LUCÍA REISSIG

The work of Lucía Reissig (Buenos Aires, 1994) transposes ideas about the memory of the body and objects into tasks of care, domestic work, informal work, and food politics.

In recent years, her work has focused on sculpture, where she uses materials and techniques that echo the processes and sensibilities of cooking, exploring diverse variants, textures, colors and compositions. Her artistic practice also extends to the production of objects, installations, performative rituals and photographs. She is interested in blurring the technical and conceptual boundaries between politics, food, work and affections, combining these languages in her work, either collectively or in her studio practice.

She pursued her art studies at Universidad Nacional de las Artes, Buenos Aires. She participated in critiques with artist Ana Gallardo (2016) and continued her education at the Programa de Artistas in the Universidad Torcuato Di Tella, Buenos Aires (2017/18). She participated in Escuela Incierta at Lugar a Dudas, Colombia (2018). She is currently in the second year of a master’s program in sculpture at the Milton Avery Graduate School of Arts, Bard College, Annandale on Hudson, New York.

Since 2015, she has formed part of artist-run projects like Proyecto NUM (an editorial and curatorial archive on local feminist artistic expressions); Caterine Full Love (a mobile and dissident food project co-created with Nina Kovensky where different flavors are combined to give away food, understood as fuel, at mass mobilizations); Belleza y Felicidad Fiorito (specifically, its studio for children, the Comedor Gourmet, and other workshops); Servicio de limpieza integral (a collaborative research project with Bernardo Zabalaga on caring for spaces and sustaining life that connects domestic and energetic cleanliness). She also forms part of Planta Alta, a studio space for artists in Buenos Aires.

Solo shows in Argentina include: 287.5 kilos, Móvil, Buenos Aires (2023); El trabajo invisible, Selvanegra Galería, Buenos Aires (2018); Todo estaba sucio, Museo Municipal de Arte Moderno de Mendoza, (2022).

Her work has been included in several group shows: Luz y Fuerza, Museo de Arte Latinoamericano de Buenos Aires (2023); Extraña posesión, Lugar a Dudas, Cali (2018); Negra, MUNAR, Buenos Aires (2019); La colección escucha: voces del acervo, Palais de Glace, Buenos Aires (2020); Bombastik, Galería Nora Fisch, Buenos Aires (2021); Adentro no hay más que una morada, Museo de Arte Moderno de Buenos Aires (2021); XXV Premio Klemm, Buenos Aires (2021); Las olas del deseo, Museo Casa Nacional del Bicentenario, Buenos Aires (2022); Archives of the tympanum, Hessel Museum of Art, New York (2022); Colección comentada, Centro Cultural de la Memoria Haroldo Conti, Buenos Aires (2022); Premio 8M, Centro Cultural Kirchner, Buenos Aires (2023).

In 2021, she published Pisos pegajosos (Sticky Floors) with Hambrehambrehambre, a publishing house based in Chile.

In 2018, she was awarded the Kenneth Kemble Fellowship for a Young Artist, and in 2019 the Premio en Obra at arteba along with Selvanegra Galería.

Lucía Reissig lives and works between Buenos Aires and New York.

workS

Mamushka de ollas, 2023

Lucía Reissig

Mache, Filler, Synthetic Enamel, and Metal
35.4 x 27.6 x 21.7 in

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Roscas, 2023

Lucía Reissig

Paper Mache, Paper Pulp, and Acrylic Paint
100.4 in x 15.7 in diameter

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Flor de morcilla, 2023

Lucía Reissig

Rigid Polyurethane Foam, Wire, and Synthetic Paint
236.2 x 5.9 x 5.9 in (variable measures)

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Contenedores, 2023

Lucía Reissig

Papercrete, Ferrite, and Adhesive Additive
63 x 157.5 x 118.1 in (variable measures)

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Untitled, 2023

Lucía Reissig

Flexible Polyurethane Foam and Tubular Netting
78.7 x 9.8 x 9.8 in

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Bolsas y amarre, 2023

Lucía Reissig

Plastic Bags, Paper
35.4 x 19.7 x 19.7 in

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Embutidos, 2023

Lucía Reissig

Papercrete, Tubular Netting, Butcher Hooks, Metal Structure
98.4 x 204.7 x 15.7 in

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Violeta, 2023

Lucía Reissig

Paper Mache and Paper Pulp. 47.2 x 11.8 x 11.8 in

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Untitled, 2023

Lucía Reissig

Epoxy Resin, Papercrete, and Egg Crates
(variable measures)

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Todo estaba sucio. Series El trabajo Invisible, 2022

Lucía Reissig

5-year archive of rags used in
domestic work, hand-sewn
118 x 130 in

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EXHIBITIONS

COPIADO Y PEGADO
GROUP SHOW


MAY 10. — JUL. 202
4

287.5 KILOS
LUCÍA REISSIG

MÓVIL
BUENOS AIRES, ARGENTINA
OCT 28. — DIC 16. 2023

books

Sticky
Floors

Hambrehambrehambre
Santiago de Chile, Chile

2021