Pearls for the swine 15-11-11 (By Alicia González Reyero)
Saga para ventanas, una propuesta performática presentada en el Espai Jove La Fontana y en el Centre d’Arts Santa Mònica, donde el espectador pasa a ser un mero observador de una escena “privada”
Télam 13-11-09 (By Dolores Pruneda Paz)
Una intervencion que cuestiona el limite con lo real. La intervención "Voyeur", dirigida por el artista Fernando Lancellotti, cuestiona los límites entre lo virtual y lo real y convierte a ocasionales espectadores en testigos de una escena de claro contenido sensual y erótico con un final insospechado.
Página/12. Radar 09-11-08 (By Santiago Rial Ungaro)
One flew over the Cuckoo’s Nest. While an annoying cuckoo pops out every fifteen minutes and a rifle with telescopic sight aims at it from the other side of the hall, Fernando Lancellotti displays a map of modern confusion.
adn *| cultura. La revista cultural de LA NACION 08-11-08 (By Julio Sánchez)
The History of Painting and the Philosophy of Movement. In San Telmo, just a street each from the other, Alberto Passolini and Fernando Lancellotti present two different ways of relating to the world.
The Argentimes 01-11-08 (By Kate Stanworth)
Fernando Lancellotti’s Playground of the Absurd. On the wall of Wussmann Gallery, Argentine artist Fernando Lancellotti projects the shadow of a mouse scurrying in a spinning wheel on an infinite loop. Watching the creature’s futile effort to get somewhere elicits feelings of sympathy. Is this because his fate is so easy to identify with?
Página/12. Radar 30-11-03 (By María Gainza)
From adversities we live. Far from that romanticism that finds additional charm in hostile settings for creation, lacking every ‘for export’ Latin-American cliché, and even further from adapting their work to foreign labels such as ‘arte povera’ or ‘conceptual art’, the collective exhibition by Lancellotti, Navarro, Amespil, and Kampelmacher inverts the idea of adversity, turning a situation in which one lives into another from which one makes a living, just as if artists could take advantage of it to make the necessary adjusts and set their minds into what matters.
Buenos Aires Herald 03-06-01(By James Marrison)
Fernando Lancellotti. Life’s drama in a black box. Fernando Lancellotti exhibited two years ago at the Recoleta Cultural Centre and is showing his work now in the Praxis gallery. He has studied under Juan Doffo and more recently Jorge Macchi.
Ramona (By Xil Buffone)
‘I told you so! I told you so! I told you so I told you so!’ pounds the monotonous feminine voice, ‘I told you so! I told you so! I told you so! I told you so!’… ear-splitting I told you so! like a broken black vinyl record, turning and turning the recording in loop pours out from the hi-fi record player with the dying light; and the plastic sail ship:
shipwrecked, on the red carpet the couple.
“La añosa arboleda puede verse de kilometros” (By F. L.)
Un hombre se instala en la suite de un hotel. Es extranjero; podría ser ruso, polaco o ucraniano. Hace un llamado telefónico. Al cabo de unos instantes, entra una mujer.
When the darkest point is under the spotlight (By Horacio Zabala)
From a symbolic point of view, a journey is no longer the mere transit from one place to another. To travel is to search and discover, to experience and change. The heroes are always solitary travellers who combat ruthless monsters; they get lost, are shipwrecked and suffer the hostility of the gods. Finally, they are those who manage to pass from darkness into light.
Black box, routines, ghosts (By Eva Grinstein)
Less than two years ago, Fernando Lancellotti showed the works of a series that he named ‘Demasiado Fugaz’ (Too Fleeting). It was about enormous black figures that represented anonymous, everyday people, numbered by means of a mechanism with a sensor that increased the numbers as the observer passed in front of them.
‘Too Fleeting’: a vision of the world of today (By Jorge Glusberg)
The Pythagoreans assumed that numbers were the essence of things. Two thousand years later, the Renaissance asserted that reality could be represented by numbers. Throughout this century, in the wake of the advances of civilization, the conclusions of the Pythagoreans and of the Renaissance were inverted and parodied: today, men are the essence of numbers, which don’t represent reality, but instead produce, reinforce and prolong it.