OTROS Others



GRABADOS ENGRAVINGS


Llorones - 2008 The weepers - 2008
55x75 cm

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Acrílico sobre muro, 200x130 cm aprox. Honduras y Juan B justo.
Acrilic on wall, 200x130 cm aprox. Honduras y Juan B justo.
Acrílico sobre muro, 150x40 cm aprox. Concepción Arenal y Maure.
Acrilic on wall, 150x40 cm aprox. Concepción Arenal y Maure.


Entrevista durante la muestra "Llorones"
Interview during the exhibition The weepers

El llanto es una respuesta audible automática o voluntaria a una situación o experiencia emocionalmente angustiosa que puede incluir lágrimas. También puede ser una manifestación física de una respuesta a una situación angustiosa.
Se cree que ningún otro animal puede producir lágrimas en reacción a estados emocionados.
Los niños varones tienden a llorar menos que las niñas. Se cree que son comportamientos aprendidos. Por término medio los hombres lloran una vez al mes y las mujeres al menos cinco.
El llanto es también un medio de comunicación. Según Darwin “el llanto fue usado para llamar la atención”.

Las lágrimas, desde su presencia incomodan, asustan, manipulan, en ocasiones pueden llamar a la venganza o la violencia; pero también propagan afecto y empatía.

Crying is an automatic or voluntary audible response to an emotionally distressing situation or experience which may include tears. It can also be a physical manifestation of a response to a painful situation.

It is believed that no other animals can produce tears in response to excited states.

Boys tend to cry less than girls. It is believed that repressing tears is a learned behavior. On average men cry once a month and women at least five.

Crying is also a means of communication. According to Darwin, "crying was used to attract attention."

Tears, which can create uncomfortable situations, can be used to frighten, manipulated, and sometimes ask for revenge or violence, but can also spread love and empathy.



ARTE CORREO ART POST


Cartas Letters

Fueron cartas enviadas a 80 artistas desconocidos, jugando a ser un personaje
que cuenta intimidades, en clave adolescente.
Were letters sent to 80 unknown artists, playing to be a character that account intimate in key adolescent.

I
II
III
Letter I

I woke up at 8:30.  When the alarm clock rang, I wanted to gag myself with a spoon.  I tried to turn it off, but it fell on the floor.  Everything sucks.  I crouched down to pick it up, and I found a huge cockroach.  I totally didn't want feel the icky liquid of the bug's smashed body this early in the morning, so I ignored it, and turned the alarm off. 

I went to take a shower to try to wake up.  I started to wash myself, when my boyfriend came into the shower, and took over.  He started with my back, and moved directly to my legs.  He started kissing my whole body, and we went back to bed. 

At 10am, I had to be in class, so I ran to catch the bus.  I waited 15 minutes, but when I got on, I realized that I was ten cents short.  I didn't want to get off, because I would be late for class, so I decided to flirt with the bus driver.  I glanced at him him through the mirror, and I gave him a little smile.   He instantly got totally hot for me, so I went to stand behind him.  We started to talk.  We flirted with each other until my stop. 
"Would you stop the bus, handsome?"
He did, but it was obvious he was in a totally bad mood, so I wrote my number on the bus ticket.  I pulled that one off perfectly.   I hope I never never see him again, because he was a total redneck.

I arrived late to class, but it wasn't a big deal. 

When class finished, I went to the hair salon, because that afternoon was the opening of M____'s show at the Ruth Gallery.  Everyone who goes there is famous, so I got a manicure, a facial, and I had my hair styled. 

It started at 7.  I wanted to be in all the magazines, and I totally will be, because they took a photo of me and M and a champagne glass.   After that, I left, because the party was so obviously lame. 

Around 9, I met up with the girls at a restaurant.  We drank more than we ate, of course.  We left the restaurant, and shared a joint, and then went back to my house to drink some more.   We all passed out on the sofa 3 hours later.

Letter II

I woke up at 4pm totally hung over, because last night, I went out with the girls to an after-party until 10am.  Every time we take E, we promise never to do it again, but they always find a new kind that we just have to try.   We each took 6, and we ended the night at the Shell station on Juan B. Justo. 

When I got home, I saw my little kitty-witty didn't have any food or water.   He must have been thirstier than we were.   Poor kitty.

At 5pm, I had swimming class.  I ate something, and when I was on the way to the club, "It" started.  Goddamnit.  The worst part was that I didn't have my tampons, so I knocked on Clarita's door to borrow some, because I didn't want to buy them, because I didn't want the guy behind the counter to know that my pussy cat had a nose bleed. 

That night, I had a huge date with my bf.  And I say "huge," because he promised me a present, so I decided not to eat until dinner so that I wouldn't have to suck my stomach in so much.  An hour before, he called my cell, and asked me what my favorite kind of art was.  I was totally excited!!!!! I could never have imagined that I was going to be an art collector!  I told him, "OMG Give me 5 minutes.  I'll call you back.  I've got to think about it, stupid!"
"OK.  Call me back"

I started to make a list of the most fashionable artists.  The problem was that I don't get most of them.   I didn't know what to do.  I like K_____, but L______ is more popular. 

I called him back, and told him I liked L_______, because, as a collector, it's very important to be cool.  Plus, all of L____'s art matches the sofas I inherited from Grandma. 

When I got to the restaurant 5 minutes early, I eavesdropped on a conversation between the people sitting at the table behind me.  The girl was telling her boyfriend how at first, she hated sucking cock, but that now, she's a blow-job addict.  The man asked her, "Where did you learn to suck cock?  Have you cheated on me?"  So she said, "Since I started taking pole-dancing classes, I feel sexier than ever, because the dancing has awakened my repressed femininity."   When the conversation started getting really interesting, my bf arrived.  We kissed a lot, ate really fast, and went to a hotel across the street to celebrate. 

Letter III

I had the worst morning of my life.  When I woke up, I looked at myself in the mirror like always, and I discovered my first wrinkle.  I had never imagined what my life would be like with wrinkles.   I felt awful, and I started checking my body to see if the tragedy had spread.  I checked my titties, and they were drooping four centimeters lower than usual (when all the air is out of my lungs), and checked my abs, (which were soft as margarine), but the hardest, was when I had to check for new cellulite on my ass.   I had to crane my neck back to see, and, to my horror, found five new fatty rolls. 

I was obviously depressed.  The girls all called me every day to go out, but I couldn't face life until I'd found a solution to this epic problem, or until I'd caught up on my soap operas. 

It's too early in my young life to have a face lift, Botox is too expensive, and so I decided that instead, I would have a cheap cellulite treatment which uses the latest cellulite-reducing technology.  After thinking really hard about this, I called Mike, my shrink, to arrange a meeting.  We met the same day because he saw that I was in critical condition because of my phobia.  The treatment he prescribed was totally awesome, because now I have more self-confidence, and I don't look in the mirror any more.  I take three pills a day - one in the morning, and two at night.

That afternoon, I went to the D.B. art exhibition in Ricoleta Center, and I met the artist.  I introduced myself, but after that, I didn't know what to say to him, but luckily, he talked a lot, and filled up the silence.

I like him because he asked me for my telephone number, and promised to take me out on a date.  Twelve hours later, he called to arrange a meeting at a Sushi restaurant.  I felt like I was in the hight of fashion: drinking champagne in that place with the famous artist, D.B.!  The highlight of the evening was when a journalist took a photo of us eating sushi through the window. Since then, my life has changed.

I had to think really hard about how to break up with my boyfriend immediately, because obviously, D.B. and I were going to be exposed as a couple in the next magazine.  Those pills are life-changers!



FOTO DIGITAL DIGITAL PHOTO



This is not a woman This is not a woman



OTROS OTHERS

Macho, sobre todas las cosas Male, on all things

El proyecto intenta abordar el concepto de género, el cual plantea que la construcción de lo femenino y lo masculino responde a la construcción cultural, y no se refiere al sexo de la persona, sino a las conductas del individuo.
Según las “etiquetas sociales” el Macho viste pantalón, juega al fútbol, fuma habano, conduce automóviles, levanta pesas, mantiene a la familia, etc.
En esta serie de pinturas y publicidades, veremos a los hombres con actitudes “masculinas”, pero están realizando actividades o llevan atributos que se consideran femeninos, y no por ello perderán su tan preciada masculinidad.

The project tries to address the concept of gender, which states that the construction of the feminine and the masculine responds to cultural construction, and does not refer to the sex of the person, but to the behaviors of the individual.
According to "social labels" the male wears pants, plays football, smokes cigar, drives cars, raises weights, maintains family, etc.
In this series of paintings and advertisements, we will see men with "masculine" attitudes, but they are performing activities or carry attributes that are considered feminine, and not for that they will lose their precious masculinity.

Macho, sobre todas las cosas. Fotografía 200x100 cm - 2016
Male, on all things. Photography
Macho tejiendo. Fotografía 50x70 cm - 2017
Male knitting.Photography
Macho, sobre todas las cosas Macho, above all things
Intervención en baño público masculino Intervention in men'public bath
Intervención en baño público - 2016 Intervention in public bath
Anuncio de trabajo Job announcement
Publicidad gráfica. Graphic advertising
100x50cm - 2016
Acrílico sobre tela Acrylic on canvas
80x70 cm - 2014
Acrílico sobre tela Acrylic on canvas
70x80 cm - 2014-2017
Acrílico sobre tela Acrylic on canvas
70x80 cm - 2014
Acrílico sobre tela Acrylic on canvas
60x80 cm - 2015
Acrílico sobre tela Acrylic on canvas
50x70 cm - 2014-2017
Acrílico sobre tela Acrylic on canvas
60x70 cm - 2016
Acrílico sobre tela Acrylic on canvas
70x90 cm - 2016
Acrílico sobre tela Acrylic on canvas
60x80 cm - 2017

Dos mujeres completas segun Freud(Junto a Effymia) Two complete women according to Freud


Ni una menos - 2015 Nor a less - 2015

Intervención urbana, Plaza de Mayo.
Marcha de "Ni una menos" - 2015
Urban intervention, May Square.
March nor a less - 2015



Son 267 corpiños, que fueron la cantidad de mujeres victimas de femicidio durante el 2014.
Are 267 bustiers, which were the number of women victims of femicide in 2014.

POR LA OTRA VEREDA

El proyecto consiste en una instalación. Elijo intervenir una vereda, "alfombrando"’ el camino con corpiños de color rojo. Estos cubrirán el centro del camino, dejando un pasillito de ambos lados.

La idea, es que el espectador masculino se sienta incómodo al circular por aquella veredita tan angosta. Que se sienta agobiado, al igual que las mujeres en la calle, cuando nos dicen “piropos”, hecho violatorio de nuestra intimidad, o cuando nos hacen miradas que desnudan, obligándonos a cambiar de vereda, solo para no vernos sometidas a éstos. Quiero que los caballeros deban tener mucho cuidado y respeto, para no pisar los corpiños.

Intento hacer referencia con esto, a la violencia de género que ocupa un lugar muy importante en la construcción de las relaciones entre hombres y mujeres, en la sociedad contemporánea.

Quiero reivindicar el derecho de la mujer a vestirse y comportarse como quiera, sin que esto justifique cualquier tipo de violencia.

ON THE OTHER PATH

The project consists of an installation. I choose to intervene a sidewalk, "carpeting" the road with red bodice. These will cover the center of the road, leaving an aisle on both sides.

The idea, is that the male viewer feel uncomfortable through that so narrow path. You feel overwhelmed, like the women on the street, when they tell us "compliments", made in violation of our privacy, or make us looks that naked, forcing us to change path, only to not see us subject to these. I want that the Knights should be very careful and respect, to not step on the bodices.

Attempt to reference this, gender-based violence which occupies a very important place in the construction of relations between men and women in society contemporary.

I want to demand the right of women to dress and behave as he wants, without this justifies any kind of violence



Ni una menos - 2016 Nor a less - 2016



LA CULPA ES DE ZEUS THE ZEUS FAULT

PROYECTO: LA  CULPA ES DE ZEUS

Pensé el proyecto partiendo del discurso de Aristófanes del libro “El banquete” de Platón, en el que expone la siguiente teoría del amor: en la antigüedad éramos tres sexos, Femenino (descendiente de la tierra), Masculino (descendiente del sol), y Andrógino (descendiente de la luna).
Éramos seres con cuatro brazos y cuatro piernas, al provocar la ira de Zeus, éste nos separó con un rayo para debilitarnos. Entonces, pasamos el resto de nuestras vidas buscando nuestra otra mitad. 
Con el tipo de relaciones contemporáneas, donde el miedo a la unión, y la falta de compromiso lideran, generando “relaciones líquidas”, parece imposible imaginar una pareja que comparte un mismo cuerpo, dejando atrás los momentos de intimidad personal. Pero esta teoría despertó en mi,  curiosidad e imaginación.
La idea de reunir dos individualidades en una sola figura presentaba dificultades que debía resolver desde una representación visual que se integrara a mi lenguaje plástico. Entonces, llegué a la conclusión que para reunir dos cuerpos en una sola forma, el camino indicado era la tridimensionalidad. Diseñar ropa capaz de contener dos seres, pero unificándolos de brazos y piernas, se presentó como la solución óptima de resolver este dilema.

DRAFT: THE ZEUS FAULT

I thought the project based on the speech of Aristophanes of the book "The banquet" of Platon, in which he presents the following theory of love: in the seniority were three men and women, female (descendant of the earth), Male (descendant of the sun), and Androgynous (descendant of the moon). We Were beings with four arms and four legs, the anger of Zeus, this we separated with a beacon to weaken.
Then, we spend the rest of our lives looking for our another half. 
With the type of contemporary relations, where the fear of the union, and the lack of commitment they lead, generating " liquid relations ", it seems to be impossible to imagine a pair who shares the same body, leaving behind the moments of personal intimacy. But this theory woke up in my, curiosity and imagination.
The idea of assembling two individualities in an alone figure was presenting difficulties that it had to solve from a visual representation that was joining to my plastic language. Then, I came to the conclusion that to assemble two bodies in an alone form, the indicated way was the tridimensionalidad.To design clothes capable of containing two beings, but unifying them of arms and legs, he appeared as the ideal solution of solving this dilemma.


VIDEO ARTE VIDEO ART








PERFORMANCE PERFORMANCE
Bodas La Culpa es de Zeus


FOTOGRAFIAS PHOTOGRAFIES
2009 - La Culpa es de Zeus 2009 - The Zeus Fault


PINTURAS PAINTINGS
2009 - La Culpa es de Zeus 2009 - The Zeus Fault
120x80 cm

Androgino Androgynous
Androgino Androgynous
Androgino Androgynous
Hombre Man
Hombre Man
Hombre Man
Mujer Woman
Mujer Woman


La culpa es de Zeus
por Adriana Laurenzi   

En el Banquete, de Platón (384-379  a. C), el joven Apolodoro relata, un hecho pasado, a un  grupo de ricos hombres de negocios, los discursos que en casa de Agatón, realizaron sus amigos. Después de comer y beber deciden que cada uno de los comensales honrara con una disertación al olvidado dios Eros.
A su turno, Aristófanes alaba el poder supremo del Dios del amor, narrando la historia mítica por la cual los hombres por exceso de orgullo, hybris, conspiran contra los dioses. Entonces Zeus decide darles un aleccionador castigo. Hasta entonces la humanidad contaba con tres sexos: masculino, femenino y andrógino y hasta ese momento los hombres eran redondos, tenían cuatro manos y cuatro pies con dos rostros perfectamente iguales sobre un cuello circular.  Zeus traslada sus órganos genitales a la parte delantera para que puedan encontrarse el hombre con la mujer y de esa manera engendrar para mantener la especie.

De ese ser que siendo uno era el andrógino, proceden las mujeres aficionadas a los hombres o a las mismas mujeres, las lesbianas. En cuanto a los varones, Aristófanes dice que los que fueron cortados del varón original, aman a los de su mismo sexo y son los que resultan más valientes en los asuntos políticos. En la adultez los más sabios ejercen la pederastia que es el encuentro de la otra mitad de sí mismos, ya que para los griegos, el verdadero y supremo amor se ejercía entre hombres porque consideraban a la mujer un ser inferior intelectualmente.

A casi 2500 años del Banquete platónico, los conflictos amorosos siguen siendo un tema central para el género humano. La vida en pareja está hoy, más que nunca en crisis.
Los hombres siguen sin poder resolver la necesidad natural de compartir la existencia y al mismo tiempo a priorizar sus deseo individuales como la  autorrealización.
Con el mismo carácter satírico de Aristófanes, Nadia Gómez Kiener, parodia  este eterno conflicto que genera el amor y a manera de homenaje a Aristófanes y Platón, ha titulado esta muestra La culpa es de Zeus.

A partir de los años ochenta, la cultura postmoderna, ha acentuado el culto a la individualidad como la tendencia cada vez más marcada a no formalizar las uniones matrimoniales, a no comprometerse con la vida en pareja y a no asumir responsabilidades para prolongar cada vez más una eterna adolescencia.
Parte del discurso psicoanalítico ha tendido a que cada el individuo procure una realización personal, en la que está ausente la figura del “otro”, de la pareja.
Pero el mítico castigo de Zeus nos recuerda la fuerza y el poder que sin embargo ejerce Eros, del que no podemos librarnos en la búsqueda siempre atenta de nuestra “media naranja”.

Desde sus primeras muestras, Nadia Gómez Kiener a desarrollado un lenguaje gráfico, simple, claro, de una fuerte impronta icónica que lo liga a las imágenes de la  cultura de masas, a una especie de pop art (1) contemporáneo.

En los acrílicos de La culpa es de Zeus, presenta en primer plano, modelos de ropa que recuerdan la gráfica de figurines de revistas de modas.
Son ellos los verdaderos protagonistas de esta serie, mientras los cuerpos que los visten son reducidos a siluetas apenas diferenciadas con tenues tonos del fondo.
En la sociedad de consumo los objetos imponen su supremacía sobre los sujetos.
Nadia construye sus imágenes a partir de los esquemas impuestos por el universo de la publicidad, “tener para pertenecer”, es parte del deseo colectivo de diferentes grupos sociales que se identifican con signos o marcas, a veces explícitas y otras más sutiles, a través de la ropa, de gestos, o de adhesiones a gustos musicales.
Pero Nadia introduce en esta suerte de standardización cultural, pequeños detalles que funcionan como disparadores para cuestionar o poner en conflicto las normativas sociales.
En esta muestra los modelos de indumentarias para las parejas heterosexuales u homosexuales, diseñadas por ella, representadas en la pintura, como en la confección real de las mismas, se encuentran  “pegadas” una con otra. 
Son prendas para usar en “parejas”.
Tipifica una demarcación de géneros a través de colores y formas que identifican los tres universos sexuales que pone en juego: heterosexuales, gays y lesbianas.
Agrupados de a tres, la trilogía juega un papel ordenador de la serie, que remite a su vez a una suerte de forma cabalística que identifica a la tradición occidental; la trinidad, los versos del Dante y en este caso tres grupos sexuales.
Esta “obstrucción” en la indumentaria de la pareja es retomada por los actores de  los video-arte en los que a la manera de un reality show asistimos a situaciones íntimas de las diferentes clases de parejas, siempre a través de una lectura paródica cargada de humor.
Unidos por la indumentaria las parejas deben realizar acciones pegadas a su compañero, por ejemplo ir al baño de a dos, cocinar o elegir el programa de televisión. Los diálogos son un reflejo de las situaciones cotidianas en la que se hacen presentes las fricciones de la vida conyugal.

Los trabajos de Nadia Gómez Kiener abordan ese enmascaramiento de la sociedad del espectáculo contemporánea. Ya en los años sesenta la Internacional Situacionista en Francia acusaba los cambios de la cultura de masas a una sociedad del espectáculo como la llamó uno de sus líderes, Guy Debord.
Nadia crea un repertorio propio de signos visuales que tienen una fuerte impronta de los íconos tabulados y estandarizados, que remiten al lenguaje de la señalística y son funcionales al sistema de comunicación despersonalizada. Pero a pesar de estar ligadas formalmente a una iconicidad globalizada y distante, transgreden su sentidos estipulados y ponen en ridículo, a través del un humor corrosivo los tabúes que siguen presentes aún en medios y grupos que pretenden estar a la vanguardia de nuevas formas de relación social.
Desenmascarar tabúes sexuales y normas no expresadas nominalmente, son el motivo central de la temática de Nadia Gómez Kiener, cuyas imágenes optan por formatos diversos como el video, la performance, el grabado o la pintura sobre tela de manera conjunta complementándose.

Nadia Gómez Kiener nos enfrenta con humor ácido a los cánones “modernos” de la cultura, a la irritable y nunca satisfecha condición humana.                                      

(1) Batkis,Laura LOS CUADROS DE NADIA GÓMEZ KIENER, Catálogo Muestra Pabellón 4, abril 2007

The Zeus fault
by Adriana Laurenzi   

In the Banquet, of Plato (384-379 to. C), the young person Apolodoro reports, a past fact, a group of rich businessmen, the speeches that in Agatón's house, his friends realized. After eating and to drink they decide that each of the retainers should honor by a dissertation the forgotten god Eros.
To his shift, Aristophanes praises the supreme power of the God of the love, narrating the mythical history for which the men for excess of pride, hybris, conspire against the gods. Zeus at the time decides to give them an aleccionador I punish.Till then the humanity was possessing three sexes: masculine, feminine and adrogyne and up to this moment the men were round, had four hands and four feet with two perfectly equal faces on a circular neck. Zeus moves his genital organs to the front part in order that they could meet the man the woman and that way generate to support the species.
Of this being that being one he was the adrogyne, there proceed the women fond of the men or of the same women, the lesbians. As for the males, Aristophanes says that those who were cut of the original male, love those of the same sex and are those who turn out to be more brave in the political matters. In the adulthood the most wise they exercise the pederasty that is the meeting of another half of yes same, since for the Greeks, the real and supreme love was exercised man-to-man because they were considering the woman to be a low being intellectually.
To almost 2500 years of the platonic Banquet, the loving conflicts continue being a central topic for the mankind. The life in pair is today, more than never in crisis.
The men continue without being able to solve the natural need to share the existence and at the same time when individuals to prioritize his desire as the autorrealización.
With the same satirical character of Aristophanes, Nadia Gómez Kiener, parodies this eternal conflict that generates the love and like honoring to Aristophanes and Plato, has titled this sample The fault is of Zeus.
From the eighties, the postmodern culture, it has accentuated the worship to the individuality as the trend increasingly marked not to formalizing the matrimonial unions, not to compromising with the life in pair and not to assuming responsibilities to prolong increasingly an eternal adolescence.
Part of the psychoanalytic speech has tended that every individual tries a personal accomplishment, in which the figure is absent of "other one", of the pair.
But Zeus's mythical punishment remembers the force and the power that nevertheless there exercises Eros, of which we cannot get away in the search always attentive from our " orange average ".
From his first exhibitions, Nadia Gómez Kiener to developed a graphical, simple, clear language, of a strong stamp icónica that ties it to the images of the culture of masses, to a species of contemporary pop art.
In the acrylic ones of The fault it is of Zeus, presents in the first plane, models of clothes who remember the graph of fashion-plates of magazines of modes.
They are the real protagonists of this series, while the bodies that dress them are reduced to silhouettes scarcely differentiated with tenuous tones of the bottom.
In the company of consumption the objects impose his supremacy on the subjects.
Nadia constructs his images from the schemes imposed by the universe of the advertising, " to have to belong ",It is a part of the collective desire of different social groups that are identified by signs or brands, sometimes explicit and different subtler, across the clothes, of gestures, or from adhesions to musical tastes.
Pero Nadia introduces in this luck of standardización culturally, small details that work as shooters to question or to put in conflict the social regulations.
In this sample the models of apparels for the heterosexual or homosexual pairs designed by her, represented in the painting, since in the royal confection of the same ones, are "stuck" one by other one. 
They are articles to use in "pairs".
It typifies a demarcation of kinds across colors and forms that identify three sexual universes that it brings into play: heterosexuals, gays and lesbians.
Grouped of to three, the trilogy plays a paper computer of the series, which he sends in turn to a luck of cabbalistic form that he identifies to the western tradition; the trinity, the verses of the Dante and in this case three sexual groupsThis "obstruction" in the apparel of the pair is taken again by the actors of the video - art in which like a reality show we are present at intimate situations of the different classes of pairs, always across a reading paródica loaded with humor.
Joined by the apparel the pairs must realize actions stuck to his companion, for example go to the bath of to two, cook or choose the television program. The dialogs are a reflection of the daily situations in that there become present the frictions of the conjugal life.
Nadia Gómez's works Kiener approach this masking of the contemporary company of the spectacle. Already in the sixties the International Situacionista in France it was accusing the changes of the culture of masses to a company of the spectacle like her one of his leaders, Guy Debord called.
Nadia creates an own digest of visual signs that have a strong stamp of the tabulated and standardized icons, which they send to the language of the señalística and are functional to the system of communication despersonalizada. But in spite of being tied formally to an included and distant iconicidad, transgreden his stipulated senses and they put in ridiculously, across a corrosive humor the tabúes that are still present still in means and groups that try to be to the forefront of new forms of social relation.
To unmask tabúes sexual and procedure not expressed nominally, they are the central motive of Nadia Gómez's subject matter Kiener, whose images choose for diverse formats as the video, the performance, the engraving or the painting on fabric of a joint way complementing itself.
Nadia Gómez Kiener faces with acid humor the "modern" cánones of the culture, to the irritable one and satisfied condition never humanizes.
                                   

(1) Batkis,Laura LOS CUADROS DE NADIA GÓMEZ KIENER, Catálogo Muestra Pabellón 4, abril 2007