudad Real. Spain....
She is a teacher graduated from the School of Fine Arts, Prilidiano Pueyrredón....
She studied with the masters Domingo Terrero, Alberto Espada and Héctor Giuffre....

Atelier: Calle Uruguay 60 P. 3º F. (C.P. 1015) Bs. As. Rep. Argentina. Phone: (00541) 381-3266.

Buenos Aires, Argentina, Saturday, March 1, 1996.

The Candioti's studio......

Entering Ana Candioti's studio means being prepared to receive a strong energy discharge, which, although positive, does not cease to make demands on the spectator. Picasso said that paintings should hang on the walls like knives. It was an eminently enthusiastic conception of what art has to awaken and nourish human consciences, a very high notion of the aesthetic dimension....
I fear that in today's world it is not the one that prevails, although many people talk a lot about Picasso. That is why paintings as forceful as Candioti's have not always found a place in those salons that are dedicated to promoting the fashions of the moment; they would also reject Picasso. ...
Ana studied at our School of Fine Arts until she finished Pueyrredón and entered the workshop of Héctor Giuffré, of whom she eventually became an assistant....
Her painting has all the solvency of the master, now based in Chicago, connoisseur and admirer of Poussin and Reynolds. Except that Ana and Héctor travel down different paths, as corresponds to different sensibilities, although both have made a cult of portraiture....
Ana has derived her inspiration from the trips she has made in these last five years: Jujuy, Spain and Chiel, taking advantage of it to come into contact with their characteristic realities....
Above all, on her trip to the north of our country she took advantage of the opportunity to capture the faces and the human condition of its inhabitants. Without reaching social realism, she maintains that testimonial force that marked the art and sensitivity of Antonio Berni, whom she admires, while appreciating in all its richness the portraiture of Prilidiano Pueyrredón....
Although she is from Buenos Aires, and lives and works in her studio in the Congreso neighborhood, Candioti honors her Santa Fe ancestors, where she held an important exhibition not long ago....
If I had to use a word to indicate the outstanding condition of this eminent artist, I would use the word "claw." It is a primordial force that animated and animates the art of some of our notable female artists. I think of Raquel Forner, whose tradition of indomitability is maintained by Ana Candioti ...

Rafael Squirru

Tampa Bay, FL, USA, June 30, 1996.

At the gallery...: The 18 Thirteen Gallery and Silver Meteor Gallery have joined forces to bring to Tampa the works of seven of Miami's most innovative international artists....
The featured artists are "Ana Candioti", Marcella Santa-Maria, Daniel Diaz and Ernesto Manera of Argentina and Sergio Payares and Guillermo Portieles from Cuba....
Their paintings will be on display and for sale today through June 30 at 18 Thirteen Gallery, 1517 E. Seventh Ave. in Ybor City....
The 33 paintings include mixed paper, paper on canvas, aluminum on wood, oil on tar paper and acrylic on canvas. The exhibit is free and open to the public....
"This is very upscale, avant garde art," said Mary Caban, curator and artistic director. "I'm sure it's going to make a big impact in Tampa Bay."...
The exhibit is open every Monday, Wednesday, Friday and Saturday from 11:30a.m. to 2 p.m. and 5:30 to 8:30 p.m....
For information, call 241-6010.

Miami, FL, USA, Tuesday, October 27, 1996.

OUR PEOPLE......
Painting is Ana Candioti's great passion...

Ana Candioti, an Argentine painter, has lived in Miami for two years, but has spent more than 30 years devoted to her great passion: painting....
Graduated from the School of Fine Arts in Argentina, as a professor of Visual Arts, she began to develop her own image in 1975....
Candioti defines her works as social painting with a purely realistic style with touches of expressionist realism. "I start from the idea of ​​the work of Mexican muralists, whose greatest exponent in my country is Antonio Berni. "When I decide on a particular theme I stop to investigate it in detail and that is why the time I have to dedicate to it does not matter," she points out....
Once she has gathered the necessary information, the painter goes to her studio with a host of testimonies, slides, videos... Once there she begins to paint. "But the work I do," she explains, "is not merely descriptive or journalistic. Although it is true that my paintings are very descriptive, especially the faces, the material I select has as its main purpose the enrichment of the works. The truly important thing is what the artist can express in that work."...
In this way, Ana Candioti has developed several series of paintings with different social themes such as the peasants of the northeast of Argentina or the workers of the port of Buenos Aires, to which she dedicated four and five years of research respectively. "The material collected in these investigations has served me to give talks and conferences in different countries, accompanied by the exhibition of my work," she says. At the moment, the work of the Argentine painter is focused on the theme that she herself calls "men and women of impact." "They are portraits of very large dimensions with which I try to pay homage to the faces, famous or anonymous, who have dedicated their lives to putting their grain of sand, more or less large, at the service of humanity," she explains....
Among the most well-known characters portrayed by Candioti are Mother Teresa of Calcutta, the writer Jorge Luis Borges, or Eva Perón, whom she has already painted on three occasions. The last of Candioti's portraits of the former Argentine first lady is in the Evita International Foundation, based in Miami, and was commissioned by its director, Francisco Echauri....
"Basically, I am a portraitist, but not in the traditional sense, since I try to express many things in the face. In principle, I am inclined to paint characters that have left their mark on me or that inspire admiration in me, such as Martin Luther King or Nelson Mandela, but I am open to all suggestions," she adds. "Portrait painting is my forte, as well as being one of my sources of work," she emphasizes. "Thanks to portraiture, I traveled for a year around Europe, from country to country and from house to house. Since my way of working is by contract, I lived in the house of the person I portrayed until I finished it. So I spent two months in Paris, six months in different Spanish cities, and also in Germany....
For this Argentine painter, the cultural task of the artist is very important for humanity in all areas. "In my case, it has meant giving up many things, such as leading an easier life, but it is something that does not matter to you because you carry deep inside the need to fulfill your vocation, your destiny."...
Candioti says she is very happy in Miami. "This place is really a very interesting place for artists. Although it is not easy, due to the large number of good artists in the United States, in Miami there is a good art market and the competition is good."...

Journalist: MARGA GABARRE....
Photographer: C.M. QUERRERO.

Miami, FL, USA, Wednesday, June, 1997.

CRITIC'S NOTEBOOK......
By MARY ANN MARGER...

Miami artists bring avant garde to show...

Seven artists from Miami exhibit cutting-edge work at 18Thirteen Gallery for its most important show ever. After two days of openings today and Saturday at 7 p.m., it continues through June 30 during hours 11:30 am. 2 p.m. and 5:30-8:30 p.m. Monday, Wednesday, Friday and Saturday. On view are works by "Ana Candioti", Daniel Diaz, Guy Haziza, Ernesto Manera, Sergio Payares, Guillermo Portiales and Marcella Santa Maria, all involved in an art environment known as the B.R.A.C. The show is staged by bath 18 Thirteen and Silver Meteor Gallery, at 1517 E Seventh Ave., third floor, Ybor City. Free. Call 241- 6010.

Miami, FL, USA, Wednesday, August 13, 1997.

"Art Connection" Exhibition at the Mexican Cultural Center......

As a reflection of the important cultural interaction that takes place in the city of Miami and with the desire to promote artistic exchange at an international level, the Consulate General of Mexico is presenting the "Art Connection" event at the Mexican Cultural Center, a collective exhibition of outstanding artists of various nationalities living in Miami....
This exhibition will be inaugurated on August 12 at 6:30 p.m. in the presence of the Consul General of Mexico in Miami, Luis Ortiz-Monasterio. For the realization of this event, support was provided by various personalities from the communities represented through the 30 participating artists. ...
The exhibiting artists are: ...
"Ana Candioti", Daniel Díaz, Nunzio Mainieri, Dalia Monroy, Leyden Rodríguez, Marcela Santa María, Juan Miguel Vázquez, Silvio Gaytón, Donatella de Marcos, Aurelio Shapay, Rafael Consuegra, Víctor Gómez, Ernesto Maneras, Sergio Payares, Eva Rossi, Gustavo Scarrone, John Asencio, Elsa Caynes, Rochi Llaneza, Marta Sossi, Vicente Dopico-Lerner, Guy Haziza, Vivian Martheli, José Reyes, Tere Ruis, Carlos Suárez de Jesús, Carlos Aulet, Juan Ilisastegui, Antonio Peña, Fernando Vallejo. ...
In recognition of the efforts of these artists to bring art beyond their borders and the cultural impulse promoted by the Consulate General of Mexico in Miami, the Honorable Alex Penelas, Mayor of Dade County, will proclaim August 12 as "Art Connection Day."...
It is worth mentioning that the exhibition presented is the product of a cultural project known as Bird Road Art Connection, an initiative of artists Rafael Consuegra, Vicente Dopico-Lerner and Guy Haziza, originated 12 years ago....
The exhibition will be open to the public from Monday to Friday from August 12 to September 10, from 9:00 a.m. to 5 p.m., at the Mexican Cultural Center (1200 NW 78 Ave. suite 203, Miami Fl. 33126) For information, call (305) 716-0095.

Miami, FL, USA, Thursday, August 14, 1997.

Collective art exhibition opens at the Mexican consulate......
Thirty artists of various nationalities participate...

As a reflection of the important cultural interaction that takes place in the city of Miami and with the desire to promote artistic exchange at an international level, the Consulate General of Mexico inaugurated on Tuesday afternoon, at the headquarters of the Mexican Cultural Center (1200 N.W. 78 Avenue), a collective exhibition that under the title of Art Connection, brings together thirty painters and sculptors of diverse national origin. ...
They are "Ana Candioti", Daniel Diaz, Nunzio Maineiri, Dalia Monroy, Leyden Rodriguez, Marcela Santa Maria, Juan Miguel Vazquez, Silvio Gayton, Donatella de Marcos, Aurelio Shapay, Rafael Consuegra, Victor Gomez, Ernesto Maneras, Sergio Payares, Eva Rossi, Gustavo Scarrone, John Asencio, Elsa Caynes, Rochi Llaneza, Marta Sossi, Vicente Dopico Lerner, Guy Haziza, Vivian Martheli, Jose Reyes, Tere Ruiz, Carlos Suarez de Jesus, Carlos Aulet, Juan Hisastegui, Antonio Pena and Fernando Vallejo....
Mayor Alex Penelas, in recognition of the efforts of artists to take art beyond their borders, and the cultural support provided by the Consulate General of Mexico, proclaimed August 12 as the Day of Artistic Connection. ...
This exhibition is the result of the cultural project known as Bird Road Art Connection, an initiative of artist Rafael Con-...
(Go to page 2B, Col. 3)...

By GUILLERMO CABRERA LEIVA....
Photo: The Mexican Consul (left) Hon. Luis Ortiz Monasterio, receives a Proclamation from Mayor Penelas from the hands of Joseph Jean Baptiste, Director of County Protocol, declaring August 12 as Art Connection Day. (Photo RUBEN CABRERA).

Miami, FL, USA, May 1, 1998.

Ana Candioti......

Ana Candioti is an Argentine visual artist. She is currently preparing an important exhibition at the Archaeological Museum of Cancun, Mexico, entitled "Maya" Living Culture. This will show the first part of the production of her research on the daily life of the Mayan cultures of the Yucatan Peninsula, a task for which she was invited and sponsored by the "Talento" Foundation of the same city of Cancun. This exhibition is the first of a series of exhibitions that the painter will have to carry out every three or four months, invited by this Museum, to show what is produced in three or four months of research and artistic production on the Living Mayan Culture. ...
Photo (Series "The Natives 2000" Acrylic on canvas 36" x 50")....
He is also preparing a collective exhibition with approximately 8 works for the Cornell Museum in Delray Beach on May 18th, where he will show his work entitled "American Cultures"; a series of works from the research carried out in Bolivia and northwest Argentina on the Andean cultures, in Mexico on the Mayans, in the USA on the Native American Indians and some on black culture, the latter corresponding to the most recent work started this year....
Photo (Some The Blackmen" WELCONER SOM 24 x 30"). ...
All this artistic and social work is being carried out through the institutions that invite and/or sponsor her, taking into account her background in Argentina, which since 1980 has focused its artistic activity on testimonial art, closely related to the activity of rescue, revaluation and promotion of the cultural heritage and traditions of our Latin American countries: work that Ana Candioti began in Argentina at the invitation of the cultural extension department of the National University of Tucumán, and by the first Enrique Pichon Riviere School of Social Psychology, and, as the project will continue to extend towards the reality of indigenous peasant communities and the different black cultures of America in general, to carry out exhibitions, publications, catalogues, videos, etc. in different spaces such as museums, galleries, cultural centers, universities, schools, etc. The same as dissemination in the national and international press and media. As it has been doing since 1980 onwards, new sponsors are being added and accepted for the better development of the different projects already started, because it is a task that will require investment in time and money....

To contact Ana Candioti you can do so by phone/fax 305-267-9492.

Miami, FL, USA, September 13, 1998.

ART AND HUMANITY......
NEW ART GALLERY...

On September 11, the new art gallery "Peixoto Art Gallery" was inaugurated with a good turnout, showing the latest works of the famous Argentine artist Ana Candioti. It is known that the style of this painter is of an expressionist realism, as the Argentine critic Rafael Squirru states in his reference notes to it, "... it follows the line of artistic expression of social painting, which was started in Latin America by the Mexican muralist artists, Rivero Orozco and Siqueiros and in Argentina, among others, by Antonio Berni, with his new realism." Ana Candioti offers us in this exhibition some of her latest works, made in the city of Miami, where she has installed her studio for some years, which respond to each one of her works. the series that have taken her around the world in this search for images of social extraction. Thus, we can appreciate some of the works of the series:...
Photo (Enrique "Quique" Peixoto and Juanita Metz, owners of the Galeria Peixoto on the day of its inauguration)....
Photo (from right to left: Analia Lucero, Ana Candioti, Rafael Consuegra and attendees at the exhibition)....
Photo (Ana Candioti and one of her works). ...
Tango", "The Musicians", "The Peasants", "Port Men", "The Children of America", "Still Lifes" and, from the latest exhibition that is taking place in this city, "Men and Women of Impact", shows us the portrait of Eva Perón that was made at the request of the International Evita Foundation", where one can recognize a strong and growing portraiture ability of the artist. With this exhibition, the Peixoto Art Gallery, not only provides the opportunity to appreciate beautiful works of art, but it is a cultural event that collaborates with the artistic and cultural growth of Miami as stated by Juanita Metz and Enrique "Quique" Peixoto, the brand new owners of this new gallery. Visiting hours are Monday through Thursday from 5 to 8 pm, Fridays from 5 to 8 pm and Sundays from 5 to 9 pm. The gallery is located at 4243 W. Flager St....
For interviews or more information call 305-443-4447 ...

By Edan

Buenos Aires, Argentina, June 14, 1999.

Ana Candioti's paintings at ATC......
The faces of work...

The modern facilities of the ATC plant serve as a context for Ana Candioti's paintings, which are on display there from June 14 to 30....
Two realities come together. One, that of the world of mass media, of "modernity and consumption, of fivolity and manipulated information....
The other reality, illustrated by the paintings of Ana Candioti, which, as a counterpoint, show us that other Argentina, that of work, of pain, of postponement....
Those peasant faces furrowed by the tilling of foreign lands. Hundreds of years of conquest have not finished off their culture, still alive in their verses and in their boxes....
From Purmanarca to the port, the heart of Buenos Aires, where the painter has ventured, perhaps for the first time in the history of Argentine art, into portraying hiring, that which is done by hitchhiking and which reminds us of the crude capitalist exploitation....
Photo: "The grandparents", tempera, 1983....
Port through which cereals and meats pass towards the world's centers of power without leaving Bread on the tables of the poor and no bones in their pots. Port where the stevedore knows about wine and two rations to lighten the load that passes through his shoulders, but not for his benefit or usufruct....
Through the realism of Ana Candioti, more eloquent than this note, we enter into two antagonistic Argentinas, living together but in struggle, which deserves to be seen and thought about because... those faces of ours are not the ones that pass through the TV....

ATC, Argentina Tolevisora ​​Color...
Av. Pte. Figueroa Alcorta 2977, Bs. As....
Monday to Friday from 2 to 7 pm....

By D.D....

Photo: "The hunger's shed", 1988

Miami, FL, USA, April 2000.

Ana Candioti exhibits her testimonial art in Mexico and Florida......

An artist is an artist when his work transmits something different from the rest, with his own style and an artistic project. Such is the case of Ana Candioti, the Argentine painter who since 1980 began the path of testimonial art and the revaluation of Latin American cultures. ...
Her research has been growing, and at this moment there are two challenges to work on, an exhibition at the Archaeological Museum of Cancun entitled "Maya, culture V., a product of her research on the daily life of the Mayan culture in the Yucatan peninsula, (a task for which she was invited and sponsored by the Talent Foundation of Cancun) and the second, a collective exhibition in Delray Beach [the Cornell Museum, where a series of works will be shown on her research on Andean cultures, Mayan, indigenous Americans and some of the black culture, her most recent work.

Miami, FL, USA, April 2000.

Intense activity in Ana Candioti's studio......

The objective was multiple. First, to celebrate her birthday, which coincided with the national holiday of July 9, and second, to show the press part of the exhibition that she will present at the Eduardo Sivori Museum in Buenos Aires from November 20 to January 2....
It is a mega-exhibition entitled Religiosity and Fair in the Quebrada and in the Puna, the product of intense field work in northern Argentina, which... (illegible text)....
Photo: The artist Ana Candioti in front of a work from her new production....
...look or admire, the most dispossessed, the marginalized, the great forgotten....
Ana Candioti is currently preparing not only the works but the detailed catalogue of them which, like the exhibition, will be sponsored in part by Verité Distributors....
That day was also celebrated the arrival of an engraving press, from Argentina, for the artist Liliana Gerardi, from the same atelier, who has been waiting for it for three years to be able to fully dedicate herself to her art of engraving....
Liliana Gerardi happy to have finally received her engraving press from Argentina.

Cancún, México, 5 de junio de 2000.

Ana Candioti's exhibition to open......

CANCUN.- The spirit of the indigenous peoples, with their strength, roots and traditions, occupy Ana Candioti, a painter of Argentine origin, who will exhibit her works from this June 7th until the 30th of the same month in the exhibition hall of the Museum of History and Anthropology of Cancun....
Ana Candioti is a graduate of the Fine Arts schools of Argentina....
After finishing her studies she trained with important masters of painting, she was a workshop assistant of the master Héctor Gluffre in Buenos Aires, Argentina, who currently resides in Chicago....
Candioti has lived in Miami, Florida for 4 years, where she has her main studio, although she has another studio in her homeland. ...
She has been a professional painter for 30 years, and has had collective and individual exhibitions since 1971....
In 1980 she defined herself by testimonial art: "I joined the ranks of the recovery and revaluation of our cultural roots, the deepest ones, the indigenous ones, both in Argentina and in Latin America."...
For her, expression means everything that speaks to her feelings, sadness, joy, the personal, everyday history of each one....
In 1980 she was invited by the Cultural Extension department of Tucumán to carry out an investigation of the cultures of the northwest of Argentina that are of Andean origin, a task that took her a few years, and from there she got to know our deepest roots, which is why she defines herself especially by this theme. ...
She is struck by the strength of the traditions, the struggle to maintain and recover their traditions and their own culture, which is reflected in the color of the skin, the features, and the ways of life....
Their spirituality and dignity are also very important: "I was a very good friend of Josefina Racedo, from Tucumán; of Aimé Paimé, princess Amapuche, among other leaders and representatives of diverse cultures, who taught me the importance of the cultural forms of our indigenous roots."...
She says that she has learned a lot from these people. "A phrase from Aimé that I always carry in my memory is: "to defend our culture is to grow with dignity towards all the peoples of the world." Currently she shows the beginnings of her research on the Mayan culture of Quintana Roo, and some sites in Merida and Campeche....
She does this artistic work invited by Matty Roca at the beginning, with the solidarity of Pilar Jufresa who introduced her to the community of San Juan in Cobá, where she has several works that she exhibits....
She also has the support of Guillermo At..., director of the Cancun museum, who invited her to this her first exhibition with the proposal to do more exhibitions as she advances in her research task....
These 15 works in acrylic on fabrics, amate paper and cardboard will be exhibited starting this June 7 in the exhibition hall of the Anthropology and History Museum of Cancun, until the 30th of the same month. (Alejandra Moncisbay...)

Cancun, Mexico, June 7, 2000.

Maya Living Culture...... (illegible text).

Cancun, Mexico, Wednesday, June 7, 2000.

The testimonial art of Ana Candioti"......

With the pictorial exhibition "Maya Cultura Viva" the Friends of the Museum Association carries out its first activity as a civil group, in the facilities of the Archaeological Museum of the city...
As part of the start of the Friends of the Museum Heritage activities, this Wednesday the inauguration of the painting exhibition entitled "Maya - Living Culture" will take place, made up of twenty works by the Argentine Ana Candioti at the facilities of the Archaeological Museum of Cancun....
Defined as "Testimonial Art", the collection, which we will be able to appreciate until the end of this month, consists of pieces made using acrylic on canvas, acrylic on cardboard and mixed techniques, recently created as a theme that reflects a strong connection with the Mayan culture....
How did your interest in showing living cultures through the canvas arise?...
"Since the 80s, my line of artistic work has been in contact with indigenous communities, I spent a long time working with the Andean culture sponsored by the University of Tucumán." ...
"My work is Testimonial Art that began years ago with a Movement of Reconstruction and Development of the National Culture created by Ernesto Sabato, its objective was and is, the recovery and revaluation of the Cultural Heritage."...
For Candiotti, it is necessary to achieve deep roots to have a proper identity because, "although it is true that in America there is a mixture of European and indigenous races, the miscegenation product of years of history has been devalued."...
After her direct contacts, the greatest impact that has left her as an artist is the knowledge of the consciousness of wisdom, dignity, tenacity and struggle of the indigenous communities. ...
"The indigenous people take care of their traditions, they take care that we do not come to distort their wisdom and confidence, for that reason, my first step is to look for institutions or groups involved like the National Institute of Anthropology and History or here in Cancun the Kuukinal Maya Foundation, the second step is to gain the trust of the indigenous people in order to then be able to observe their customs, features, feelings and even their skin color."...
At the end of 1999, the guest artist taught the course "Art and Testimony" in this tourist center within the Fin de Siècle Program organized by the Hotel Presidente Intercontinental and Mexicana de Aviación, on that occasion, an exhibition was mounted with works made in oil, watercolor, pastel collage, tempera and wax. ...
Candiots, who graduated from the Buenos Aires School of Fine Arts, expressed from the beginning of the course the importance of seeking the depth of cultural roots....
How to preserve traditions and customs in the face of the onslaught of globalization!...
"I do my bit by showing solidarity in the task that communities support in terms of preserving their traditions. What is a fact is that by gaining knowledge and having information we value ancestral wisdom."...
"This position may seem very regional, but it is a well-valued compensation that goes from being regionalist to being international."

Cancun, Mexico, Tuesday, July 11, 2000.

Ana Candioti......

Ana Candioti, born in Argentina, has been painting for over 30 years, since she believes that one is born with a destiny, and hers was art. With an inner need that inspired her, the line chosen by this Argentine artist is that marked by Mexican muralists, such as David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera, whose techniques Candioti closely follows....
She takes up the concept of Mexican muralism, in the technique of painting large canvases with current social themes. Ana Candioti is a graduate of the Buenos Aires School of Art, and has participated in collective and individual exhibitions since 1971....
Since 1980 she has been involved in the search for indigenous roots, developing this line of work, seeking to recover and revalue the ethnicities of Argentina and the various regions of our America. In short, she builds her works based on the muralist model, done in a small size, although they seem like large monumental works, her work reflects a great narrative content, the feelings of her characters are captured with great vigor, thus shaping a focus on modernity....
The artist has traveled through Argentina, Bolivia, Chile and Mexico where she has found indigenous features, which she has recorded through her painting, analyzing their customs, features, feelings and even the color of their skin; manifesting in her pictorial work a tendency to reflect faces and expressions of the diverse ethnicities. She dares to point out that respect for our culture makes all the peoples of the world grow with dignity....

By "Héctor Cobá".

Tønsberg, Norway, Saturday, August 5, 2000.

Aspects of South and Central America......

TØNSBERG: On Sunday, the Skagerrak Gallery opens a guest exhibition with an exotic element. Ana Candioti is the first Argentine artist to appear in Norway and exhibits nine oil paintings at the gallery....
Through various studies of Mayan culture and the original inhabitants of Argentina, Bolivia, Guatemala and Mexico, Candioti has... testimonial arts, which are realistic and socially conscious images. Candioti is an enthusiastic communicator for the rediscovery and re-evaluation of original cultures....
- I want to take their culture from the national to the international level, so that it can flourish and become known. Here in Norway I am especially fascinated by the history of the Sami and I would like to imagine myself depicting their life on canvas, says Ana Candioti. Her paintings can be found in Argentine and international collections, as well as in permanent exhibitions in various museums. In addition to Candioti, the dramatic artist Inmild Nilsen also participates with her paintings. Visual art is a mediator of the physical and invisible world. Other exhibitors at Galeria Skagerrak are Jens Johannesen, Elling Reitan, Eser Afacan, Ada Lisa Gjeruldsen and Hans Sæle....

Journalist: Trígono Overaas...

Photo: COMMUNICATING MAYAN CULTURE:...
The Argentine Ana Candioti in front of a painting that symbolizes the life of several generations in Bolivia, one of the several countries where she has studied indigenous people...

Horten, Norway, August 6, 2000.

Guest exhibitor from Argentina at Galleri Skagerak"......

On August 6, Galleri Skagerak in Tønsberg will open a group exhibition with several well-known artists and with Argentine artist Ana Candioti as a guest exhibitor....
VIBEKE BUAN...

The exhibition includes graphic works by Jens Johannessen, Elling Reitan, Eser Alacan and Ada Lisa Gjeruldsen, as well as paintings by Ana Candioti, Ingvild Nilsen and Hans Sæle and will be on view until August 27. While Johannessen, Reitan, Alacan and Gjeruldsen have been exhibiting their works at the 1 Galleri Skagerak group exhibition throughout the summer, Candioti, Nilsen and Sæle are new participants in the exhibition on August 6....
Guest exhibitor Ana Candioti will be present at Galleri Skagerak Skagerak on August 6 and this will be her first visit to Norway. At the exhibition she is exhibiting oil paintings....

Social template...
Since 1971, Candioti has participated in numerous solo and group exhibitions in Peru, Bolivia, Chile, Mexico, Spain, Germany, Denmark and the United States. Her paintings can be found in national and international private collections as well as in private exhibitions. Several rupees were awarded for her works looking from the National Gallery in Buenos Aires and Rosario. says the managing director of Galleri Skagerak, Grethe Bjørnevog....
Ana Candioti is also known as a social painter. She has studied the indigenous inhabitants of Bolivia and northern Argentina. During her studies on indigenous peoples, she participated in and observed many aspects of their work, ceremonies and family life. In addition, she has studied the working conditions of port workers in Buenos Aires and has created several paintings of this environment. Due to her social commitment, Ana Candioti has participated in numerous congresses related to her exhibitions. In 1998 she participated with some of her works in a conference on art and the burden of testimony organised by Amnesty International in Miami....

Realistic painting...
As an artist, Ana Candioti has focused on testimonial arts, or realistic painting with a social conscience. She has also studied the Mekalkan mural painters, which is reflected in her work. Candioti is an enthusiastic employee | projects related to the rediscovery, appreciation and dissemination of indigenous cultures in the countries where she has had the opportunity to work, says Grethe Bjørnevog...
The other two new artists exhibiting at Kollek Uvutstillingen | Skagerak Gallery, Ingvild Nilsen and Harald Sæle, are from Drammen and Larvik respectively....
The visual artist Ingvild Nilsen is known for her figurative and surrealist expression and for finger painting. She is described in her visual art as a communicator of the physical and invisible world....
Photo: "MAYA," a painting from an exhibition in Mexico on Mayan folklore is among the oil paintings exhibited by Argentine artist Ana Candioti | Skagerak Gallery.

Miami, FL, USA, Thursday, February 22, 2001.

SOCIAL......
By Luis David Rodríguez...

Alfredo Marina, "Ana Candioti" and Mario Valladares.

Miami, FL, USA, February 22, 2001.

Institutions...Photo (With his back to the work of the artist Ana Candioti, from left to right: Juan Mullen, Salo López Garzón, the pianist Marta Lledó, Dr. Emilio Carullo, Alfredo Marino, Ana Candioti and Pedro Cáccamo)....

It is worth highlighting the great work that the Argentine plastic artist, resident in Miami, Mrs. "Ana Candioti" did for the Sanmartiniana Association of Miami: her work, a painting of General José de San Martín, which it presided over at such an important conference.

Miami, FL, USA, year 15 Number 172, January 2002.

Ana Candioti Exhibition......
The faces of our American roots today...

Ana Candioti exhibited at The Wallflower Gallery, in a joint show with Burey Dudley, Darwin Leon and Ramiro Barrero....
The Argentine artist presented works, the product of her most recent research on the indigenous cultures of North America, the Afro-American and the Mayan cultures, under the theme entitled "The faces of our American roots today"....
Ana Candioti has been based in Miami since 1998 and works as a guest for indigenous cultural foundations in Mexico and the Archaeological Museum of Cancun.

Tucumán, Argentina, 2003.

Ana Candioti......
IN SEARCH OF A POPULAR PAINTING...

Ana Candioti attended the national schools of fine arts and participated in various exhibitions, including the National Salon (1976), the Marcelo de Ridder Salon (1977). Semana Cultura de la Resistencia (Bs. As. 1984) and the Rosario National Salon where she won the second prize for acquisition (1978). She worked as a teacher in the workshop of Héctor Giuffré, in the Educational Research Center of Quilmes and in other institutions and workshops. She was included in 49 artists of America, poetic umerarium, by Rafael Squirru (Gaglianone, 1984). Between 1975 and 1978 she painted a series of works that, as a metaphor, worked the image of some mannequins that alluded to the bourgeoisie in a scathing critique. Currently, your painting deals with the peasant, aboriginal inhabitants of the Argentine northwest....

• How did you arrive at your current topic...
I got into it after attending the course "Daily life of the communities of the NOA", given by Josefina Racedo at the School of Social Psychology of Enrique Pichon Riviere in 1982. There I had the opportunity to get to know that sector of our people, which although it is possible to know something about their life here in the surroundings of the Capital, is a reality ignored by the major media. Receiving the detailed account of the life of the peasants, their customs, language, way of dressing, the poverty and oppression in which they live, from the mouth of someone born there, a Tucuman with aboriginal features, for me meant listening to an inhabitant of that area who comes to tell us what we Argentines are like. That was my experience of the course. It struck me and moved me so much that it allowed me to define the image that I began to develop in my painting....
• Some of your paintings seem to tend towards mural space. Is there any truth to this?...
Well, I was never very happy with the system of diffusion in galleries, I think that it does not result in an active link with the recipient of the plastic work. I was always interested in mural painting because it is accessible to everyone and fundamentally, in my case, to whoever is represented in it. I regret that the lack of sources of work for the development of this type of painting limits us artists to the realm of the studio and the easel. The interesting thing about the mural is that it implies the participation of a team in the work, and from now on having the head and the feeling set on a heterogeneous and massive public. The collective attracts me, because it neutralizes that predominant conception that values, above all else, the individual realization of the artist: the prestige of his signature above his contents. ...
• How do you show your work?...
As I can, there are not many opportunities, but they exist, this is another struggle. In this search I had the opportunity to speak with several gallery owners, some of whom were interested in my work as an expression of national art, but at the same time they tried to condition my production, asking me to adapt it to what is possible to sell, this clearly indicates who is the main recipient of some art galleries. I remember that in an exhibition that is shown at the School of Social Psychology together with other artists (schools or institutions are important places of diffusion), one of the people who was most closely linked to my painting was the doorman of the building, a provincial man, from Misiones, who evidently saw himself reflected in my work. I also find it difficult in competitions, because from the development of this theme I begin to be rejected in them. ...
• Could these rejections be related to a certain disdain towards realist techniques?...
It is possible, my painting is realistic both in its content and in its style, and there is a tendency in our environment to relate realism with the "academic" in relation to the plastic style, and in relation to the content it does not respond to the image that is promoted today as a philosophy of life. I work with two closely linked criteria, one aesthetic and one political. The latter is what guides me in the content of the work and tells me that the recipient is the popular sectors, workers, peasants in this case: I identify with their struggles, shortcomings, customs, ways of life, it is the material that I feed on to produce. As a consequence of this, the plastic language must also be popular. I try to keep the style simple, easy to read, not to fall into fashionable styles, so ineffective to show the truth. I also try not to neglect artistic quality, but rather, on the contrary, to put it at the service of the message, because without quality it would lack effectiveness, no matter how popular the image is....
• Could we speak of a "poor" language, and in this sense devalued by some in relation to the "rich" language of abstract art?...
It is probable that realism is a devalued language at this time when the trans-avant-garde is being rewarded or people are running after what in the plastic media is called "loose painting", subordinating, with this attitude, the content to the purely aesthetic element of the work. I have recently read opinions that consider that the artist who produces social art can fall into an academic language, the preferred one, according to these opinions, by the dominant classes. Or that one can fall into "pietism" - "neologism" due to pious attitudes. I answer that this is false, mistaken. The ruling classes marginalize works of art with popular and proletarian content, no matter how high their artistic merits may be. I consider it a duty and a necessity for artists to put ourselves at the service of the most humble and dispossessed, from the moment we become aware that we are part of the people....
• What personal contact do you have with the reality you paint?...
I have traveled especially through the north of our country taking notes and photographs. On the other hand, on the occasion of carrying out activities in solidarity with those affected by the floods, the Movement for the Reconstruction and Development of National Culture, to which I belong, invited and brought to Buenos Aires a group of copleros from the NOA, thus giving the opportunity to spread popular singing, to make it known in the cultural circles of our city through its own protagonists. Among these popular artists was Geronima Sequeida (I mention her because she is now recognized after her death, after a life shortened by the sufferings that come from poverty); they spent the day in my studio and Geronima expressly asked me to paint a portrait of her and for this she stayed with me the last night. I felt very honored....
• In the broad spectrum of painting commonly called realist, there are works that are already accepted. What do you think about this?...
There are realist works that are recognized and accepted in the history of Argentine art, such as those of Berni, Aida Carballo, Cándido López, Quinquela Martín (I name those who have an influence on my work), and many others with a popular content. Also current artists, including myself, since part of my work is promoted by some well-known people in the media. But when the image becomes more committed, more militant, we artists are faced with different forms of censorship, even entire exhibitions have been put up, as is the recent case of Diana Dowek. I wonder why, having left so many paths open, artists like those I named are not considered with the importance they deserve in official schools, and it is not considered as a main task to inform about their work, their investigation of reality. What makes a tapestry from the aboriginal communities be considered a craft and a tapestry from any Buenos Aires artist a work of art? Why is the history of primitive national art not taught, taking into account that our culture is twelve thousand years old? Concealment is another of the many forms of censorship. ...
• So Argentine painting did not begin with Prilidiano Pueyrredón in the 19th century, but with the artist who made the painted hands of the caves of Santa Cruz, thousands of years ago?...
Of course, there it is, discovering this was what changed my entire Europeanist conception, which considers that we began to exist after the Spanish conquest. Those thousands of years of culture are history that currently appears in the features, the color of the skin and hair of the man of our people: this cannot be hidden, but it can be marginalized, oppressed, that is why I am interested in showing it through the portrait. In one glance, in clothing and customs, the history of our culture is summed up....
• Is it because of this that your painting can be considered a challenging one?...
It depends on who looks at it. For example, there are those who think that I paint "ugly people" according to a prejudiced concept of beauty, but there are also those who are interested and support it, and also those who paint the same thing as me....
• Are you in contact with or do you know of visual artists who work with a similar intention, in other parts of the country?...
Yes, I know some and I follow them with interest when they come to Buenos Aires to exhibit, as is the case of Victor Quiroga from Tucumán and Juan Sanchez, sculptor from Gral Roca, Río Negro, among others. I also know good landscapers, who find it difficult to introduce the image of the man who inhabits his province. I am interested in showing, through my work, that it is necessary and possible to paint the man of one's people, not only to show that he survives despite the oppression he lives under, but that he is the fundamental protagonist for the life and development of a country like ours and of any Third World country fighting for its liberation. Another issue to be resolved is how to combine this with the need to live off artistic production...
• The issue would be for artists who work in the same line in the different provinces of the country to unite to find a solution to the two problems you mention, to reach the recipient and to live off their own production....
Yes, to spread the work, not only with the aim of showing what one does, but also to encourage the development of popular art on a mass scale, which is a way of knowing and recognizing the country where one lives, how and in what conditions our people live. For this, a change in teaching methods is necessary; in official circles, they teach how to paint, not what to paint. The dominant ideology drives the artist to individualism, to be totally original and unique, an illusion that usually ends in the copying of a foreign model disconnected from one's own reality. Thus, the possibility of serving the people by speaking as their spokesperson is hidden. In private workshops, there may be today the possibility of teaching how to produce popular art. And teaching does not mean imposing or copying, it is teaching the reality that surrounds us, teaching to have a clear objective that is expressed in the content of the work, and that encourages the continuation of the artistic work of those who did so in the past....
• Do you think that the work of an artist can contribute to the process that the people develop on their way to improve, to change their living conditions?...
Yes, in a popular culture like ours, whose identity is permanently degraded and they try to destroy it, a plastic image that rescues that identity contributes to the struggle for its recovery. The person of the people feels valued when they see themselves reflected in a work, they find themselves again. The social life reflected in the work of art is seen with greater intensity, more concentrated, more typical: it is seen as a model, it is universalized from what is ours. It is one of the ways in which the artist participates in the struggle of the people for their freedom, they are enriched by nourishing their work in the people and making them the main recipient, because it is in that dialogue that they transform even their own way of life. Just as the content of the work must be consistent with the artistic quality, the way of life of the person who produces it must also be consistent with that work....

(Interview conducted with the collaboration of Josefina Racedo, social psychologist, professor at the University of Tucumán)

Sacramento, CA, USA, Wednesday, January 22, 2003.

Ana Candioti's International Art......
Roots of America at UC Davis...

ABOVE: Argentine artist Ana Candioti displays her exhibit highlighting Latin American origins at the University of California in Davis, California....
By Liliana Damiani...

Sacramento: Ana Candioti, 59, from Argentina, is one of those international artists who transcends aesthetics and technique....
Her commitment and passion in life has been, from the beginning, to show the world, through her paintings, the very essence of the origins of America....
The roots of our ancestors, the suffering and joy of our people, the lack of resources versus the abundance of values, are just an example of the contrasts that each of her paintings reflects in a finished work of a project that is present and future.....
Because Candioti's proposal ends and begins in each exhibition. Her work, through time, offers a continuity that does not end when the exhibition is closed....
Both the seasoned observer and the art enthusiast establish a dialogue not only with what is observed, but with their own culture....
Diversity has been the driving force of his work and a constant throughout his career. His painting, with a clear testimonial tone, began in the late 1970s, when he joined a resistance movement against the military dictatorship in Argentina, created by the award-winning writer Ernesto......

(Continued on page 2)

California State University, Sacramento, CA, USA, 2003.

FANTASTIC FACES......
Ana Candioti...

Art and Testimony: The Faces of Our American Roots...

Painter Ana Candioti's telling portraits of native peoples of the Americas will be on display at the Union Gallery Sept. 29-Oct. 24 as part of Hispanic Heritage Month activities on campus. A reception for the artist is scheduled for 6-8 p.m., Oct. 1, at the University Center Restaurant. Titled "Art and Testimony: The Faces of Our American Roots," the exhibition features around a dozen paintings....
Born in Buenos Aires in 1944, Candioti attended prestigious Argentinean art schools through the early 1970s and by the middle of the decade had distinguished herself as a national talent. Numerous shows in her country's galleries, cultural centers and universities followed, bringing her to the attention of the South American art world....
Around 1980 Candioti committed herself to a national movement in Argentina exploring the cultural traditions of native peoples. She began to focus her work on depicting the rapidly vanishing faces of the indigenous. Her efforts and talent soon garnered worldwide praise and invitations to exhibit her work internationally. Candioti is now a resident of Miami, where she has a studio and gallery....
For more information, call 278-6997.

Miami, FL, USA, Thursday, February 6, 2003.

ECOLOGY......

One painting, "Gua Gua," from the "Women of the Earth" series, is beautiful; it's a large work of a woman dressed in a red dress, carrying a small child on her back. The painting's focus is divided between sensuous swirls of red and magenta, and pattemed, woven and silky-smoth fabrics. It's the most painterly of all this exhibit's wirks, and it show's what Candioti could do, if she allowed her art to come before her mission....
Candioti habeen influenced by the great Argentine master painter Antonio Berni, and by the Mexican muralist and social realism schools of art, as well as by European art of the 1930s. But her love for the world's indigenous people has made her the artist she is today....
The charitable foundations that finance her work — the Tun Ben Kin Foundation, the Maya Kuxkinal Foundation and the Talento Foundation, all located in the Yucatan — facilitate agreements with impoverished indigenous communities. The communities vote for or against the proposed projects, most of which are designed to improve local economic conditions....
The woman pictured in "The Broidery" lives in a community of embroiderers. The foundations help them sell their work and thus preserve their traditional embroidery customs. The people in this series of paintings were shy about having their faces featured, so they asked Candioti to include backgrounds and landscapes that reflect their culture....
"The Game of Bola" is another in this series. The man is a local shaman, one of the local cultural leaders. Mayan people are peaceful, and many disputes are re solved by playing games; whoever wins the game wins the argument....
After visiting and photographing her subjects, Candioti returns to her Miami studio to make her paint ings. She then brings them back to the community for approval She usually makes only minor changes, and if someone refuses permission to show a painting, she keeps it for herself....
Candioti once made a painting of an Andean man lying donen during his break from a job in a big city. The work was backbreaking, but he begged Candinti not to show that particular painting, because it would perpetuate the myth that indigenous people are lazy....
Candioti has been recognized by Amnesty Intemational and the Argentina National Culture Movement, for her commitment to the preservation of the culture and well-being of indigenous people all over the world. She has exhibited internationally, in Madrid, Uruguay, Brazil and Buenos Aires, in the Cultural Center of National University of Tucuman, in San Miguel de Tucuman, Argentina, in Italy, in Toensberg, Norway; at Florida International University in Miami in Mexico; and at New York University...
She recently added projects in the United State with Native Americans, Alaskan Eskimos and African Americans who live in Miami. She also plans toda project in northem Norway and Sweden...
The MU exhibit will inspire both artists and visitors who care about the fate of the world's forgotten peo ple: those who live in poverty but maintain thar rich cultural heritage against all odds...

Art review......
Ana Candioti...
Where: UC Davis Memorial Union Gallery second floor MU: 752-2885...
When: through Feb.21...
Gallery hours: 9 am to 5 pm Monday through Friday, closed weekends....

Photos: Greg Rihl...
"The Game of Boka," by Ana Candioti...
"Maternity", by Ana Candioti

Tønsberg, Norway, July 31, 2003.

Painting social conscience......

Argentine Ana Candioti conveys exotic culture from the world's indigenous people....
Merete Holtan...

From August 6th until the end of the month, the painter will be exhibiting a collection of paintings at the Sandefjord Library. They show faces, costumes and landscapes from exotic cultures around the world, and also some sketches from the artist's early work with the indigenous people of our country, the Sami....

Living with indigenous people......
- I want to show people that indigenous culture is alive. It's in me, it's my mission, says Ana Candioti....
Why the Sami?...
- I always look for the indigenous people wherever I go, and these are the only ones I know from Europe....
He started with his own people, farmers who came from Peru and Bolivia and arrived in Argentina. He has been working for 20 years. With the Mayans in Mexico, the Indians in the United States, the African Americans in Haiti and the Eskimos in Alaska and Canada....
The artist currently lives in Miami, but travels constantly to live with the indigenous people she has met and wants to meet. She studies people closely, takes photographs of them and travels to her studio in Miami to transmit her impressions on canvas....
- I always come back. Culture is changing, says the artist interested in anthropology....

Return to Vestfold......
Regarding her artistic training, Ana Candioti trained at the Argentine School of Fine Arts from 1965 to 1975. She also studied painting and composition with famous artists. She herself concentrates on so-called testimonial arts, realistic painting with a social conscience....
Candioti has participated in numerous solo and group exhibitions in South America, Spain, Germany, Denmark and the United States. Today, her paintings can be found in private collections in Argentina and abroad and in permanent exhibitions in various museums. She previously exhibited her work 1 Norway at the Galleri Skagerrak in Tønsberg in 2000....
Candioti also shares her learning through lectures at various conferences and has taught her work as a “social painter” in schools and universities in South America, Spain and the United States....

Photo: Argentine Ana Candioti will be exhibiting at the Sandefjord Library from August 6 until the end of the month.

Jujuy, Argentina, April 18, 2003.

Ana Candioti in Jujuy......
Art that reveals and reveals realities...

The visual artist will record in her works, the Holy Week in the north of our province....

The Argentine visual artist Ana Candioti is in our province, invited by the Human Rights Commission of the Municipality of San Salvador de Jujuy, who is currently based in Miami, from where she works on her testimonial art projects, which she develops throughout the world. The artist graduated in 1971 from the Fine Arts schools "Manuel Belgrano" and "Pridiliano Pueyrredon", in our country....
Her exhibitions have traveled the world, in halls in the United States, Norway, Mexico, Peru, Brazil, among others. ...
Since 1980 he has dedicated himself to a very particular style, that of testimonial art, which has resulted in series such as "Maya, living culture," "Afro-American" and "The natives," among others....
The work he proposes involves working with entities and people linked to peasant communities and indigenous peoples, to introduce themselves to their research work on the current conditions of existence, in order to be able to translate it onto the canvas. To do this, it is necessary to live with such communities, photograph them, and gather information about their reality....
This inclination begins with the action of "joining the current that from the different areas of art has been fighting for the dignity of art itself and the history of the people, and fundamentally for the preservation and promotion of traditions, heritage and cultural roots," explains Candioti, "taking into account that heritage is not only the archaeological production that remains and that is marketed by the states of all countries, but also the current living beings, and that are the beings that I paint."...
She adds: "They are producers, who still produce, and fight for their traditions and the recovery of their cultural values, and because they are indigenous, they are currently considered to be in the worst conditions by the official world, in contradiction to everything they have produced and continue to produce."...
She is convinced that marginalization consists only in displacing them or not considering them, such as the Mayans in Mexico, "who are not recognized as having an identity in order to continue taking away their lands, heritage and archaeological pieces."...
Faced with this reality, Ana Candioti proposes to fight through art. "My commitment is to spread this reality throughout the world, in all possible public and private institutions."...
The satisfactions that these experiences have brought her are precisely those that she shares with the same communities "of which I already feel part, because I have incorporated everything." Also when showing the resulting works, she receives criticism from the same protagonists. ...
All this work also benefits these communities, since a percentage of the sales of the paintings is allocated by the artist to the communities....

ANA CANDIOTI HAS BEEN DEVOTED TO TESTIMONYAL ART ALL OVER THE WORLD SINCE 1980...

"To move, not to please"......
by DOMINGO SAHDA...
art critic...

The oils are treated directly on canvas, no show of a studio distracts from the visual impact that the author seeks....
That a plastic artist, faced with so much "light" and tasteless art, dares to say her piece, getting rid of plastic fashions and similar benefits, is meritorious in itself....
It underlines an attitudinal independence that is obviously a prerequisite for art assumed with dignity. ...
In her work, she tries to move, not to please....

in our province......
In Jujuy, Ana Candioti will participate in the Easter celebrations in Yavi, Abra Pampa, Tilcara, to later document this experience in her paintings....
She will stay this weekend, then leave for Buenos Aires and return to Miami....
Between June and August, the artist will work on a project in Norway, with the Lappish communities, and she plans to settle in Argentina for two or three months every year starting next year, when the results of her visit to Jujuy will be appreciated....
Before arriving in our province, she was giving lectures at the School of Social Psychology of the University of Tucumán, and doing the same survey work in the towns of El Mollar and Tafi del Valle.

Miami, FL, USA, September 2003.

Ana Candioti - Argentine Plastic Artist......

Her work is marked by a consistent interest in primitive peoples from different parts of the world, which are reflected in her oil paintings and graphic work. She recently spent a few weeks researching the SAMI cultures of northern Scandinavia. She also presented two exhibitions in Norway in August, in which the Embassy of the Argentine Republic in Oslo will participate. The first one was at the Sandefjord Library in the town of Sandefjord and in Oslo at the Smia Galleri, Kultur Kafe.

Miami, FL, USA, March 2005.

The work of the artist Ana Candioti exhibited at the Eduardo Sívori Museum in Buenos Aires......

Beginning with the Series of Farmers of the Argentine Northwest and under the name Art and Testimony 2004, Religiosity and Fair in the Quebrada and the Puna Argentina", she presented her new collection called -Living Culture in the Argentine Northwest- at the Sivori in the City of Buenos Aires....
Ana Candioti, a contemporary visual artist, has directed her work for more than twenty years to reflect the reality of indigenous communities, through research into the cultures and living conditions of the different ethnic groups currently existing in the world....
Since 1980, when she began with the peasant communities of the Argentine Northwest, through the coplero meetings of the people of Purmamarca and the permanent support of GERPACU (Institute for the Recovery of Cultural Heritage of the National University of Tucumán) and later from Miami, devoted to the investigation of Mayan cultures (Maya Living Culture Series), the Sami cultures of northern Scandinavia, the Afro-American cultures beginning with the Haitian cultures and the North American Indian reservations (invited by the Sioux Chief of South Dakota) having recently added to the long list, the Toba cultures of northern Argentina, which occurred as a result of a first contact during Christmas week 2004, with the Toba peasants of Pampa del Indio....
The artist tells us that the work she has done has led her to live and share the life and tasks of the different ethnic communities as the only way to understand them and reflect them in her painting to spread to the world a little-known or poorly-known reality through the universal media. ...
A commendable task for Ana Candioti who has managed to unite her two passions: painting, which comes from the school of the Rosario master Antonio Berni and the Mexican muralists and, without a doubt, her great vocation to collaborate in the safeguarding of indigenous cultures in protest, preserving their traditions, cultural forms and for the recovery of their rights over the lands they have always worked.

Miami, FL, USA, April 2007.

"THE ARTISTS" and the game of life......
"The Game of Life, was a collective exhibition that mixed my realities with my fantasies, not doubting for a moment that it is worth playing."...

The exhibitors were Ana Candioti, Alejandra Goldberg, Rosie Jiménez Hedean, Sergid Lastres, Wilfredo Barceló, Gastón Cabrera Dominguez and Edin Gutiérrez....
Ana Candioti is an artist born in Buenos Aires, Argentina, with a solid background, several awards and a copious list of exhibitions in her country and internationally. ...
Another Argentine, Alejandra Goldberg, whose training owes much to the Italian artist Vito Campanella, who resides in her country, reveals a great mastery of drawing, as is evident in her pencil on paper -Stages of Life-....
Rosa Jiménez-Hedesa, born in 1963, in Havana, Cuba, is self-taught and uses various media to create her work....
Sergio Lastres, also self-taught, was born in 1965, in Havana, Cuba. He believes that he began to paint more seriously when he arrived as a rafter to the Guantánamo Naval Base, where he had his first solo exhibition in 1994....
Another Havana native, Wilfredo Barceló, born in 1971 and who studied at the capital's San Alejandro Academy between 1986 and 1989, follows a surrealist approach to the subject with his oil on canvas -The Supernatural-. ...
Gastón Cabrera Domínguez, also Cuban and born in 1961, studied at the Provincial School of Art in Holguin, the National School of Art and the National Center for Artistic Training of the Ministry of Culture....
The list of exhibitors is completed by Edín Gutiérrez, born in 1953, in Santa Clara, Cuba, and who studied art at the Academy of San Alejandro. The artist has focused his work on the idealization of the Cuban in his urban and archetypal images of the national....
"When Edin Gutiérrez came to propose the theme for the exhibition, I began to get excited and began to recreate in my mind all the possibilities to be able to capture that... (illegible text)."

Galt, CA, USA, Thursday, November 16, 2007.

Todo Un Poco celebrates "Day of the Dead"......
Compiled by Lance Armstrong...

Todo Un Poco restaurant in Elk Grove celebrated "El Dia de los Muertos" ("Day of the Dead") on Nov. 2....
El Dia de los Muertos is a tradition that combines Aztec, Mayan and Spanish beliefs about death....
This event, which is one of the most popular celebrations in Mexico, is held on Nov. 1 and 2 and in some places the entire month of November....
Nov. 1 begins the "Day of the Dead" festivities and Nov. 1 is "All Saints Day" and Nov. 2 is "All Souls Day."...
These days are used to celebrate the deceased and enjoy their memories. It is a belief that during this time the deceased pay a visit to their families and friends for a few hours and the family in return has to be ready to welcome them during their visit and there is no other way to do that than to build an "Altar de los Muertos."...
The altar consists of a table with offerings, which usually consist of items that the de ceased used to have or enjoyed while they were alive....
There are a few things that always have to be included or they must be present at each altar. They are: Candles (fire), a glass of water (water), paper cutouts (wind), and food (earth)....
The most important offering of the altar is the sugar skull....
Photos of deceased family members at the altar are dedicated to these individuals....
Todo Un Poco owner Marie Mertz had her own altar at the event, which also offered complimentary tamales for guests....
"I dedicated this altar to my father and grandparents and I placed items that represented them," Mertz said....
Items included in Mertz's altar are a collection of mini-wines and alcohol bottles for her father, favorite dishes and three cups of coffee for her grandfather, and shells and special food for her grandmother....
As a backdrop for the altar, artwork by Argentine artist Ana Candioti was also on display....
Mertz said that she will hold a larger Dia de los Muertos celebration in her restaurant next year....

Photos:...
1) Todo Un Poco guests view the restaurant's Day of the Dead alt......
2) Argentine artist Ana Candioti and Todo Un Poco owner Marie Mertz enjoy a moment together at the restaurant's Day of the Dead gathering.

Quincy, WA, USA, 2008.

Art space features local artist Ana Candioti......

One of the works by artist Ana Candioti now on display at the Mary Kazda Art Space....
The Mary Kazda Art Space at the Quincy Public Library is featuring Quincy artist Ana Candioti, now through the spring....
She is known for her realistic portraits of people and her landscapes in vivid colors that use bold brush strokes....
Candioti was born in Argentina and moved to Quincy recently. She is a graduate of the Academy of Visual Arts at the University of Buenos Aires in Argentina and she began her artistic activities in 1971....
She has a permanent studio in Buenos Aires and a studio in Quincy. She travels frequently, to San Francisco, Washington D.C. and Miami, for commissions and for her other business, art restoration....
"She is a remarkable woman and artist," said art space organizer Roxa Kreimeyer. "I really want the public to know about her and our other local artists."...
Candioti had previously shown her works at the Wenatchee Valley Museum and Cultural Center and said she was happy to have the opportunity to display them in Quincy as well.

Detroit, MI, USA, January 31, 2019.

Argentine artist Ana Candioti in Detroit...

The African diaspora is a complex field of interaction, representing at times in the context of the wide dispersion of African peoples around the world, a series of overlapping diasporas....
What is often significant, in my view, is the salient aspect of transformation and reworking....
Candioti's work, in this exhibition, represents precisely that "Art and Testimony."...
She presents wonderful images of Africans and native peoples of the Americas, in surprising aesthetic articulations. It is appropriate that she titles it "Art and Testimony," a deliberate linking of the representational in the visual articulation. ...
We often don't think of "art" in the same discursive frame as "testimony." But here the juxtaposition of these two fields brings its subject to life. And indeed, this art thus attests to the existence of a people rich in African culture as well as its extensions in the New World....
Candioti has received praise for her work in Latin America. We are pleased to be able to have the opportunity to witness this visual feast in North America now....
The extension of knowledge about the African diaspora, in this case, through art, is an essential component of our intellectual and social attitudes. It gives us another opportunity to establish decisive links between the University and our diverse communities....
Candioti is well positioned to do this having studied African diaspora communities in Latin America well. "Art and Testimony" serves as an adequate documentation and representation of these cultures and their diverse peoples....

Argentinian Artist Ana Candioti, Paintings Celebrating Black History Month...
The Detroit Public Library was pleased to welcome artist Ana Candioti in her first Michigan exhibition of her series of paintings, "50 Years of Immortality: Art Exhibition Honoring Rev. Dr. Martin Luther King, Jr." She began her series depicting the African diaspora back in 2000 when Candioti immersed herself in the Haitian culture of Miami. She continued to explore the African institutions, clothing, and religion of the city as well as Latin American communities, and has expertly portrayed the diverse and rich cultures through her portraits....
NowMarch 3, 2019 Detroit Public Library-Main Library, Galleria Exhibit Room. (free) 5201 Woodward Ave., Detroit 313-481-1300...
Photos by: Dan Graschuck EL CENTRAL