(Tucumán, Argentina, 1991) Florencia Sadir grew up in Cafayate, Salta. She studied at the Faculty of Arts of the National University of Tucumán, Argentina, where she attended Workshop C. In 2019, she received the Creation Grant from the National Fund for the Arts. She participated in the study program at the Flora Ars + Natura School in Bogotá, Colombia, under the direction of José Roca. In 2020-21, she completed the Artist Program at the Torcuato Di Tella University in Buenos Aires. In 2023, she participated in the FAARA residency of the Fundación Ama Amoedo in José Ignacio, Uruguay, under the mentorship of Tobias Ostrander, Miguel A. López, and Solana Chehtman. Her most notable recent exhibitions include Un lugar sin nombre (Centro Cultural Recoleta, Buenos Aires, 2018); Todavía las cosas hacían sombra (Museum of Contemporary Art of Salta, 2021); Trazar sobre el suelo el contorno de la polvareda (Jallpha Kalchakí Museum, San Carlos, Salta, 2021); Adentro no hay más que una morada (Museum of Modern Art of Buenos Aires, 2021); Still Alive (Aichi Triennale, Tokoname, Japan, 2022 - directed by Mami Kataoka); Florencia Sadir: Ofrenda al sol (Museum of Modern Art of Buenos Aires, 2022); Donde nace el viento: Dibujos a cielo abierto, site-specific installation (Salta Tour post CIMAM conference, 2023), No es el infinito del mar, sino la profundidad del río (W-naturae, Pueblo Garzón, Uruguay, 2023), ABC Art Baja Festival, (El Patio by Zona Maco, Baja California, Mexico, 2024). Her works are part of the collections of the Museum of Modern Art of Buenos Aires, the Museum of Modern Art of Bogotá, and private collections in Latin America. She lives and works in San Carlos, Salta, Argentina.
Florencia Sadir's work stems from her acute and sensitive gaze on the territory. She is especially concerned with the historical knowledge developed by the communities of the Calchaquí Valleys. Her practice -which we get to know through installations, sculptures and drawings - highlights the ways in which natural materials are so transformed by ancestral technologies that, when they come into contact with heat, humidity or wind, they become pottery, adobe or fertile soil for cultivation. Their production contributes to the construction of the house and the home, to the preservation and cooking of food, to the transfer of water or to shelter. Sadir's work, however, attempts to divert these processes from their functional nature and to display the forms of these objects in their raw form: with a minimalist gaze and true to her conceptual background, Sadir has created stripped-down installations to reveal orders, textures, patterns and methods.
