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JESSICA MORILLO

Jessica Morillo (Tucumán, 1987) es artista visual, diseñadora y educadora. Su práctica se centra en el arte textil, que aborda desde múltiples materialidades y formatos como instalaciones, intervenciones urbanas, joyería contemporánea y piezas digitales. Su obra activa lo textil como herramienta de denuncia, memoria y participación, explorando lo personal, lo colectivo, lo educativo y lo político, con foco en las luchas de género y disidencias. Participó en exposiciones individuales y colectivas en Argentina y el exterior, y ha sido reconocida con diversos premios en salones nacionales y regionales. Entre ellos, menciones en el Salón Nacional de Artes Visuales (Palais de Glace), el Salón Regional de La Rioja y el Salón Timoteo Navarro. En 2025 fue seleccionada para la residencia “Volverse herida” de Fundación Kunayan (coord. Ana Gallardo). En 2024 integró el jurado del Salón de la Mujer del CAAT y fue parte del programa de artistas de Curadurías Itinerantes. Morillo construye espacios autogestivos de formación en torno al textil y la joyería, desde donde propone prácticas colaborativas que visibilizan opresiones y tejen nuevas formas de resistencia.

He studied plastic arts and psychopedagogy at the University of Haifa where he found a safe place for experimentation and expression from diversity. Surrounded by women with different cultural and ethnic backgrounds, she produces her first works with a perspective on the feminine. It is received in 2015 with honors with a specialty in painting and engraving and its sample is awarded with the 2nd scholarship of excellence from the faculty. Finishing his Master in Curatorship at the University of Haifa, he decides to return to Tucumán. He participated in numerous group shows in Haifa and Tucumán. His works are part of private collections in Guatemala, Israel, Spain, the United States, Brazil and Argentina.

Visual artist, art graduate, and teacher. Since 2020, he has been part of Fulana Galería. He has trained in clinics and workshops with artists such as Antonella Aparicio, Amadeo Azar, Max Gómez Canle, and Pablo Sinaí, among others. His work is constructed as a device of references, where the citation functions as an archaeological operation and an exercise in memory resistance. His creative process begins with the redefinition of images, combining artworks, everyday scenes, and internet material. In this mix, he generates a new visual semantics that puts the past and present in dialogue without hierarchies. His practice is conceived as a constructed excavation, where ancestral technologies, spatial coordinates, and a mixed language converge. He has participated in important group exhibitions such as El aprendizaje infinito (Museo Moderno de Buenos Aires, 2024), El silencio de las cosas (Fulana Galería, 2023), and La sombra perfecta (CC Virla, 2021). He has held solo exhibitions such as "Suspended in the Air I Can Touch the Earth" (2023) and "Every Landscape Was Always a Simulation" (2021). He has been selected and awarded prizes at national and regional exhibitions, including the Bancor Painting Prize, the National Salon of Visual Arts, and the Tucumán Salon. He has participated in fairs such as ArteBA, MicroFeria Rosario, and OtraFeria.

Her artistic practice plays with visual language, exploring the saturation of images she consumes from the media and her immediate surroundings. Through drawing and painting, she constructs a dialogue between materials and concepts, addressing what she defines as "the devastation of images." She also experiments with collage, video, and writing, expanding her expressive universe. She was born in Tucumán, Argentina, in 1991. She holds a degree in Fine Arts with a specialty in Painting from the Faculty of Arts at the National University of Buenos Aires (UNT). She trained in workshops and clinics with artists such as Lucía Sorans, Pablo Sinaí, Antonella Aparicio, Ana Won, Benjamín Felicce, Juan Carlos Romero, and Margarita Vera, among others. She has taught in secondary schools and in neighborhood workshops. She has been part of Galería Fulana since 2020. She has participated in group exhibitions such as The Silence of Things (2023), IV Salón Regional del NOA Recalcatti (2021), This is My Newest and Most Powerful Certainty (2021), and Eregebofilia (2020). Her solo exhibitions include A Song Made of Other Songs (2022), The Remains (2019), and Online, Connection Without Wi-Fi (2014). She has participated in fairs such as Feria Co (2024), NODO (2024), and ArteBa (2021).

I think of my body as the first territory I inhabit, a political tool and a place of memory. I work with textiles from my everyday universe and also with those gifted to me by friends and family, laden with memories, affections, stories, dreams, and demands. Embroidery, for me, is resistance and care; it's an intimate technology where creativity and protest intertwine, creating new relational fabrics and spaces for being with others. I cultivate the stitch as I cultivate the land, weaving together thoughts and meanings that recast territories of struggle and life. I was born in Tucumán in 1981, where I live and develop as a visual artist, mother, seamstress, artist advisor, and workshop manager at Tamañoficio. I am part of the La Lola Mora Collective and founded the performance duo Greco-Flash. I trained with Andrei Fernández, Guido Yanito, Nilda Rosemberg, and Horacio Zábala. I received a creation grant from the National Art Museum (FNA), the Impulsar Cultura fund from the National University of Technology (UNT), and recognition at provincial and national exhibitions. I exhibited individually between 2021 and 2022 and participated in group exhibitions such as Todo el paraíso, todos los futuro (All Paradise, All Futures) at Taller Arde. My textile practice interweaves the poetic, the political, and the vital.

Adrián Sosa (Monteros, Tucumán, 1994) es artista visual y Licenciado en Artes Plásticas por la UNT. Se formó en la Universidad Torcuato Di Tella, la Universidad San Pablo-T y en residencias como NARA (Colombia, 2022) y la Cité Internationale des Arts (París, 2024). Obtuvo premios como el Braque (2023), el regional del FNA (2022), y reconocimientos en los salones de Tucumán, el Premio Itaú y el Salón Nacional. Su obra explora su identidad a través de una estética rural, precaria y mágica, ligada a la memoria familiar y el anhelo por la tierra y el agua. Vive y trabaja en Monteros.

A visual artist with a degree in Fine Arts from the UNT (National University of Technology), she lives in Tucumán, her homeland and the starting point for conceiving painting as a critical tool. She learned to walk to become a flâneur and has since explored urban spaces as a space for observation and reflection. She works with painting because of its historical significance, linked to the hegemonic and dominant, but from a perspective that seeks to challenge that tradition to give visibility to the marginalized. Her works do not seek to be pleasant: they are figurative scenes that challenge, that denounce the invisibility of excluded bodies and narratives. In 2024, she participated in the José Nardín Painting Salon (Santa Fe) and was a jury member in the Painting Competition at the Bella Vista Multicultural Gathering (Tucumán). In 2023, she received a Finalist Mention in the Fundación Federada Painting Competition (Rosario) and curated the exhibition Machinery to Inhabit Two Landscapes by Micaela Torres. She has been selected for numerous national exhibitions since 2018 and has received recognition such as the Incentive Award from the Tucumán Salon (2020). She has held solo exhibitions at the Virla Cultural Center: Saturday at Home (2019) and Open Drawer (2022). In 2021, she participated in the clinic "The Image in Dispute" taught by Luis María Rojas.

An environmental visual artist, she holds a degree in Fine Arts from the National University of Technology (UNT) and a diploma in Cultural Management from the USPT. She currently directs the Casa Etérea art studio in Tafí Viejo. Her practice stems from the collection of found objects in her daily life, combining performance, recycling, and environmental reflection. She defines herself as a collector of moments: what others discard, she transforms into memory, symbol, and protest. Her works evoke two opposing worlds: the natural, ephemeral, and vital world from which she originates and which she defends; and the artificial world, represented by plastic, an inexhaustible material that encapsulates time and contaminates. Her work is influenced by sustainability and a commitment to ecology. The waste from her daily life becomes expressive material that speaks to her history, her environment, and her emotions. Through these pieces, she constructs a personal universe that connects her origins, her love of nature, and a poetic critique of the excess of the artificial. With humor and irony, he transforms the discarded into art, seeking to generate awareness and sensitivity to what remains and contaminates, while rescuing the beauty of the simple, the fragile, and the living.