Liliana
Livneh

Liliana Livneh's spontaneous creation provokes a hypnotic attraction. 
Something is about to be discovered, something is about to be revealed. 

Art is not what you see, it is the freedom to intuit what it proposes: painting achieves something ineffable just like poetry or music. 

Through the creative, feminine and sensual act, the curvilinear line is associated with carnality; The liveliness that emanates surpasses rationality. Liliana achieves something very difficult to achieve in art. 
This is the “zero signifier”: that which has already occurred or is about to occur. 

The free movement that his hand captures when painting and writing, replicates in the imagination. The body feels. Making sense of what we see makes us artists of contemplation. His work can also be interpreted as emotional cuts that happen during the day. The color struggles to emerge with its light, given the preponderance of grays. 

These are the different moments of interiority: you can achieve happiness or a threatened happiness. Liliana uses the triangle as a field of creation. A shape that symbolizes harmony and proportion. 

The surface is covered with biographical moments that alchemically contain the symbol of fire and the heart. 

Liliana Livneh's work is born from love. There are the memories of his childhood in Mar del Plata. The surprise of finding a heart-shaped stone and the excitement of the readings by Alejandra Pizarnik and Julio Cortázar. 

But the rectangle also intervenes in its compositional structure. A figure linked to the aura section because it symbolizes the union between heaven and earth. An everyday attitude, like when you go up to your terrace to enjoy the sky and the stars. 

Julio Sapollnik
Lic. in History of Arts,U.B.A.
Master in Argentine Culture.

 

Rayuela is opened, handed over, read and reread, it is a book that can be worn, and despite the fact that it takes place in a defined period, it is timeless, Argentinean and at the same time universal. I paint caryatids that can be fragile pillars and with the same fragility of the air be strong guardians of poetry with which I dialogue, including in my work graphics and calligraphy that are not always legible because they are of purely intrinsic aesthetic value. A language of order and chaos, of contrasts, of light and shadow, of gestural strokes like painting.

Rayuela is for me a poetry written in prose that invites the imagination and creates a universe of suggestions making this unique and marvellous work of art reproduce and multiply itself on other supports such as canvas, paper, tiles, to weave a hermetic poetry in the process of becoming transparent through the one who listens to its voice;

Liliana Livneh 

In one of her catalogues (New York) the artist writes:
"In the end I am a reader.
It is this pleasure of eating the words with eyes and fingers, mixing body and soul as always."

Works inspired by Rayuela Muestra Itinerante 

International Book Fair Jerusalem 
Instituto Cervantes Tel Aviv
Installation International Colloquium Cortazar, Hebrew University Jerusalem 2014

Arcimboldo "Reading Cortazar"
New work from 2024 

 

Liliana Livneh conceives painting itself as a manifestation of the fragility and transience of human existence. The artist is renowned by her innovate interpretation of Caryatides, women-pillars from Ancient Greece whom she transformed in an expression that goes beyond mythology. Liliana uses her bare hands and finger prints instead of brushes to smear color, producing a tangible, tactile sensation , she includes writing and calligraphy which is sometimes illegible, precisely because of its intrinsic aesthetic value, creating an universe of suggestions, perceived by the beholder as an hermetic poetry in the process of being transparen