Polarities – julianaherrero.org

Transparent Fluttering, Butterflies Drifting Through Your Head

wordpressadmin — Thu, 14 Aug 2025 08:21:04 +0000

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Transparent Fluttering, Butterflies Drifting Through Your Head

2024
Digital drawing, sanded industrial process on glass, piezo insertions, procedural sonic and silent piece.
Sound as drawing, glass as interface and resonance body, silence as part of music—punctuation and breath.

Photos excerpts © Michael Nagl

Part of a multipart, durational, transformative growth installation through time:
2024 JULIANA HERRERO: ONE OF A KIND
In the glass box of the 20th District Museum, Vienna.

This work resonates in delicate synchrony with the rhythms of light—sounding when the sun directly strikes the solar panels, often during siesta hours, and again as the streetlights flicker on at night, drawing energy from their glow.

A poetic interplay of natural and urban light, turning power into presence, silence into vibration.

[/vc_column_text][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2514" img_size="full" css=""][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][vc_column_text css=""](2024) One of a Kind[/vc_column_text][vc_single_image image="2516" img_size="full" css=""][vc_column_text css=""]

Photo courtesy of the artist

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Photo © Michael Nagl

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[Smart Wings] The Ultra Synesthesia (Oder) Performing White-Butterfly Flutter Transients

wordpressadmin — Mon, 04 Aug 2025 21:32:06 +0000

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2504" img_size="full" css=""][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][vc_row_inner][vc_column_inner][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text css=""][Smart Wings] The Ultra Synesthesia (Oder) Performing White-Butterfly Flutter Transients 2025 A mechanical-poetic device, Smart Wings stages a fragile encounter between movement, memory, and perception. Using cyanotype paintants and a manually activated display mechanism, the work invites viewers into a choreography of looking and listening — a performative object that flickers between visual trace and sonic suggestion. The white-butterfly flutter becomes a gesture of synesthetic translation — a fluttering of thought, of image, of sensation. Here, synesthesia is tactile: the audience becomes an agent of transformation by turning or touching the mechanism. Part sculpture, part score, part instrument, Smart Wings is a portal into transience, vibration, and embodied perception. The depicted cyanotypes as experimental Paintants (produced after successive performative hearings of ethereal backdrops) Photos © Reinhold Leitner, Christian Heininger[/vc_column_text][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2506" img_size="full" css=""][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][vc_column_text css=""](2025) Pequeño Concierto [Hörkabinett][/vc_column_text][vc_single_image image="2505" img_size="full" css=""][/vc_column][/vc_row]

WENU azul arriba

wordpressadmin — Sun, 06 Aug 2023 11:06:45 +0000

[vc_row][vc_column width="3/5"][vc_images_carousel images="1216" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]WENU azul arriba (2022) Filmic notes / essayistic piece (Duration 4’ 48’’; super 8mm colour, sound, text, digital edition) Tuned, digitally edited piece from 8mm rough filmic materials –captured during a trip across protected areas of Patagonia, about 17 years ago. In the edition, the fragments are dissected and displaced, signifying issues of translation or other ways to name life moments of [kalffü wenu]: at that time depicting with the camera as brushing the landscape and now naming what I see. The voyage follows an imaginary cross section through Los Alerces National Park, the steppe by car, and along the Atlantic border, reaching Peninsula Valdez, with a Super 8 in hand. Among the gaps, shots of a flawed filmic strip, splash out words of an ancestral language as poetry inheritage decoded in many more, revealing wonders of a millenary forest as surreal seascape scenes.[/vc_column_text][vc_gallery interval="3" images="1219,1218,1217" img_size="full"][vc_column_text]Projection at castillo-arte, Valle Viejo, Catamarca AR * photo credits: @castillo-arte[/vc_column_text][vc_single_image image="2945" img_size="full" css=""][vc_single_image image="2947" img_size="full" css=""][/vc_column][vc_column width="2/5"][vc_column_text css=""](2025) TEXT & FILM XII – »Beloved« Literaturhaus Wien (2022) slowwave III Interstitial artistic encounters. I was so happy to share this new piece I did with my old film strips with so many wonderful artists, friends and colleagues. Screenings and Performances at Flat 1 (Vienna AT), Jan Arnold Gallery, Q21 Museums Quartier(Vienna AT), Terciopelo Negro (Buenos Aires AR), Castillo del Arte (Catamarca AR), Glashaus Muskovit Gallery (Vienna AT),Capayan, “Puerta del Viento” (Catamarca AR) Documentation in Viena © slowwave, in Catamarca © castillo_arte Presse: IntAkt Vienna / eSeL / arteinformado [/vc_column_text][vc_column_text][/vc_column_text][vc_video link="https://www.youtube.com/shorts/DIWRp0j2nQ8" title="WENU azul arriba (VideoExcerpts-Screenings)"][vc_column_text]WENU azul arriba (Video excerpts) Screenings[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=dYxulDmQDZ0&t=52s" title="WENU azul arriba"][vc_single_image image="2065" img_size="full" css=""][vc_single_image image="2066" img_size="full" css=""][vc_column_text]WENU azul arriba [/vc_column_text][/vc_column][/vc_row]

SUBE LA MAREA

wordpressadmin — Fri, 28 Jan 2022 08:07:05 +0000

[vc_row][vc_column width="1/4"][vc_single_image image="889" img_size="full"][/vc_column][vc_column width="3/4"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]SUBE LA MAREA Vision acústica II 2021 ink, piezos, Cooper wire, soundloop 50cm x 40cm (4 pieces assembled) (...) donde el bosque llega al mar, y va errante el micro plancton, diatomeas, peridíneas, tintínidos, radiolarios, ostrácodos, cladóceros donde la huella del dióxido de carbono cibernético en línea se borra (...) (...) where the forest reaches the sea, and the micro plankton wanders, diatoms, peridineans, tintinids, radiolarians, ostracods, cladocera where the carbon dioxide footprint cybernetic online is erased (...)[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text](2021) MAZE WUK Media / To hear on SoundCloud[/vc_column_text][/vc_column][/vc_row]

Sonnig

wordpressadmin — Sat, 11 Sep 2021 20:24:17 +0000

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_images_carousel images="440" img_size="full"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][vc_row_inner][vc_column_inner][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]SONNIG 2014-15 Sculpture; water colour on paper fixed on wood white painted boards Variable size (each module 20cm x 30cm x 3cm) Ensemble about h: 90 cm x w: 150 cm x d: 20 cm Sonnig builds rhythmically in space, excerpts of a perceptual diary with scores – translating the yellowish sunray as transpositions of the weather forecast. The weather information is something that affects the emotional state even before we arrive where we are going. The applied broadcast of the Patagonian coast by Las Grutas for the beginning of the summer 2014 almost always promised a sunny day: ‘sonnig’ in the adoptive language – a word of certain musicality or illuminating tune. This analogue representation of reality is independent of the fact if the weather broadcast was right or if it started to rain. Day after day, a yellow note was dropped on sea-water wet paper stating it would remain ‘sonnig’. The displayed set combines Sonnig with sound or remains silent as a written sound piece itself.[/vc_column_text][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="442" img_size="full"][vc_single_image image="444" img_size="full"][vc_single_image image="1480" img_size="full"][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image="1474" img_size="full"][vc_single_image image="1491" img_size="full"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][vc_column_text](2023) The Flow, in Triade with Lym Moreno and Jeremias Altmann, Stadtraum Mitte 15 (2018) KUNSTRASSE 2018, Imst Tirol (2017) On display during the performance readings "REM 1:1", Raum Q21, MQ [Reads Katharina Brandl: Rhytmical Polarities] from REM 1:1 [ISBN: 978-3-902796-57-8][/vc_column_text][/vc_column][/vc_row]

Nomadentum

wordpressadmin — Tue, 07 Sep 2021 16:50:31 +0000

[vc_row][vc_column width="3/5"][vc_images_carousel images="356" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]NOMADENTUM 2015 Mixed media installation with sound Steel cable, electric cable in various colours, mini speakers, stereo sound loop; variable size (about 190cm x 300cm x 240cm) Exhibition views © Kunstraum SUPER Nomadentum emerges as a spatial installation that echoes on the architecture of distant spaces connecting fragments as autobiographical traces in a staccato composition, visually and acoustically weaved. The unity in the form of a tent relates to an archetype construction, to a first enclosure model for inhabitation with no specific geographical borders in a broader sense, but intimately related to places of emotional connotations. Therefore, for the installation 16 tents are set up, each for a specific inhabited space. The sound that rhythmically spreads around features a machine voice that reads the coordinates and official reports from online Wikipedia. In contrast, a human voice in whispered tone lets us perceive personal depictions of the spaces or how they are remembered between the words. Those are translated into time capsule recordings: an attempt to unfold connective and disconnective elements in the realm of transience.[/vc_column_text][vc_single_image image="1908" img_size="full" css=""][/vc_column][vc_column width="2/5"][vc_column_text](2016) Exhibition TENTOONE, Kunstraum SUPER in context of the ViennaArtWeek 2016[/vc_column_text][vc_single_image image="357" img_size="full"][vc_single_image image="1864" img_size="full"][vc_single_image image="1863" img_size="full"][vc_single_image image="2244" img_size="full" css=""][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2247" img_size="full" css=""][/vc_column_inner][vc_column_inner width="1/2"][vc_single_image image="2246" img_size="full" css=""][/vc_column_inner][/vc_row_inner][vc_single_image image="2248" img_size="full" css=""][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]

Mesetas que se enraizan en el cielo

wordpressadmin — Tue, 07 Sep 2021 16:38:19 +0000

[vc_row][vc_column width="3/5"][vc_single_image image="330" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]Mesetas que se enraizan en el cielo 2015 Sound installation; steecable, mini speakers, sound collage in loop Sound collage: voice piece (phantasy names of cities phonetic composition), NASA sound recordings of earth from the outer space (pop media internet)[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]

PAISAJE VIRTUAL

wordpressadmin — Mon, 03 May 2021 13:45:25 +0000

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/4"][vc_single_image image="550" img_size="full"][/vc_column_inner][vc_column_inner width="1/4"][vc_single_image image="551" img_size="full"][/vc_column_inner][vc_column_inner width="1/4"][/vc_column_inner][vc_column_inner width="1/4"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="1/5"][/vc_column][vc_column width="1/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]PAISAJE VIRTUAL I, II 2014 Flat installation; coloured sticks, steel cable This work takes Paul Baran's diagram of distributed networks (1964) as a map. Is it the potentiality between the "virtual" and "Fact" which make us think about those points fallen out of the system as not only a new but also a possible "other" cartography of the "Real"? Tracing the scaled plot of the in internet-found diagram on flexible steel cable becomes a performative act. Following knot by knot the "original plot", embodying it and giving it body, it acquires a reality of matter through bends and knots. Random coloured sticks in elevation speak about those points that could also inform the landscape, quoting the characteristic of a "potential" cartography, cartography and map of interconnected worlds. * Paul Baran (engineer- scientist, pioneer on computer networks) conceived in 1964 his “hot potato routing” or distributed communications that highly influenced telecommunication systems. Sources: http://www.rand.org/about/history/baran.html[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text](2014) Kaleidoskop, 18M Salon, Berlin Presented work: Paisaje Virtual (flat Installation) (2014) Kaleidoskop, Maison de l’Argentine, Cité Internationale Universitaire de Paris (2014) die weisse ab-haus-verkaufs-kunstschau #3, das weisse haus, Vienna[/vc_column_text][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="754" img_size="full"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]