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patricia linenberg

Born in 1954 in Buenos Aires, Argentina. Lives and works in Buenos Aires. 


Artist invited to the Bienal of Mercosur 2017 & 2018  in Porto Alegre, Brazil.


Graduated as Clinical Psychologist at Belgrano University in 1976. Regular Member of  the Argentine Psychoanalytic Association. Member of the International Psychoanalytic Association. 


Her works are part of private collections in: USA, Brazil, Germany, England, France, Italy, Mexico, Uruguay and Argentina.

Artist Statement

Tango: Intimacies beyond the Boundaries


Music has always played a major role in my family history.


“Tango: intimacies beyond the boundaries” is a non-linear account that traces its course through different episodes, metaphors and a plethora of situations. In tango there is a cross-over between what is local and what is universal, and its lyrics paint a genuine portrait of what is ours, a highly charged iconography of Buenos Aires. It tells stories about what it is to be human, exploring both sensuality and suffering with painful intensity. My aim is to radicalize the eroticism inherent to the tango and take it to an extreme (whereby it assumes its own sense of being).


“The week seems too long when passion is absent”, says the lyrics of one song. Music and poetry connect me to daydreams that are at once violent and amorous. My works explore the “contacts” that take place at these “boundaries”. This is where things overflow and go beyond the boundaries that contain them; issues that I believe are real problems of our time.


Piazzolla, Goyeneche, Adriana Varela, Horacio Ferrer, Borges, Pina Bausch, Nan Goldin, Manuel Esnoz and Klimt, for instance, rise up and fade away among the images and contents. Some works are reminiscent of the tango’s brothel origins, where dancing was a way of coming “into contact”, such as “Unaccompanied”, or “Brava”. The latter was inspired by a tango whose lyrics read: “Brave little doll, you sin- fully wondrous creature, like a light-footed milonga, or a second-hand toy”, where the body takes the lead role in an erotic sense. Others, such as “A woman’s whim by the dagger wielded”, came from a reading of Borges’ works which mention this verse by Evaristo Carriego, and refer to the admiration inspired by the cutlers and their courage, screwed to sticking point, when they dueled over their besmirched honor over a woman. I chose to portray these swaggering miscreants as wolves symbolically, because they embody raw savagery in a metaphorical sense.


Finally, I share with the tango this strong pulse of being part of Buenos Aires, and thus I play with the images of the classic checkerboards to be found in the cafes, and with the milongas where “those flagstones tell us a story”. Here they are used as symbols bearing the subjective marks of affections and memories which appear like tattoos on people’s bodies.

Patricia Linenberg

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