Isidora Gilardi
b. 1992, Santiago de Chile
isidoragilardi@gmail.com
art&crap member

They were sweet ⁓ Eran dulces

Emily Dickinson's herbarium as high relief and recipe and poems as cyanotypes, plaster, silver gelatin prints
Dimensions variable.
Städelschule Rundgang, Frankfurt a.M. 2019.

The World

Tarot cards, stories, pearls, eggs, analogue photographs, flag, plants, sea snail, stone, apple, drawing, amulet.
Dimensions variable.
Kommunalka, Leipzig. 2018
photos: Nicolás Rupcich

textroomplan

A caiman (Caiman crocodilus) was seen sunbathing placidly on a fallen tree trunk as a Julia butterfly (Dryas iulia) fluttered around its face and taste its tears. She looked pretty with a flapping eyelash sipping the salty sodium of her hypocrite tears.

sympathy of the spheres:
analog phtograph, hen, ostrich and quail eggs
& pearls

Death's flag.
~ embroidery by Esperanza Rojo

mandrake
(Mandragora autumnalis)

Begonia Rex & sea snail

crocodile butterfly
(Fulgora laternaria)

rabbit foot fern
(Davallia fejeensis)
& amulet

chloris becoming flora
fragment of Allegoria della primavera,
Sandro Botticelli, c. 1482

Begonia Maculata
& hoja de sangre (Hypoestes phyllostachya)

desert rose plant (Adenium Obesum)
& desert rose crystal

clover (Trifolium)

eggs & Death tarot card

hand of st. Lucy,
Francesco del Cossa, c. 1473

Sappho, trans. Anne Carson

hand of Sylvia Plath & apple

Sternentänzer
(Rhynchospora colorata)

secret love (Impatiens Velvetea)

Emily Dickinson’s herbarium

Habías sido yo ⁓ You had been I

Smell of peonies; fresh flowers and vase, relief in plaster of a crocodile, butterflies and bees; analogue photographic prints, dried flowers, glass, bronze chains, bolts and nuts; obsidian and daffodil coated in resin; apple branch; knucklebones, plaster cast of a woman’s and man’s hand, steel; photographs; pearls; translucent mirror; plaster cast of an ear, sea-shell and jewellery: pendants by Elizabeth Burmann.
Dimensions variable.
LOCAL Arte Contemporáneo, Santiago. 2018

zine of the exhibition with texts by Paula Solimano A. & Ileana Elordi

gaucho & astragolizonta
playing knuclebones

the lily’s throat to the hummingbird

narcissus & obsidian

crocodile tears

secret

the pleiades

Anunciación ⁓ Annunciation

Sibling of Habías sido yo.
Prophecy embodied in a group show organized by art&crap,
at LOCAL Arte Contemporáneo, Santiago, 2018.
together with:

documentation

zine of the exhibition, with an incantation and a crossword.

◠ de Claudio Eliano en Historia de los animales: sobre las abejas

La Acontecida ⁓ The occurred

Photographs, glass, condensed water, cotton rope, pins, plaster, fulgurite, 3d print of a Greek mask, low-relief in wall, hair lock, opalite (moon stone), silver, pearl, butterfly, beetle, insects, canvas, roomplan.
Dimensions variable.
Galería Balmaceda 1215, Santiago. 2017.

iii.
beetle, cotton and Hypnos
—son of darkness and night.
lived in a cave down the Hades
where the sun and the moon met,
and where the Lethe was born;
the river that no longer
living Greeks crossed
to forget their lives.
God of sleep-.

iv.
plaster cast of the gap
between two holding hands.

vi.
from A. Somers in La mujer desnuda.

La mujer vio con pavor eso tan brutalmente solitario y definitivo que estaba ocurriéndole a ella misma por el acontecer del otro.

translation:
The woman saw with terror, that so brutally lonely and definitive that was happening to her on account of what occurred to another.


vii.
fulgurite —petrified encounter
between a lightning bolt and the dessert-.

x.
photograph of an
imageless projection.

ix.
canvas exposed half year
under the open sky, bugs.

viii.
from W. Shakespeare in The Tempest.

transcript
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.

v.
photograph and hair lock.

ii.
opalite (moon stone),
pearl and silver.

i.
photograph of the nightfall’s sky,
condensed water and butterfly.

Somos el mismo sueño

Órgano peregrino ⁓ Pilgrim organ

Two-part exhibition (Prologue & Panopticon), spatially separated as two chapters of a book.
Espacio de Arte Contemporáneo (EAC), Montevideo. 2015.


§ — Prologue
Inkjet print, cast, photograph, sea snails.
Dimensions variable.

G. Kriszat’s illustrations for
A Stroll Throught the Worlds of Animal and Men (1934),
of the biologist Jakob von Uexküll:

Fig. 9a A village street, photograph
Fig. 9c The same village street as seen by a fly
Fig. 9d The same village street as seen by a mollusc



§ — Panopticon
Fabric engraved with sunlight, photographs, ceramic, black jasper stones, tiger’s eye stone, crab pincer, rope, cast, tile, photocopy, myth of the Pemón tribe, sand, rusted gears.
Dimensions variable.

The EAC is housed in the building of a former jail from the late nineteenth century, which was built as a panopticon; a surveillance centre connects its four pavilions. The museum takes place in one remodelled pavilion and the rest remains closed to the public as ruins that can be seen only from the inside of the museum, through a large window facing the centre of the panopticon. This chapter was installed behind the window, within the ruins, inside the eye.

A
Tiger
saw a Crab
playing on the beach.

The Crab was throwing his eyes to the sea and
singing a song to the waters to return them.
The Tiger followed him and did the same.
Without the organs the body lost the sight, but at singing the eyes returned to their orbits. The organs gave him his vision back, bringing with them submarine images, fleeting memories attached to the retina. The Tiger wanted to look again at those strange landscapes and, ignoring the warnings of the Crab about a fish approaching, threw his eyes to the sea. The fish ate them and blinded him forever.

from Italo Calvino, Invisible cities

Normógrafo

Objectified handwriting, acrylic, 7 x 18 cm. 2013.