2013 . EDITION 22
MAY 24 - 27
BUENOS AIRES

YOUNG CURATORS PROGRAM

On the occasion of arteBA.2013, arteBA Fundación and Banco Ciudad launched the Young Curators Program, dedicated to encouraging, supporting, and giving visibility to Argentine professionals of the last generation. This program sought to offer an unprecedented experimentation venue for the development and exhibition of a curatorial project chosen by a committee of experts. The selection committee was made up of Sonia Becce (freelance curator, Argentina), Patrick Charpenel (director of the Jumex Foundation-Collection, Mexico), and Graciela Speranza (writer and art critic, Argentina), and invited young Argentine curators to take part in the competition with an exhibition project they conceived. After evaluating the various proposals they received, the committee chose as winner LARA MARMOR (Buenos Aires, Argentina, 1977), who received $50,000 (fifty thousand Argentine pesos) to work out her proposal and exhibit it at arteBA 2013. At arteBA 2013 she presented DOBLES, a video by the artista Leticia el Halli Obeid.

DOBLES [DOUBLES or DUBBINGS] is a video that gathers together a set of interviews that the artist Leticia El Halli Obeid conducted with well-known actors who do dubbing in Mexico City, the historical cradle of the dubbing industry. Some of those interviewed are Jorge “Tata” Arvizu, the voice of Pedro Picapiedra and of Super Agent 86 (of Get Smart); Francisco Colmenero, dubber of Mickey Mouse, Papá Pitufo (Grand Schtroumpf), the off-screen voice of The Dukes of Hazzard; Dulce Guerrero, the voice of Fiona in Shrek; Marina Huerta, the voice of both Bart and Marge Simpson, and Humberto Vélez, creator of “Homero” Simpson’s Latino voice. In the interviews, the dubbers interpret their characters and share stores and anecdotes about their métier. These masters of dubbing have left indelible traces in our memories of brilliant voices and phrases, expressions they often came up with themselves, such as the Spanish equivalent of Super Agent 86’s You actually believe half of what I say, chief?, or Superman’s unforgettable call as he takes to the air: To fight for justice! Drawing on the viewer’s emotional memory, DOBLES retrieves from anonymity these dubbing artists who refer to themselves as “the miners of art”; it shows the backstage reality of a cultural product, the laboratory of what is known as “neutral Spanish,” and it also poses such questions as: What is a neutral language? Is it an invention, a stylization constructed out of “real” languages? To what degree is it incorporated into the culture and into our daily life? Are all the varieties of Spanish “democratically” represented in that language, or do some varieties prevail over others?
Leticia El Halli Obeid reflects on language and identity on the basis of an audiovisual structure that shows the tensions between image, word, and sound. DOBLES occupies a porous boundary space between video art and documentary. It offers an interesting resistance to pigeon-holing in any single genre, and from there it possesses the capacity to prompt new interpretations for thinking about the time we live in.

Lara Marmor took a degree in Arts at the University of Buenos Aires, majoring in the field of contemporary art. Since 2005 she has curated exhibitions in Buenos Aires and elsewhere in Argentina. Outstanding among them are those she undertook with artists such as Eugenia Calvo, Estanislao Florido, Lux Lindner, and Brígida Baltar (Brazil), among others. She teaches at the Universidad Di Tella and works for the National Arts Fund, giving seminars on current esthetic practices in different provinces. She writes art criticism for the magazines Inrockuptibles and Otra Parte.

Leticia El Halli Obeid has had solo and group shows since 1999, both in Argentina and abroad. In recent years, she took part in The Right to the City, Stedelijk Museum Bureau, Amsterdam; PREMIO BRAQUE [the Braque Prize], Muntref (the Museum of the University of February 3rd, or UNTREF, Buenos Aires); The life of others, Akbank Art Center, Istanbul (2013); PREMIO KLEMM , Fundación Klemm, Buenos Aires; HUNGRY CITY, Kunstraum Kreuzberg/Bethanien, Berlin; ULTIMAS TENDENCIAS II [Latest Trends II], MAMBA [Museum of Modern Art of Buenos Aires]; ECONOMÍA PICASSO, Museo Picasso, Barcelona; UN OJO, DOS OJOS, TRES OJOS, Casa Vecina, Mexico City (2012); DIAMANTE at Galería 713, and the 54th Venice Biennale, ENTRE SIEMPRE Y JAMÁS [Between Always and Never], Pavilion of the Italo-Latin American Institute (IILA), Arsenale – Isolotto.

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