Escape from New York, The Engine Room, Massey University, Wellington, New Zealand, April 22 – May 8, 2010
Bibi Calderaro: Pineal Action IV, September 12 – October 17, 2009
Escape from New York, Project Space Spare Room, RMIT University, Melbourne, Australia, May 8-29, 2009
Minus Space, P.S.1 Contemporary Art Center / MoMA, NYC, October 19, 2008 – May 4, 2009
Escape from New York, Sydney Non Objective, Sydney, Australia, August 3 – September 2, 2007

Bibi Calderaro has exhibited her work nationally and internationally, including at museums such as P.S.1 Contemporary Art Center / MoMA, Bronx Museum of the Arts, El Museo del Barrio (all NYC), Museum of Modern Art, National Museum of Fine Arts (both Argentina), and Museo Nacional Centro de Arte Reina Sofía (Spain).

She is the recipient of awards from the Marie Walsh Sharpe Art Foundation, Atlantic Center for the Arts, and Aaron Siskind Foundation, among others. Her work is included in the collections of the Museum of Fine Arts (Houston), Art Museum at Princeton University (New Jersey), Museum of Modern Art, and National Museum of Fine Arts (both Argentina). Bibi holds an MFA from Queens College/CUNY, NY, and a BA from Wesleyan University, CT.

My inquiry centers on subjectivity and entropy as elements in the formation of impure systems and identities. If the pure leaves a system exposed, I pursue the shift from such fragile situations to more sustainable systems characterized by diverse sets of elements. I am interested in the energy exchange among systems and in widening the understanding of what a set is. I attempt to strengthen the idea of continuity and coexistence vs. fictitious divisions of constructed concepts of duality. I focus on connection and coexistence as operations of value.

Membranes have become the way in which I understand the world, as they usually are the common denominator to the labyrinth of questions that I ask daily. I like them because they appear to separate the same from the other yet connect them in constant flux. Membranes are permeable yet as they follow the arrow of time they lose resilience and flexibility. Membranes denote a liminal space where things may be this and that in synchronicity. I understand language as membrane, in that it can at the same time communicate and strongly shatter meaning. The Duchampian infra-thin as embodiment of the membranic in the aesthetic realm is of particular interest and functions as periodic influence in my work.

The performatic, the theoretic and the experiential coexist in my work along with the manipulation of matter. Each is a set to be kneaded together in the minimum necessary proportions. I work intuitively until things condense into a meaningful form. Questions are more important to me than answers. I’d rather not lose track of the absurd. Lately I have concentrated on concepts of growth~degrowth and the body as container. I trace the undifferentiated identities of recyclables individually and in groups to work on their indexical power of remaining. I do this with gold paint to render an ambiguity of desire towards these unwanted objects.