Guido Yannitto

Mendoza, Argentina, 1981

            Guido Yannitto's artistic production unfolds attentively, simultaneously observing the major transformations of contemporary culture and the materials and production techniques of traditional cultures or anonymous practices. In this way, a wide range of strategies and operations populate his work, aimed at investigating how these marginalized forms connect and simultaneously resist the dominant grammars of our time. Whether through collage, weaving, tapestries, ironwork, or brickwork, the artist has developed an artistic imprint that hybridizes the past and present, mixes the high and the low, and introduces interference that disrupts normalized modes of perception.

            Trained at the National University of Córdoba and selected for numerous prestigious residencies, national and international grants, and training programs, Yannitto turned his itinerant art education into a way of life. Mexico, Antarctica, Colombia, the Netherlands, Brazil were part of a journey where at every step he absorbed elements and work modalities from the environments he encountered. The Hemisferio project, for example, carried out on the Antarctic platform, refers not only to geographic displacement and the subjective effects generated by the remote glacial territory but also to certain local practices related to freshwater production in the southern bases.

            However, it is his work on spinning that has marked his identity as an artist. The attraction to weaving, although dating back to the beginning of his career, returned with force from his stay in Maastricht and continued at the prestigious Pivô residency in São Paulo until it was formalized when he settled permanently in Salta in 2020 and collaborated on the project "La escucha y los vientos" founded by curator Andrei Fernández. Within the framework of this project, he accompanies the process of a group of Wichí weavers, indigenous women living along the Pilcomayo River in northern Argentina. The uses, cultural meanings, and political significance of textiles become a narrative laboratory for recovering local stories and indigenous myths, as well as for conducting a digital archaeology, where the artist manages to forge a personal iconography that would not exist without an inevitable reflection on the communal.