Dulce Lamarca. Portraits by Filipe Zapelini.
Brooklyn, NY. November 2023.
PRESS
2023
Adeola, Olakiitan. You hear me here you. Blue Oyster Project Space, 7 March 2023.
Rovatti, Valeria. Compartir, invitar, inventar excusas, presenciar, dar tiempo. Blue Oyster Project Space, 7 March 2023.
2022
Shiamtani, Paola. Review at ReA! Art Fair 2022 Catalogue, October 2022.
Pickens, Robyn Maree. Art Seen: March 10. Otago Daily Times, Newspaper (Entertainment, Art section). 10 March 2022.
“«Cabos sueltos», exhibición colectiva en Abrir Galería, Perú.” Terremoto, Art Magazine. 12 March 2022.
2021
Collins, Ann. To Create a Space for Experimentation: School of Visual Arts MFA Fine Arts. Art & Education, publishing platform from e-flux and Artforum focusing on education and contemporary art. 16 November 2021.
Adeola, Olakiitan. the bearable lightness of an adjacent life. Qra33, Art Blog. 31 March 2021.
Ballif, Ashlin. A Conversation with New York-Based Artist Dulce Lamarca. Daily Lazy. 15 March 2021.
2020
Pinto, Mana. Entre. VSV Virtual Studio Visit, online art publication, 5 October 2020.
Arte Nómada and Tarté, Juan. Deseos. Arte Nómada, online art publication. 24 April 2020.
2019
Bruno, Armando A. Todo lo que está en el medio - Sobre ‘Un entre’ de Dulce Lamarca. Este no es otro blog de arte, Art blog, 7 January 2019.
PUBLICATIONS & BOOKS
2021
“On The Town.” PERFORMA, New York, NY. Book on 2017 & 2019 biennials. Image sourcing by Dulce Lamarca.
“The Hummingbird Project.” Publisher: CALEC Center for the Advancement of Languages, Education, and Communities, New York, NY. Written by Vickie Frémont. Illustrated by Dulce Lamarca.
“Eva Mayhabal in conversation with Cassandra Mayela and Basie Allen.” La Salita, New York, NY. 8 March 2021. Edited, translated, and illustrated by Dulce Lamarca.
2019
“Raúl.” Pieza. New York, NY. Contributed to printed art magazine by artists Daniel Almeida and Maximilian Juliá. June, 2019, pp. 14-15.
2018
“A Conversation with Denise Treizman.” Proto Gallery profile Artsy.net, New York, NY. 18 May 2018. Interview by Dulce Lamarca.
SELECTED ESSAYS & PRESS
Adeola, Olakiitan. You hear me here you. Blue Oyster Project Space, 7 March 2023.
"It is no longer contentious to talk about spacetime in a digital age as an accelerated one. With an everyday pace too fast and fractured to keep up with, Dulce’s performance shows what respite and joy the minute can offer. Instead of trying to timestamp every hour with receipts of productivity, we are bleeding hours into each other. At a time so deficient of friendly and vital hours, Dulce’s Can You Here me? gracefully opens an opportunity to dilate our bodies within a parallel time: excused from labour by laughter, buoyed by earnestness, sharing moments, slowed down."
[read more]
Shiamtani, Paola. Review at ReA! Art Fair 2022 Catalogue, October 2022.
“(...) The collaborative nature of her practice has led her to work with musicians, actors, poets and improvisational comedians. Dulce is currently working on a 16 mm film shot in Uruguay in January 2022. She recently reviewed the footage for the first time with a live audience during her online performance titled Can you here me? hosted by Blue Oyster Art Project Space, Dunedin, New Zealand.
Dulce Lamarca is interested in generating intimate scenarios where the audience becomes greatly involved, at times altering the work itself through their spontaneous reactions, interpretations and input. The artist works with mediums such as performance and video, reflecting on the absurd and bizarre aspects of everyday life and socio-cultural interactions.
Can you here me? is an online video performance during which Lamarca directly connects with her audience from a distance by sharing her desktop screen from her New York studio. A recording of the performance is displayed at the third edition of ReA! Art Fair. This distance performance has so far been activated twice: at Proyecto Casa Intervenida in Buenos Aires and at Blue Oyster Art Project Space in Dunedin, New Zealand. From afar, the artist informally provides the audience with various visual, sonic and textual stimuli from her personal ever-expanding archive, improvising as she goes, bouncing off of their reception and perception of the material. The viewers may not be aware of the artist’s direct involvement initially, yet as they begin to engage with the piece, Lamarca’s presence becomes evident. The artist is constantly allowing the viewers to access her in-progress research and yet to be published body of work.”
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Collins, Ann. “To Create a Space for Experimentation: School of Visual Arts MFA Fine Arts.” Art & Education, publishing platform from e-flux and Artforum focusing on education and contemporary art. 16 November 2021.
"The emphasis on interdisciplinarity and a diversity of approaches is borne out in the work. Dulce Lamarca, who graduated in 2020, developed her thesis around the concept of liminality, staging a series of filmed and photographed durational performances that included tuning a cello on a subway platform for a performance that never takes place and placing a clock in her freezer. She extended her work into interactive events with an improv troupe and an audience that she assembled in her studio, culminating in a video installation that included a live screen-sharing of her desktop on which she opened Giphy, YouTube, and Wikipedia pages while typing onto sticky notes."
[read more]
Adeola, Olakiitan."the bearable lightness of an adjacent life." Lyric Essay on Dulce Lamarca's digital practice. March 31st, 2021 (pdf)
"As an interdisciplinary artist, Dulce Lamarca utilizes the digital space and time of the video as site, and moments for another life, near to the bodily one. She has said, “My work is based on a personal reflection about my life and the strangeness of being alive.” In a sense, she’s a realist sewing absurdity with occasional flashes of meaning."
[read more]
Ballif, Ashlin Artemisa. "A Conversation with New York-Based Artist Dulce Lamarca." Interview and Review at Daily Lazy. March 15th, 2021
"The dovetail of humor and vulnerability is apparent in many of Dulce’s works, especially in the ten-minute video Rollercoaster (2019-2021). (...) Relatable, playful, and ambiguous, Rollercoaster is in fact that, a ride of emotions or expressions varying in extremities. (...) How I came here (2019-2021), is a 47-second video that exemplifies the fast-paced nature of life. This work showcases how each of our memories, in retrospect, are simply tiny blips and spurts of emotion that vanish as quickly as they begin. The title assumes an autobiographical role, painting the rest of the work as a saga of the artist’s life captured, caught, condensed, and then let tumbling out to unveil itself in those 47-seconds."
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CURATORIAL TEXTS & REVIEWS
“Dulce Lamarca has been experimenting with films, performances and mediated spaces to explore how to engage an audience intimately both off and on a screen. (...) Investigations of time and space as conceptual and sculptural material play out in the performative videos of Dulce Lamarca. Her distance performances to gallery audiences via remote screen-sharing gains even more relevance to our zoom-laden world of today.”
Text by Regina Basha, curator based in Madrid, Spain, for group exhibition We Interrupt This Program, SVA Galleries, New York, NY, July 16, through August 6, 2020.
“Both works [Dulce’s and Zoe’s] think about time as a material, daily practices of making, and question the 'point' of making by privileging the process over the outcome and the studio over the exhibition. I think Dulce’s Tuning Series works sit beautifully alongside Zoe's work (...) both projects deal firstly with process and duration and leave space to question the capitalist focus on outcomes, productivity, and completeness. There are also some lovely connections between Dulce’s and Zoe's practices because they are both artists and educators and I think that brings quite a different perspective to how they both approach their practices. (...) Zoe, Kate, and Dulce all work with performance, to varying extents, to think about time from the perspective of an artist at work. Each project records and captures material qualities of time through waiting, rest, patience (or impatience), and anticipation––modes of being which are central to our 'pandemic lives' but absolutely counter to the dominant productivity discourse.”
Hope Wilson. Director of Blue Oyster Art Project Space, Dunedin, New Zealand. In the context of three-person show, Idle Hands, 23 February-16 April, 2022.
"Sharing, inviting, making up excuses, bearing witness, giving time. (...) Dulce lends us her time. She offers hers to us. (...) Time becomes a character in and of itself. (...) The artist returns again and again, re-enacting every second of an unedited film archive. (...) She exposes the interval. As her body rests in a hammock, the piece shifts tempo. (...) Dulce proposes, while staying protected within the distance of representation and reproduction. The veil of technology reveals and conceals all."
Valeria Rovatti. Text on the second iteration of the performance Can you here me?, streamed from New York in 2022.
“This work feels prescient to our times.”
William Powhida. On Can you here me?, 2019, in the context of Dulce’s thesis presentations, SVA, School of Visual Arts, New York, NY, May 2020.