Fabiana Barreda

With these pieces she addressed the union of the body and technology through photos illuminated in backlight, creating a light installation in a sacred site such as the historic Recoletos Convent, transformed into a cultural place.

Conceptually she developed the house as a symbolic structure of various aspects of the human being, her relationships, her emotions, and her culture, using various materials such as translucent acrylic, light boxes, photography and incorporating new technology.

It was exhibited and obtained the Third Mention of the Banco Nación Award, in which it was judged and curated by Jorge López Anaya, Marcelo Pacheco, Fernando Farina, Laura Buccellato and Clorindo Testa, along with the specialists Dan Cameron from the New Museum, North American and Aracy Amaral, Brazilian.

[24] Barreda presented the exhibition "El Final del Eclipse" in 2001, with the Habitat Project: recyclables, carried out at the Fundación Telefónica de Madrid with the curatorship of Jose Jiménez, shows that it travels in Latin America and Europe.

The work is narrated with seven large backlights, which address other artists in the show such as: Liliana Porter, Cildo Meireles, Jorge Macchi, Pablo Reinoso, Augusto Zanela, José Damasceno, Eduardo Kac, Ernesto Neto, Rosãngela Rennó, Tunga, Adriana Varejão, Alfredo Jaar, María Fernanda Cardoso, Nadín Ospina, Carlos Garaicoa, Ernesto Leal, Marta María Pérez Bravo, Gustavo Artigas, Abraham Cruzvillegas, Yolanda Gutiérrez, César Martínez, Pablo Vargas Lugo, Luis Camnitzer and Meyer Vaisman.

[27] Barreda presented the Habitat Project at the Havana Biennial in 2001, with the "Smart Station" concept, intelligent architecture and home automation, through various media, such as the photographic installation of subways and airports in different global metropolises and their social and technological metaphors.

Acrylic models with emblems of national architecture such as the Cabildo de Buenos Aires crossing with the Madí movement, make up the pieces of the exhibition.

[32][33] In 2007, Barreda presented the multimedia installation Habitat Project: Utopia and Deconstruction within the End of the World Biennial in Ushuaia, Tierra del Fuego.

In it, she developed the relationships between body architecture and feminism through a tribute to "La casa de cristal" by Italian architect Lina Bo Bardi.

[34][35] With several of the models and video installations that make up the Habitat: Utopia Project, she participated together with other artists in the exhibition "Utopian reality" at the South Korean Embassy in 2011.

In the video the tattoos and drawings are on the bodies of two protagonists: a spiritual skater warrior who falls in love with the allegorical woman of the pyramid of May (monument in the central square of Argentina).

[37] With the support of the Embassy of Japan, in 2012 she participated in "Satori", an art and technology exhibition on Japanese culture in a Japanese garden, in homage to Sei Shōnagon, Murasaki Shikibu Bushido, Matsuo Bashō, Dàodé Jīng, Peter Greenaway and text by Amalia Sato editor of Tokonoma magazine and based on the practice of kung fu, iado and kendo.

[44][45][46] In 2016 she exhibited together with Martín Bonadeo, Augusto Zanela and Gonzalo Lauda, called Grupo Fractal, the Ecological Project in the national technological park, Tecnópolis, as part of the activities of the Ministry of Environment and Sustainable Development of Argentina.

The work consisted of four domes representing the four elements of nature, which were viewed from Google Earth due to its light installation, indicating the intention of art to protect the environment.

[49][50] In 2020 Barreda participated in the immersive experience of the art and technology exhibition of Tarjeta Naranja, a company that belongs to Banco Galicia, with the curatorship of Florencia Battiti and Daniel R. Fischer[51] and in the Photo London selection.

[54][55] Some of her works are in the collection of the Ministry of Education of Argentina with the piece Knowledge, Hypatia Biblioteca del Maestro (2017), whose name refers to the Greek mathematician and philosopher Hipatia, as a tribute, including prominent authors such as Pizarnik, Foucault, and Spinoza.

[78] In 1998 Barreda edited the book La Ciudad Subterránea, a photographic essay with texts by Marc Augé, Clorindo Testa, Marcelo Pacheco and Jorge López Anaya with the presentation of Inés Katzenstein.