The exhibition of paintings that Marcela Pittner will inaugurate on Wednesday May 26 at the Metropolitan Museum summarizes her searches for personal identity combined with her reflections on recent Argentine history. Pittner combines plastically the tensions of the self (individual being) and its circumstances (social context) that was the central axis of José Ortega y Gasset's philosophy thinking.
These philosophical and existential factors underlie Pittner's images. The appearance is smooth, distanced from any tension, and refer to the alleged blanks of figurative representation.
It is easy to identify the urban architectures that Marcela Pittner draws with pictorial solvency. The profile of domes, bell towers, mansards, entablatures and vanes registers the symbolic imaginaries chosen to represent the imaginaries of power during the last century.
Pittner has solvency by trade to evoke these images. But his eagerness is not exhausted in faithful representation. costumbrista, of the porteño surroundings. The fragmentation of the identity image, the crack that corrodes the building structures alludes, without a doubt, to the breakdown of the institutions structures that fractured the social order.
This vision of Pìttner evokes the fragmentations of Diana Dowuek. Between both poetics a nexus of sensitivity tends from ideological perspectives perhaps not compatible but concurrent in some plastic formulations.
The critic Fermín Fevre points out that the representation of Marcela Pittner is not realistic but symbolic. Through the material object the work puts social imaginaries into play. And it contrasts them from the perspective of historical evolution.
This conceptual statement excuses the absence of all human figuration. Pittner reflects on the historical circumstances and rescues the harsh personal experiences of which he was a victim. And it transcends intimate reality and political reflection in plastic transfigurations that contain intimate experiences and social stories.
In this order is inscribed the detail of significant buildings in the city. Choose prominent angles that denote the architectural eclecticism and its correlate in the political ideology. With the fragmentation of the image, it spreads any narrative objective. The crack that corrodes the image and the abstract background where the citizen image stands out imposes spaces of alertness and reflection.
Pittner arrived at the painting surpassing many unfavorable instances. He was born in Buenos Aires, in 1945, and was called Marcela Fondovila. It followed the family mandate, performing as an exporter of agricultural inputs. At the same time I was doing interdisciplinary apprenticeships in architecture, ceramics, jewelery, drawing and painting.
The business success could not stifle the plastic vocation. In the middle of the eighties he resumed with Inés Mcadam and Franca de Luca the experiences that began in 1962 in the workshop of Emilia Barceló. Later he continued his training with Ernesto Pesce, Gonzalez Perrin, Ariel Mlynarsewicz and Oscar Franchino.
The heterogeneity of its formation is not erratic. In each mentor Pittner obtained excellence and conceptual heterogeneity to formulate his personal plastic proposal.
Marcela Pittner made individual exhibitions in the capital, province of Buenos Aires, Mendoza, Uruguay, Mexico and the United States. Her exhibition at the Metropolitan Museum is a major bet on the maturity reached as a woman and artist in difficult stages of the country.
The exhibition of paintings by Marcela Pittner can be visited from May 26 at Castex 3211 (Metropolitan Museum) Free admission from Monday to Friday from 2:00 pm to 7:00 pm, Saturdays from 12:00 am to 6:30 pm.Clause on June 9.
