Julieta Ansalas
Julieta Ansalas (1973, Argentina,) studies include art, design and photography. In 1994 she obtained the Kuitca Scholarship (Proa Foundation, Argentina) and in 2002 she moved to Barcelona, where she works independently in her studio in Poble Sec.
She has developed different projects in which experimentation and research are driving elements.
For me, art is an agent of change, it allows us to have a new perception of ourselves and the environment. The first thing that is imposed on my way of working is a balanced and precise relationship between the image and the concept, I explore space, time and perception. In some projects I look for points of contact with other disciplines, and in many cases I am interested in scientific subjects. Such as ¨Transition Temperature¨, ¨The Water and The Cycles¨ and ¨ Uncertainty Principle.¨ I work on ideas and elements that allow us to somehow connect, identify and create, on different scales, changes in our way of seeing and feeling life.
Ansalas has exhibited at museums, galleries and art centres in Argentina and Spain.
Among her exhibitions we highlight: ¨Convergencias¨ , Alliance française – Photoespaña, Madrid, España; ¨ Curutchet House¨, Siesta – arte i objectes - , Barcelona, España, Proyecto Exploratorio, Palacio Campodónico, La Plata, Argentina
¨Alteraciones de la Luz¨, Centro Cultural Borges, Ciudad de Buenos Aires, Argentina ;
¨Fotos¨, Média/thèque Alliance française, Ciudad de Buenos Aires, Argentina; ¨Temperatura
de transición¨, Museo de Arte de la Provincia de Buenos Aires, La Plata, Argentina ; ¨La
ciudad¨, El Pasaje Arte Contemporáneo, La Plata, Argentina
And recently her work has been published in L´Oeil of the Photographie (France), Musée
Magazine (USA), International Photography Magazine and she has been selected as a
finalist in the Barcelona International Photography Awards BIPA 2019.
Barreda, Fabiana: ¨Temperatura de transición¨, en obramultidisciplinaria Temperatura de transición, Ciudad de La Plata (Argentina) : Museo de arte contemporáneo de la provincia de Buenos Aires, agosto 1999
Julieta Ansalas Fotografías, ciudad de La Plata (Argentina): El Pasaje Arte contemporáneo, octubre - noviembre de 2000
De Rueda, María de los Ángeles: ¨Las fotos de Julieta Ansalas¨, en Julieta Ansalas Photographies, Ciudad de Buenos Aires: média/thèque Alliace Française,junio 2001
Noé, Luis Felipe: ¨La corporeidad de lo intangible¨, en Alteraciones de la Luz, Ciudad de Buenos Aires: Centro Cultural Borges, diciembre de 2001 – febrero de 2002
Citoler, Pilar; Luna, Juan J.; Spillebout, Olivier: ¨Convergencias¨, en lll Concurso de Fotografía de la Alliance Française, Madrid, 2012.
Lebenglik, Fabián : ¨La Boca de beca en beca¨, Página 12 , 1994¨
Julieta Ansalas y una nueva performance hoy en el Museo¨, El Día, 23 de agosto de 1999
Panceira, Lalo: ¨Julieta Ansalas, una exploradora del espacio¨, El Día, 9 de enero de 2000¨
Julieta Ansalas en la Alianza Francesa de Buenos Aires¨, El Día, 26 de junio de 2001
CUR LC – 01 , 47 al Fondo Revista de la Facultad de Arquitectura y Urbanismo de la Universidad Nacional de La Plata, noviembre de 2003
L´Oeil de la Photographie, Portfolio, ¨Libretto of Ballet¨, 16 de Diciembre de 2017
Musée Magazine, Weekend Portfolio: Julieta Ansalas, March 2018
Thalia Magazine, The protest issue, March / April 2019
International Photography Magazine, Julieta Ansalas: Teatro de cámara, Enero 2020
En Poble Nou, Barcelona, 2016
Fotografías, Barcelona, 2016
Un día Pabellón Alemán Mies Van Der Rohe, Barcelona, 2017
Julieta Ansalas (1973)
Julieta Ansalas (1973, Argentina,) studies include art, design and photography. In 1994 she obtained the Kuitca Scholarship (Proa Foundation, Argentina) and in 2002 she moved to Barcelona, where she works independently in her studio in Poble Sec.
She has developed different projects in which experimentation and research are driving elements.
Series Libreto de Ballet
I chose leaves and parts of trees to represent the suspended time of a dance. The idea began twenty years ago, when I produced over a thousand drawings of no more than three lines representing the basic movements of ballet (jumping, stretching, folding, lifting, turning, sliding, throwing) I decided to take this idea forward with photographs, I discovered that these pieces left on the ground by the trees appeal to us to identify with them. Each of the pieces I photographed were turned over, and tested to see their expressive intensity. Each of the chosen pieces contains the expression of movement, and the shape of the leaves, color and state, which have a theatrical costume that contributes to their narrative plasticity and poetic expressiveness.
Las cosas nos limitan
¨Things imitate us¨ takes the title of a poem by Roberto Juarroz, expressing the experience of how we identify with objects, recognise gestures, movements or postures and can thus connect with emotions. We see in them something of ourselves or our experience. Things evoke us and serve as a bridge, establishing a relationship that always modifies or affects us in some way.