Luciana Lamothe's work revolves around the dialect of construction and destruction, a research that she articulates between the poles of architecture and spaces, forms and function.
Her proposal is to find paths where these contradictories ideas come together and arrive at one same result. The process which enables the construction of a form is the same one that creates the destruction of the materials.
In her sculptures, the formal complexity expresses the function, and the simple fact of walking becomes a complex act. Her interest in the ambivalence of the materials in terms of strength and ductility can be clearly perceived. The materials she works with belong to the world of construction; they're solid, resistant and durable, but when all physical pressure is withdrawn, they may become soft and elastic.
Lamothe's work extends into sculpture, assemblage, and installation, and joins the aesthetics of vandalism to the legacy of conceptual artistic practice. Her work interrogates the dialectical relationships between construction and destruction, the social and the anti−social, and −possibly unintentionally − the revolutionary and the merely destructive. Lamothe's interest in spaces and their constituent elements used to construct them also reveals a concern for materialism.
She considers her visual art, and subsequent gateways, to be an attack of the excesses of consumerism and materialism in modern Argentinean society.
Luciana Lamothe studied at the Prilidiano Pueyrredon National School in Buenos Aires, where she received her degree in Fine Arts, with a specialization in Sculpture, in 1999.
In 2007 she was artist-in-residence at Skowhegan (Maine, USA) and between 2010 and 2011 she took then part in the Kuitca Scholarship at Universidad Torcuato Di Tella, Buenos Aires (2010-2011). In 2016 she participated in a residency program at MANA Wynwood, USA.
In September 2018 Lamothe took part in Basel Cities Public Art Program in Buenos Aires curated by Cecilia Alemani.
She has exhibited in numerous venues internationally including: Contingencies of Use, CGAC, Santiago de Compostela, Spain (2017); Free function, Steve Turner LA, Los Angeles (2016); My Buenos Aires, La Maison Rouge-Fondation Antoine de Galbert, Paris (2015); Nouvelles Vagues, Palais de Tokyo-Galerie Alberta Pane, Paris (2013); Doble penetración, Torcuato Di Tella University, Buenos Aires (2011); Fluiten in het donker, De Appel Arts Centre, Amsterdam (2011); Arte in Loco, Da Maré Museum, Rio de Janeiro (2010); Vertical hole, Punch Gallery, Seattle; Violencias, Museo del Barrio, New York (2008).
Moreover, she showed her work in the 11th Lyon Biennial (with Une terrible beauté est née); in 5th Berlin Biennial; in 3rd Montevideo Biennial; and in a satellite exhibition on the occasion of the 7th edition of Göteborg International Biennial for Contemporary Art, in Sweden.
Among her recent solo shows we can enumerate: Beca Creación 2018, curated by Rosa Aiello, Casa de Victoria Ocampo, Buenos Aires, Argentina (2019); Mutation, Galerie Alberta Pane, Paris; Ensayos de Abertura, Ruth Benzacar Gallery, Buenos Aires; Metasbilad, Prisma KH, Buenos Aires (2016); Patio de la fuente, Centro Cultural Recoleta, Buenos Aires (2016); Bidimensional Bisagra at Haroldo Conti Center, Buenos Aires (2015); Prueba de tensión, Ruth Benzacar Gallery, Buenos Aires; The Function of Form, Galerie Alberta Pane, Paris, both in 2014 and Contacto at The Museum of Modern Art, Buenos Aires, Argentina in 2013.
In 2019 she exposed at Casa de Victoria Ocampo, Buenos Aires, Argentina, Steve Turner Gallery, Los Angeles, USA, Museo de arte moderno, Buenos Aires, Argentina and in the context of CTM Festival, Berlin, Germany.
In 2011 she was awarded with the First Prize of the Lichter Art Award (Frankfurt, Germany) and the First Prize of the Itaú Cultural Award (Buenos Aires, Argentina). In 2019 she has been awarded with the Pollock-Krasner Foundation Grant.