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Daniela Edburg. Stefano y el chorizo español, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Sissi y la pera, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Agni y su solitaria, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Mar y sus piojos, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Una y la larva, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Margherita y el melón, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Lucía y la lima, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Noe y el limón, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Grace y la ameba, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Michaela y el ossobuco, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Tilley y el riñón, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Angela y la gallina, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Frank y el cerebro, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Francesca y la ostra, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Fabrizio y la calabaza, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Paulo y el durazno , de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Andrea y las sanguijuelas, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Donnie y la manita de cerdo, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Cecilia y el higo, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Daniela Edburg. Tashi y el huevo, de la serie Parásitos y perecederos
México–Italia, 2012
Impresión digital sobre papel de algodón
Using lighting and poses that reference Renaissance and baroque paintings, this wall of portraits speaks of people's interest in conserving and being conserved. The piece is an exercise in simulation and accumulation. Knitted objects mimic real objects, held in the hands of fictional characters.
Though the images feed parasitically off the history of painting, they cannot be seen solely from a painterly perspective. There is an ironic distance that can only be established with photography and with the yarn objects (the parasites and perishables of the title) that the figures hold in their hands. There is something anachronistic in the costumed posers and these objects. The yarn, clearly artificial and contemporary, is knitted into a soft, unusable imitation of a perishable object which resists the passage of time. This object is captured with the sitter in the photograph, a process that is equivalent to putting a pickle jar in a pickle jar. The livers or brains made of yarn, the tapeworm or larvae preserved in jars like perishables represent more nonsense. In this wall of photographs that mimic paintings, paradoxes accumulate to heighten the absurdity.
The collection of portraits is meant to be shown as a single piece. This simulacrum of a museum wall proposes a critical reflection about the museum's space and the art collection. It asks viewers to think not only about the collection that is hung to be viewed in a gallery, but also about the collection that is conserved in a crate in a museum's storage facility, waiting to be hung.
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Houston, USA, 1975. Studied visual art at the Academia de San Carlos of the UNAM. Her work has been featured in various group shows in Mexico, Belgium, Brazil, Chile, Costa Rica, Spain, the United States, Hungary, Russia and China. He solo shows include Knit, Is It the End? and Killing Time, among others. Her work was exhibited at the XII Bienal de Fotografía in Mexico and the II Premio SIVAM Artes Visuales (2006). She received the Fonca's Jóvenes Creadores grant (2007-08), the Estímulos a la Creación grant of the Instituto Estatal de Cultura de Guanajuato (2004) and an honorable mention at the XXVI Encuentro Nacional de Arte Joven (2006). She has been an artist in residence in Spain, Canada and Iceland. Her work is in the collection of the Museum Astrup Fearnley, the Museum of Fine Arts Boston, the Museum of Latin American Art, Nassau County Museum of Art, and the Museo Universitario del Chopo, among others.