• “Hey Megaphone Whats Shaking”

  Installation view. 2018/20 Bologna Arte Fiera 2020 Digital print, wheat paste and stoneware.

• “Installation view "Alta por Fuga"”

  left is "Rockefeller and the Dry Duchess" work on right is "Seed of Nijinsky" Installation view The Alice Wilds, 2019

• “Calagari with Table Sculpture”

  Installation view, The Fates Await, 2006 Museum of Contemporary Art, San Diego

• “Edge of Life, Ratside”

  Installation view for a group exhibition, Archipeinture 2005

• “Hex After the Fall”

  Watercolor, 2015 roughly 9" x 7.5

artist bio

Nacido en Buenos Aires, Santiago Cucullu crea obras multimedia que culminan en instalaciones unificadas. A menudo en forma de murales elaborados del tamaño de una pared, esculturas y pinturas vibrantes en papel. Específicamente, Cucullu crea obras utilizando una dualidad de materiales y apropiación para indicar la oscilación y la capacidad de los objetos para doblarse entre sí mismos mientras activan un espacio de exhibición.

Elementos del trabajo reflejan momentos de la vida cotidiana e historias locales que actúan para desplazar o resaltar las fricciones y narraciones que encontramos. Cucullu vive y trabaja actualmente en Milwaukee, Wisconsin. Ha sido exhibido en varias instituciones en exposiciones colectivas y individuales, incluido el Museo de Arte Mori, Tokio; Museo Whitney de Arte Americano, Nueva York; El Museo de Arte Moderno de Nueva York, The Walker Art Center, Minneapolis; y Hammer Museum, Los Angeles, entre otros.

artist statement

My focus is on creating large scale installations that emphasis a variety of media including painting, video and sculptural elements to involve the physical, social and aesthetic possibilities of both traditional exhibition spaces, public spaces and more recently radio and audio production. My idea of painting exists in relation to a other materials coaxed by a larger framework encompassing the site specificity of works and how the outside world often leeks into an artwork I often combine wall murals with a variety of materials in an effort to create an environment that is in flux, focusing on the possibilities found in a malleable idea or object that is never static. Often I rely on drawings, paintings and prints that represent both ephemera from my life, memories and photographs of places, situations, and people with whom I've had direct experience. These actions can act as ruptures or markers in my own and the viewers' understanding of the world.

In particular, I am attracted to moments that reflect a quotidian familiarity while displacing representations of culture onto one another–these representations stand in for the artist and ask the viewer to adopt their nuances onto their own experiences.

I often collaborate with other artists, in a project from 2012 I worked with the artist Ester Partegas. The exhibition “Gos Sa Mer”, uses sculptural forms bisecting the exhibition space and echoing modernist sculptures that are part of the site's permanent collection. This installation served to distort and physically interrupt the viewer's experience while restating and confronting the formal aspects of other artist's works found in and adjoining sculpture garden.

Since 2014 I have has collaborated producing an improvisational noise program – The Ching Suru Radio Hour on Riverwest Radio WXRW 104.1, with Chuck Quarino and Marc Fench. The radio show is an amalgamation of free form electronic effects that clash and meld noise soundscapes into a turbulence of humanity.

Currently I am working on a several paintings in my studio and a longer non-narrative video project as well as small paintings using gestural abstraction, process and drawings to compose a platform of automatic drawings to record fugitive moments.

collaborations

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