MARÍA CASADO

Buenos Aires | Argentina
Director | María Casado

Contemporary art gallery with an international trajectory. From a sensitive perspective, it seeks to disseminate Argentine and Latin American art in the global sphere through participation in fairs and events.

www.mariacasado.com.ar

ESTE FOCUS

Booth walkthrough with the artist
Lola Goldstein

In Spanish, without translation.
Open to the public.

Date: TBD
Time: TBD
Venue: Pavilion VIK
Ruta 10, Km 182.5, José Ignacio

CURATORIAL VISION

For ESTE ARTE 2026, the 12th edition, María Casado Home Gallery presents Lola Goldstein’s project “Summer Garden”, conceived specifically for the ESTE ARTE and Uruguayan public. The installation gathers recent works centered on the act of making—painting, drawing, and modeling—without adhering to a fixed form or content. A wall of oil paintings evokes landscapes that shift between geometry, color, and illusion, while the side walls feature chalk-pastel drawings and wall-mounted ceramic flowers. At the center, a constellation of ceramic blossoms recalls a vibrant summer garden. The works insist on vitality amid catastrophe: stems and flowers appear as living bodies marked by human drama yet streaked with absurd humor. By intertwining the tragic and the playful, Goldstein proposes a world where beauty persists and fragility is embraced as part of its strength.

BIO

Lola Goldstein (Argentine, b. 1978) studied drawing, ceramics, and graphic design at the Universidad de Buenos Aires. She held her first solo exhibition in 2001 at Belleza y Felicidad, and in 2005 received a Fondo Cultura BA grant for a project at Centro Cultural Recoleta. Her work has been presented in exhibitions such as Civilización y barbarie (curated by Sonia Becce, organized by Argentina’s Ministry of Foreign Affairs) and Ouro Sentimental (MAC Niterói, Brazil, curated by Fernanda Laguna). Between 2007 and 2009, her utilitarian ceramics were part of the MoMA Design Store catalog. She lives and works in Burzaco, Buenos Aires Province, and her work is held in collections in Argentina and abroad.

CURATORIAL VISION

For ESTE ARTE 2026, 12th edition, María Casado Home Gallery presents Federico Lanzi’s project “Imaginary Archaeologies”, conceived especially for the public of ESTE ARTE and Uruguay. The installation features ceramic works that propose an alternative cosmovision of civilization’s origins. Using clay as primary matter, Lanzi combines myth, esoterica, and astronomy with non-traditional supports such as plastics to build fictional artifacts that blur the lines between the archaic and the contemporary. These pieces function as symbolic and ornamental objects—imaginary remnants of civilizations that never were. In parallel, his research in painting engages the decorative, camp, and so-called “minor” arts, questioning hierarchies between industrial and artisanal production. The project unfolds as a speculative archaeology, opening multiple layers of meaning and inviting viewers to imagine history through invention.

BIO

Federico Lanzi (Argentine, b. 1983) studied at the Instituto de Artes Visuales R.L. Carnelli in Paraná, Entre Ríos, and participated in the Artists Program at the Universidad Torcuato Di Tella (2011). He also attended the Centro de Investigaciones Artísticas (2010) and the CCRojas Visual Arts Clinic (2007). He has received grants from the Fondo Nacional de las Artes, Fundación Antorchas, and Banco de Entre Ríos. His work has been exhibited in galleries, museums, and cultural institutions in Argentina and internationally, with a practice that expands across painting, ceramics, and collaborative experimental projects.

BIO

Federico Lanzi (1979, Argentina) is based in Buenos Aires. He studied art at the Universidad Autónoma de Entre Ríos, where he received several scholarships, including from Fundación Antorchas and the Nuevo Banco de Entre Ríos. Lanzi has been awarded various prizes in Argentina and has participated in significant residencies, such as at the Centro Cultural Rojas and the Universidad Torcuato Di Tella’s Program for Artists. He has also attended clinics with renowned artists like Diana Aisenberg and participated in artist residencies in Brazil and Mexico.

Lanzi’s work has been exhibited both in Argentina and internationally and is part of major private collections and museums across the globe. His practice focuses on the potential of color and material within painting, exploring the concept that there is nothing deeper than the pure surface. His pieces often reference art history in abstract forms, creating new narratives that weave together the fantastical and the real, with a particular focus on the history of humanity.

CURATORIAL

Federico Lanzi’s works exemplify the notion that nothing is deeper than pure surface. Each element in the visual play of his creations—be it the colors, materials, techniques, or even abstract shapes—holds layers of meaning, though there always remains something ineffable, essential, and beyond words. His works create an immersive experience that draws viewers in, making them absorb not just the literal aspects but also the emotional resonance embedded in the art.
Lanzi’s approach could be likened to that of a pianist, where colors and forms are the keys, and the viewer’s eye becomes the hammer that resonates emotionally. His art contains subtle references to art history through abstract reimaginations of historical representations, imbuing his works with a strange familiarity. This familiarity carries a genetic imprint of past narratives while simultaneously suggesting new stories that blur the line between the fantastical and the real.
Seriality plays a crucial role in Lanzi’s practice. He uses materials like mirrors, specular images, and transparent acrylics, painted on their reverse, to pull the viewer deeper into his compositions. These techniques not only challenge the physical perception of space but also evoke a deeper, emotional connection with the viewer.

In his exhibition, the emphasis is on the color’s characteristics and the possibilities of painting as material. Lanzi’s works ask us to look deeper, pushing beyond what is immediately visible, as each piece resonates with an inexplicable essence, one that remains essential despite the apparent simplicity of its form. His practice revolves around seriality and employs innovative techniques such as mirrors, acrylic supports painted on the reverse, and specular imagery. These materials invite the viewer to experience the work both physically and emotionally, creating an interaction that is as much about sensation as it is about visual interpretation.

Lanzi’s art is a harmonious blend of material, emotion, and history, offering an immersive and contemplative experience where each layer invites further exploration into the depths of color, form, and meaning.