Cintia Vietto

Artwork

Collective Experiences

TRE. Stage poetry

The Rioplatense Theater of Entities TRE is a collective made up of artists, writers and users of social networks coordinated by Vicente Mario di Maggio and Ral Veroni. Since 2010 TRE has organized exhibitions, performances, editions, presentations and celebrations in the City of Buenos Aires. Ral Veroni says: "Our intention is to demonstrate that the Cosmos is River Plate, although the world is not aware of this".
For some of these projects, I made clothing and accessories. In the last exhibition of TRE (Wind, Teatrito and Humo, Mar Dulce Gallery, Buenos Aires, winter 2022) I participated with The Garden of Entities, a 3 x 2 m articulated rag sculpture. In addition, in co-authorship with Ral Veroni we published Apocalípsis de Platinia (Editorial Urania, Buenos Aires 2022).


CRYPTOVIETTO. Digital art

Together with my sister Laura, our sons Bastian and Axel and my nephew Juan, son of my sister Carla, we created this digital art collective. In 2022 we developed the first NFTS collection called Mundo Ciclope made up of 960 handmade characters from the world of football.
Each of them was treated on the ground of seven aspects: eye, nationality, position, object in hand, historical period and background. The collection is hosted on the Opensea (ETH) platform and promoted on social media under the username Cryptovietto.


ABREOJOS (Eyes Wide Open). Paintings

Together with Diego Díaz, Laura Arce and Francisco Baggiani, at that time colleagues in Germán Gargano's painting workshop, we formed the Abreojos collective.
In August 2019 we held the exhibition: Abreojos 1, at the Borges Cultural Center, with a curatorial text by Laura Arce. Two months later, in October, we inaugurated Abreojos 2, at the Jorge Newbery Gallery, with a curatorial text by Ana Aldaburu. The exhibition proposal was to intersperse between one and the other, around 24 new works.
In both projects we were accompanied by the tango and urban music singer Raquel Bruera and the Arqueoterra cooperative with an art and archeology workshop.
Regarding my painting, Arce writes: “Her imperfect checkerboards, with embedded planes, vibrant colors and capricious forms are subjected to a circular movement. The frame is rotated repetitively until it is verified that the truth is in motion.” Later, Aldaburu will say: “There is a concentrated intensification of processes, where fragmentation, the use of cutouts, pieces of color impregnated with movement, stains and associated forms, generate a space wisely unstructured in its structure. Remains are glimpsed, as bodies or landscapes, that endow the abstraction with shapeless and dislocated forms, where one can almost follow the rhythm and unctuousness of rapid brushstrokes with rich and intense ranges that, in interlocking and overlapping, endow the surface with an exultant vitality.


COLECTIVO RED IDENTIDADES PRODUCTIVAS. Crafts and Associated Management

Between 2002 and 2015, various groups of provincial artists, artisans and designers from different cities in the country, some 1,100 people, formed a management network associated with the National State Office dedicated to creation and collective work. Collections of objects and clothing made with materials, technologies and symbols with strong regional identities imprints were the fruits of this collaborative work accompanied by the National Secretary of Culture. The Identidades Productivas program also had the support of international organizations such as UNESCO and the OAS, as well as private companies such as Alpargatas, Iteva and YKK, among many others. Hundreds of activities were organized in all the country's provinces and also in Chile, Peru, USA and England.

Some of the outstanding actions: Joint creative seminars (City of Chapadmalal, 2009 and 2014). Seminars and presentations in the cities of Santa Rosa, Río Gallegos, Comodoro Rivadavia, Humahuaca, Las Grutas and Ushuaia, among others.
In the Autonomous City of Buenos Aires, events such as Productive Identities were held by Correo Argentino (2007), Fashion + History (Palais de Glace, 2010), Red IP (Manzana de las Luces, 2011). International events also occured, such as: Productive Identities 200 Years Argentine Bicentennial (Smithsonian Institution, (Washington, 2010) and New York, 2010.
Officials and artisans used to say in those days: “strengthening the work of artisans in different regions of Argentina is dealt with by the Productive Identities Program, which makes cultural legacy of the native peoples, an engine of innovation and collective development” (José Nun, Secretary of Culture of the Nation, 2004-2009). “The camaraderie that we have been gaining during all the meeting times that we have achieved, in my 75 years, that I already have, was something very good, because tomorrow if we learn well, who tells you that we cannot have a small business, or a cooperative?” (Zoila Luna del Valle, artisan member of the Productive Identities Network, San Juan, 2007).


LÁPIZ JAPONÉS. Cartoon

Between 1995 and 1999 I was part, as cartoonist, of the group started by Elenio Pico, Ral Veroni, Sergio Langer and Diego Bianki. Then, this self-managed group added cartoonists and artists from the City of Buenos Aires and other latitudes such as Carlos Nine, José Muñoz, Juan Lima, Max Cachimba and Fabio Zimbres, among many others. The group produced the Arte +Qomix magazine, Japanese Pencil (issues 1 to 5), the Colorin Buc book collection and participated in countless shows and events.
Some of the wonderful printed texts state: “This morning I had written the last page of a novel.
“Augusta's pizzeria. The largest in America, three gigantic cyclops, pizza masters, feed the oven. Day and night. That furnace never goes out: like the chimney, like a monumental beacon, it guides travelers who venture so far south of the known world.” (Lucas Nine in Lápiz Japonés 2).
"No Larry, a cross would not help you, you are an atheist, you must have faith in the weapon you use." (Ral Veroni, The Devil's Son in Japanese Pencil 2).

Some experiences in PDF

CORAX. Technopunk art

Together with the archaeologist Marcelo Weissel, my partner, I created different art and performance formations between 1987 and 1993. El Kogre in Buenos Aires, 213 Lechita in Cologne (Germany) and Corax in Berlin. In these projects I was in charge of designing sound and visual productions, making artist's books and, also, costumes. We offered concerts and exhibitions in cultural spaces, art galleries and museums of the underground scene in Buenos Aires, Milan, Cologne, Berlin and Moscow.
In 2021, the Walden Gallery set up “Cintia y Marcelo”, an exhibition made up of photographs, clothing, instruments, and various pieces from the CORAX period. A digital catalog was also produced with text and research by Ral Veroni who wrote about, with his singular point of view: "...explores the socio-cultural and political context of Argentina at the end of the eighties, through the multifaceted production of Cintia Vietto and Marcelo Weissel” (see Yulinda III at www.waldengallery.com/yulinda).


Exhibitions


EXHIBITIONS of Cintia Vietto

I made countless exhibitions, events, shows, performances, seminars, talks and workshops in all the provinces of Argentina and many cities abroad.
This section includes some of those works, carried out between 1993 and the present. 
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HILOLULU. Mar Dulce Gallery. Uriarte 1490, CABA, Buenos Aires 2025



From March 15 to April 26, 2025
Tuesday to Saturday from 4 to 7 PM
Mar Dulce Gallery
Uriarte 1490, CABA

HILOLULU It brings together 30 small works 'painted' with shiny threads on a dark silkscreen base, where the directions and tones construct the form.
This is the work from the last two years by Cintia Vietto, a period in which she moves away from large-format oil painting to revisit textile art from a new perspective. Her work retains the imprint of vibrant color on dark backgrounds, a resource that has been present in her art since the late 80s, with her banners and performative costumes. As Ral Veroni writes in the exhibition text: 'Her passion for color and the play with abstraction — or rather, blurring — continues to be the guiding thread'.  




PUNK OIL. "Alejandro Bustillo" Gallery Bank of the Argentine Nation, Buenos Aires 2023



From June 2 to 30, 2023
Business days from 10 am to 3 pm
"Alejandro Bustillo" Gallery
Banco de la Nación Argentina.
Rivadavia 325 - PB - CABA

PUNK OIL brings together eleven works carried out in the last two years. In these works, I start with black prepared fabric because I am interested in highlighting the prominence of color. The title comes from the comment about my painting by the artist Cinthia Rched.
She often says that my works are like lightning, an explosion of color, that they have elements of the punk movement, perhaps in the sense of a free stroke and a bit against the use of a single language or system or, in other words, countersystem. All the works that are exhibited arise from the capture in my eyes of a precise moment that is sometimes an intimate space, like a family lunch, and other times a public and anonymous space, like a subway corridor that connects one line to another.




COLOR ON BLACK. Central Newbery Gallery, Buenos Aires 2023




From April 1st to 16th, 2023
Central Newbery Gallery.
Jorge Newbery 3599. CABA

At the Central Newbery Gallery, I am exhibiting "COLOR ON BLACK", a selection of works created in 2022. It consists of 31 oil paintings on black canvas and three large textile sculptures.
The collection I am showing seeks to capture scenes from everyday life. People in motion in private or intimate spaces, such as homes, cultural centers, and courtyards, but also in public spaces: anonymous figures circulating through subway corridors or on the sidewalks of the many varied landscapes of Buenos Aires. The shape of the characters, their entanglements, and the directions of movement serve as a structure to generate the space constructed with masses of color.




A GENERATION after Museum des Verbotenen Kunst, Berlin 1993

Museums and galeries

There are not a few museums and galleries, in Argentina and other countries, that have under their care productions that I made privately, in the business, institutional spheres or as part of artistic groups.

The Pirelli Museum in Milan houses acrylic and acetate originals of the characters from the Progetto Bicocca promotional campaign (1991). The Petrovsky Boulevard Skout gallery in Moscow keeps two series, from 1991 and 1993, made up of one hundred black and white photographs by the Russian artist Andrey Turusov, with Marcelo Weissel and me as the exclusive protagonists.
A set of author serigraphs and hundreds of experimental test prints are part of the collection of the Museum Des Verbotenen Kunst in Berlin.
The Cooper Hewitt, Smithsonian Design Museum in New York incorporated into its permanent collection of textiles, on the occasion of the work of the Productive Identities Network, an original piece woven in chaguar fiber by Lidia Novillo (model: Noelia Toribio, daughter of Lidia Photo: Marcelo Setton).
The most recent entry, in 2021, is the Corax production made between 1987 and 1993, at the Waldengallery in Buenos Aires.

Some pdfs to see

Bio

CINTIA VIETTO

Artist. Between 1987 and 1993 participated in the group El Kogre and the technopunk bands 213 Lechita and Phalacrocorax, in the underground scene of Buenos Aires, Milan, Cologne, Berlin and Moscow. I returned to Buenos Aires in 1993 and took care of creating artist's books, clothing design and fabric sculptures. I was a member of the Japanese Pencil and Productive Identities Network art collectives. Since 2003, I have been an advisor to the National Directorate of Cultural Industries of the National Ministry of Culture. Currently I am dedicated to pictorial research and I collaborate with the Little Theater of Rioplatense Entities TRE.
I feel everything is beautiful and, at the same time, ephemeral, even to take in account that from a very young age I wanted to remember all the beautiful I see, to always have it with me. I pretend that reality doesn't take the world away from me. My curiosity and dedication make me experience the moment with attention. I try to catch beauty so that it becomes part of myself. And that is why I am inclined to keep it on each paper, on each canvas, with temperas, with oils, with inks, whatever.
That's the way things are for me. I speak my own language and I care about concepts with a common meaning: collective organization, internal creation of value, protection of beautiful forms, care of others.

Prensa

Some press articles to see in PDF

Contact

Address
Buenos Aires, Argentina
E-mail
cintia@cintiavietto.com