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Guido Yannitto (@gu1doyan) who lives and works in Salta, Argentina, will take part in a residency from September to December 2026.⁠
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The artist’s practice spans textile, drawing, video, installation and ceramics to explore the criollo loom, a weaving technique often relegated to the margins of regional craft. Yannitto is particularly interested in examining the oral traditions of hand-weaving and the industrial nature of the jacquard loom.⁠
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During his residency, Yannitto will develop ‘To Hack the Loom’. This project focuses on digital glitches such as pixel sorting, channel shifts and corrupted file structures to investigate how these digital errors can be transformed into physical threads.⁠
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As part of his residency, Yannitto will receive production and curatorial support, alongside organised professional development and mentoring opportunities.⁠
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Thank you to all who applied through our Open Call.⁠ Sign up to our mailing list to be the first to hear about new international residency opportunities.⁠
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Generously supported by Erica Roberts Art Foundation (@erartfoundation)⁠
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📷️: Images courtesy of the artist, credit Daniela Segiaro ⁠
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#GuidoYannitto #StudioVoltaire
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ARTWORKS Connects, ARTWORKS <> BIENALSUR—and somehow it already feels like I’m at the top of the world. Quite literally: I reached 4,761 metres above sea level at Serranía de Hornocal. Thank you!
🏔️The residency began with a conversation with Clarisa Appendino, member of the BIENALSUR curatorial team whose deep knowledge of the Argentinian art scene set the tone (captured by the wonderful curator Joaquín Barrera), followed by studio visits with Mónica Millán @monicamillan7, Mariela Scafati, and Marina Daiez (Galería Nora Fisch) in Buenos Aires. Diana Wechsler, artistic director of BIENALSUR and the museums of @untref—an Argentine public university, introduced me to Cristina Piffer at her exhibition at @muntref Hotel de Inmigrantes venue where connections between memory, trauma, reparations and economy came into sharp focus.
🏔️Traveling through Salta and Jujuy, I encountered practices deeply shaped by landscape and informed by eco-, trans- and feminist perspectives. In Salta, I was welcomed by Marcela Lopez Sastre, director of the Museo de Bellas Artes de Salta, visited Guido Yannitto at @remotagaleria , met Roxana Ramos, and had generous exchanges with Soledad Sánchez Goldar, Soledad Dahbar, @laarte_contemporanea, Ana Benedetti @espaciodearterayuela, Ivana Salfity and Guad Creche. There was also time for unforgettable food and football. 
🏔️Thank you to Josefina Caron for her book on Calixto Mamani, which became a bridge to Cafayate. With the support of Evangelina Tita, I met Florencia Sadir and Karla Buzó, whose situated practices continue to blur the boundaries between art and life (Photos by @maitelecco)
🏔️In Humahuaca, together with Quillay Méndez, I experienced the Seven-Coloured Mountains while discussing lithium extraction, dance and Indigenous knowledge. Visiting the Salinas Grandes revealed the immense scale of both the landscape and the negotiations around extraction in Indigenous rural communities. (And yes—I even got to fly. See the photo!)
🏔️The journey also took me to the newly opened Centro Cultural Lola Mora @centroculturallolamora where I met artist and curator María Candelaria Traverso. 💫 More to come in the next 2 weeks 💫
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[Obra de la semana]
Guido Yannitto
Sin título. 
Serie Algo que siempre se escapa. 
Collage con lana sintética y chapitas. 
102 x 100 cm. 
Año 2023.

Guido Yannitto (Buenos Aires, 1981) desarrolla una práctica que vincula arte, territorio y saberes colectivos. Su trayectoria incluye residencias y programas en Argentina, México, Colombia, Brasil, Italia, Países Bajos y la Antártida, además de reconocimientos como el Primer Premio del Salón Nacional de Artes Visuales en la categoría Textil. Actualmente trabaja en Salta, donde investiga las relaciones entre paisaje, materialidad y comunidad.

En la serie Algo que siempre se escapa, realiza collages con lana sintética y chapitas inspirados en las rejas de las casas de Bogotá. Las obras ponen en diálogo formas arquitectónicas con máscaras ceremoniales colombianas y la arquitectura cholet de La Paz, construyendo un lenguaje visual donde convergen memoria, ornamentación y territorio.

@gu1doyan @somosmeridiano 

#artecontempóraneo #delinfinito #artelatinoamericano #arteargentino
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