Catherina Romanelli

cat Self-taught visual artist with a lifelong learning by self-managed long trips. His artistic production includes installation, performance, photography, video, sculpture and paintings and illustrations on paper, canvas and wood, using different materials. His work has been exhibited in Uruguay, Argentina, Chile, Bolivia, Brazil, Spain and China. Illustrates and makes each year the La Bufa handcraft agenda from her workshop in La Paloma, Uruguay.

1999 to 2008

Self-managed extensive travels to Latin America, Europe and Asia.

2001 to 2009

Design, illustration and manufacturing each year of the agenda La Bufa, La Paloma, Uruguay.

2002

Arts Workshop at the School of Visual Arts Angel Pedro Gonzalez, Isla Margarita, Venezuela.

2003

Group exhibition of South Cultural Project in the Week Book of Ribeirao Preto, Sao Paulo, Brazil. Group exhibition of South Cultural Project in the International Poetry Festival in Bento Goncalves, Rio Grande do Sul, Brazil.

2004

Group Exhibition, OSDE Foundation, San Martin de los Andes, Patagonia, Argentina. Group exhibition in South World Cultures Meeting in Patagonia, Chiloe, Chile.

2005

Solo exhibition in Bar La Parra, La Paloma, Uruguay. Group exhibition ,  V Art Week, South Cultural Project, Brasilia, Brazil. First prize in the installation category in Ultra Actual International Art Exhibition, National Museum of Brasilia, Brazil Group exhibition  First Art Open Day in La Paloma, Uruguay. Group exhibition  Second Art Open Day in La Paloma, Uruguay. Mural in pub La Parra, Montevideo, Uruguay. Artistic intervention for film group Ojo de Buey, La Paloma, Uruguay Performing poetry meetings every Friday night.

2006

Solo exhibition, Hostal de L’aigua, St. Llorenç de la Muga, Catalonia, Spain.

2007

Solo exhibition, installation and performance, Pepper bar, Beijing, China. Realization of the “Night of Stories and Poems” in Social Club La Pedrera, Uruguay. Realization of the “Poetry Night” BlaBlaBla Bar, La Paloma, Uruguay.

2008

Solo exhibition, “Women and Arabesques” Social Club La Pedrera, Uruguay. “Aymara Voting” short video documentary, La Paz, Bolivia.

2009

Illustration of “two drops and a raincoat” of Ferrari and Sebastian Moreno Laia, Bello Horizonte, Brazil Solo exhibition, “Women and poems” Social Club La Pedrera, Uruguay. Installation “Lagrimas Vivas, Subway, Municipal Exhibition Center, Montevideo, Uruguay. Solo exhibition, “Wings of Music” Gallery ACATRAS Market, Montevideo. Group exhibition “Aymara Voting”, Renmin Art Gallery, Beijing, China. Group exhibition “Aymara Voting”,  Renmin Art Gallery Qingdao, Qingdao, China.

2010

Installation “My Diary”, Club Social La Pedrera, Uruguay. Group exhibition “Aymara Voting”, Hubei Museum of Art, Wuhan, China. Solo exhibition, “Women and arabesque”, Al Faro de Lou, La Pedrera, Uruguay. Solo exhibition, “Women and arabesque”, Theatre 25 de Mayo, Rocha, Uruguay. Solo exhibition, “Women and arabesque”, Imaginario Sur, Montevideo, Uruguay.

2011

Group exhibition “Aymara Voting”, Centro Cultural La Paloma, La Paloma, Uruguay. Solo exhibition, “Unay”, Centro Cultural La Paloma, La Paloma, Uruguay.     . . . Edgardo Ramos (visual artist and teacher at the National Fine Arts School) It has ever spoken about the impossibility of portraying a woman, I will not fly over Ingres, Klimt, Modigliani, Picasso or Tarsila or walk along with avant-gardes to explain or comment on the results of an image generator as Catherina Romanelli. Fourty years after Andy Brillo boxes and the end of the performance, I stumbling into her work. I deal with the story, consistently changing, where women and females sing a song, enriching their distinct and unique bodies that are transformed assuming different responsibilities and lengthen, to get me between holes and past rooted in freedom. The pain is with pleasure, the erotism is connected with the “divine” and the color is an offering that Cat handles plenty between laughter and tears of an artist who puts on paper what she wants and feels, diluting the (from now) obsolete theory or fable of the impossibility of seeing and smelling a woman in the paper. His work encourages us to wallow without thresholds, with respect and without permits, between dsiposed meats and eternal swearings, where the winks and slaps awakes the viewer, making it part of his work, which could well be a self-portrait, always unfinished. Edgardo Ramosith respect and without permits, between dsiposed meats and eternal swearings, where the winks and slaps awakes the viewer, making it part of his work, which could well be a self-portrait. Always unfinished. Edgardo Ramos

Edgardo Ramos (visual artist and teacher at the Montevideo Fine Arts School) It has ever spoken about the impossibility of portraying a woman, I will not fly over Ingres, Klimt, Modigliani, Picasso or Tarsila or walk along with avant-gardes to explain or comment on the results of an image generator as Catherina Romanelli. Fourty years after Andy Brillo boxes and the end of the performance, I stumbling into her work. I deal with the story, consistently changing, where women and females sing a song, enriching their distinct and unique bodies that are transformed assuming different responsibilities and lengthen, to get me between holes and past rooted in freedom. The pain is with pleasure, the erotism is connected with the “divine” and the color is an offering that Cat handles plenty between laughter and tears of an artist who puts on paper what she wants and feels, diluting the (from now) obsolete theory or fable of the impossibility of seeing and smelling a woman in the paper. His work encourages us to wallow without thresholds, with respect and without permits, between dsiposed meats and eternal swearings, where the winks and slaps awakes the viewer, making it part of his work, which could well be a self-portrait, always unfinished. Edgardo Ramos