Mano Leyrado

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Artwork of Mano Leyrado at KHB Weissensee Rundgang 2023

The code engraved in “Crypto Art” corresponds to a hash of a NFT

Part of the Years Series. Here the chains act as a loop of life, where the energy takes a protagonist role; we need it, but we’re slaves of it.

A project developed during my residency in ZK/U. Through the research about an Argentinian circuit of artists living in Berlín, this series resolved as a conclusion, mixing artistic and curatorial exercises
Forms: A series of forms shows the process of the artist’s research. More than 20 artists were interviewed to get the information from which were drawn certain conclusions. This device adopts the design from “Anmeldung” forms.
Meta-Back-Office: In general, in the first year living in Berlin, for Argentinian artists, it is hard to get inserted into the circuit of symbolic exchanges, the possibility of getting an exhibition space or have enough time for art production. That ‘s the reason why I developed this “Back office of incoming art”, appropriating the exhibition device of back shop galleries to show some of the work from Argentinian artists who arrived in Berlin during the past year.
Autonomous exhibition: A group of tv’s showing themselves an archive of artworks from Argentinian artists living in Berlin for more than one year. What seems to happen after the first year’s crisis, the artists reconstruct a relation with their artwork. They re-think the reason why they do what they are doing, to finally find autonomy.

Looking for some answers about the topic of artist migration in Berlin city, it was impossible to not find the phenomenon of gentrification.
The portraits printed in a random loop are the faces of Argentinian artists living in Berlin. This Installation tries to translate in a poetical way the process where the identities are altered by their overlapping.

The face of the artist printed on a hard-disk works as an introduction of his approach, Mano Leyrado constructs himself through a data archive methodology.

In collab w/ Boris.mhl
Entering the room, viewers can connect to the internet and surf freely, before this they are informed that their navigation will be registered and saved, to finally be uploaded to a website.
“I love you but internet” is an installation that seeks to challenge the logic between exhibition space and artwork while people are also being questioned about reading behaviors on the web.

An exercise about the Mona Lisa’s painting.
A double-sided mirror divides the artwork into two, the fractal division multiplies the image as a morphological operation.

A monitor reproduces randomly and “glitched” (in real-time) 7 contemporary scenes, each one corresponding to a level of the tower of Babel.
On the floor, a mountain of papers, with the imprint of 7 works from art history, is fragmented.
In this way, an anachronistic exercise is generated, emulating the media transfer and the survival of historic iconographies [Mnemósine].

A dot matrix printer prints the author’s portrait of the work in ASCII language, the continuous paper ascends to the ceiling to descend and being destroyed by a paper shredder.

En colaboración con Boris y Paola Mattos.

En la instalación se pueden observar tres núcleos: reproducciones de las obras robadas de Antonio Berni, la expropiación del sitio de arteBA y un audio poema de Pablo Kadchadjan.

#1. El 26 de de junio de 2008 fueron robadas 15 obras de Antonio Berni a través un ataque con modalidad “Piratas del asfalto” en su camino al Museo Nacional de Bellas Artes. Se trataban de collages y pinturas desde 1932 a 1981. Más allá de que los ejecutores fueron detenidos aún no se conoce el paradero de las pinturas. El robo es considerado uno de los más importantes de la historia del arte Argentino.

Las obras robadas son: La metamorfosis del pájaro azul (1930, óleo sobre tela); La muerte acecha en cada esquina (1932, óleo sobre tela); Barrancas (1934, óleo sobre madera); La mayoría silenciosa (1972, polimatérico sobre madera); Aeropuerto (1976, acrílico sobre tela); Promesa de castidad (1976, acrílico sobre tela); La olla azul (1959, óleo sobre hardboard); Los rehenes (1969, óleo sobre tela); La zapalera (1961, óleo sobre tela); La leñerita (1954, óleo sobre tela); La casa roja con techo azul (1954, óleo sobre tela); Cristo en el garage (1981, óleo sobre tela); Juanito y los cosmonautas (1962, díptico polimatérico sobre madera); El carnaval de Juanito Laguna (1960, óleo collage sobre tela), y Ramona de fiesta (1966, construcción polimatérica).

#2. Un año después de la creación del programa nacional Conectar Igualdad, el gobierno de la ciudad desarrolló el plan s@rmiento, ambos consisten en la entrega de computadoras Netbook a estudiantes.

En la pantalla de la Netbook del Plan S@rmiento puede verse el sitio actual (2017) de la feria de arte arteBA, sin embargo este no está alojado en su servidor de origen. La Url muestra que el contenido visto se encuentra en el sitio de CPU (www.cpucpucpu.art/choreo).

Luego del cierre del programa Conectar igualdad, en el año 2019 el modelo de educación digital nacional es Aprender Conectados.

#3. El espectador puede escuchar un texto escrito por Pablo Kadchadjan, reconocido escritor en el campo independiente de la literatura contemporánea injustamente acusado de plagio por su obra “El Aleph engordado”. Este texto es reproducido por una voz sintética digital.

#4. El texto curatorial está producido a partir de la utilización de extractos de otros textos curatoriales.

The installation is a tautological exercise about “One and three chairs”. The media becomes analog technology, traducing the instance of rain’s representations to three new stages:
-The television shows the “rainy” signal randomly affected by an Arduino.
-A printer executes randomly (by the Arduino) the letter “I”, drawing rain on the continuous paper.
-The wall in the back shows an image of rain through a series of points.

The installation searches for the representation of a condition where things start to “be” and where not. By grouping images in a dialectical exercise, it shows the relative conformation of conceptual bodies.