ANACLARA TALENTO ACOSTA
website // instagram
Born in Montevideo, Uruguay (1988) and based in Trondheim, Norway since 2017.
Visual artist and researcher. Bachelor and Master of Arts – Plastic and Visual Arts (Uruguayan University of the Republic - UdelaR. National School of Fine Arts Institute - IENBA, 2007 – 2016). Master in Fine Arts (MFA) (Norwegian University of Science and Technology - NTNU. Trondheim Academy of Fine Arts - KiT, 2017 - 2019).
Member of Uruguay’s Contemporary Art Foundation (FAC) since 2007, member of the Artistic Research Society (SAR) since 2017, and member of The decolonial arts education research and practice group, NTNU since 2021.
CONTACT INFORMATION:
anaclara.talento@gmail.com
Born in Montevideo, Uruguay (1988) and based in Trondheim, Norway since 2017.
Visual artist and researcher. Bachelor and Master of Arts – Plastic and Visual Arts (Uruguayan University of the Republic - UdelaR. National School of Fine Arts Institute - IENBA, 2007 – 2016). Master in Fine Arts (MFA) (Norwegian University of Science and Technology - NTNU. Trondheim Academy of Fine Arts - KiT, 2017 - 2019).
Member of Uruguay’s Contemporary Art Foundation (FAC) since 2007, member of the Artistic Research Society (SAR) since 2017, and member of The decolonial arts education research and practice group, NTNU since 2021.
CONTACT INFORMATION:
anaclara.talento@gmail.com
Flames go to heaven to die / Las Illamas van al cielo a morir 2021 – present
“Flames go to heaven to die” is an artistic research project that pretends to reflect on depression, its ways of manifesting, how it affects our gaze of life, living and the world, and how we often use the CMT to process it and cope with it.
In “Flames go to heaven to die” the proposal is to work with images of light shadow captured by the artist in times of deep depression. This light has no recognizable object of reference or origin, nevertheless it can be perceived in the numerous works that are part of the project. This project invites the viewer to observe the interplay of light and shadow and grapple with the process of their own perception. These works, concepts and metaphors are derived from dimensional, time lapse real shadow casting.
The ideas of time, disease as a veil, perception of life and death, light and darkness are at play.
“Flames go to heaven to die” is an artistic research project that pretends to reflect on depression, its ways of manifesting, how it affects our gaze of life, living and the world, and how we often use the CMT to process it and cope with it.
In “Flames go to heaven to die” the proposal is to work with images of light shadow captured by the artist in times of deep depression. This light has no recognizable object of reference or origin, nevertheless it can be perceived in the numerous works that are part of the project. This project invites the viewer to observe the interplay of light and shadow and grapple with the process of their own perception. These works, concepts and metaphors are derived from dimensional, time lapse real shadow casting.
The ideas of time, disease as a veil, perception of life and death, light and darkness are at play.
Love in another language / Amar en otra lengua
2021 – present
“I especially hurt the collapse of tenderness. Phrases she said, full of goodness come to my head. Then I knew that the death of a relationship is actually the death of a secret language. A relationship that dies gives rise to a dead language. The writer Jordi Carrión said it in a Facebook post: «Each couple, when they fall in love and frequent each other and live together and love each other, creates a language that only belongs to them both. That private language, full of neologisms, inflections, semantic and understood fields, has only two speakers. It starts to die when they separate. It dies completely when the two find new partners, invent new languages, overcome the duel that survives all death. There are millions, the dead languages.”
– Vilas, M. (2018). Ordesa (2ª ed.). Buenos Aires, Argentina: ALFAGUARA.”
2021 – present
“I especially hurt the collapse of tenderness. Phrases she said, full of goodness come to my head. Then I knew that the death of a relationship is actually the death of a secret language. A relationship that dies gives rise to a dead language. The writer Jordi Carrión said it in a Facebook post: «Each couple, when they fall in love and frequent each other and live together and love each other, creates a language that only belongs to them both. That private language, full of neologisms, inflections, semantic and understood fields, has only two speakers. It starts to die when they separate. It dies completely when the two find new partners, invent new languages, overcome the duel that survives all death. There are millions, the dead languages.”
– Vilas, M. (2018). Ordesa (2ª ed.). Buenos Aires, Argentina: ALFAGUARA.”
Letter to Sebastian / Cartas a Sebastián
2014-2021
Letters to Sebastian is a project based and developed from a set of photographs and letters, in the awakening of time passing and, in the eagerness, to save and preserve memories and moments while these happened and left. Therefore, these photos and letters are the basis of the the whole body of work. Letters to Sebastian has its origin in the exact moment of loss and absence, when the moment in which realization that there are no more memories to create further, but only holding on and remember over and over the ones that already were created and existed, arises.
2014-2021
Letters to Sebastian is a project based and developed from a set of photographs and letters, in the awakening of time passing and, in the eagerness, to save and preserve memories and moments while these happened and left. Therefore, these photos and letters are the basis of the the whole body of work. Letters to Sebastian has its origin in the exact moment of loss and absence, when the moment in which realization that there are no more memories to create further, but only holding on and remember over and over the ones that already were created and existed, arises.
Still I wait for you and still you don’t come (Todavía te espero y todavía no venís)
Performatic action / Site Specific / Urban intervention.
Waiting on a bench and/or other public space one hour per day every day. Register it with a permanen
Simulacrum I: the time of memory (Simulacro I: El tiempo de la memoria)Web site / Work in progress
Timers assigned to photos. Timers advance when the photos are not being viewed and regress when they are.