《山峰》阿根廷艺术家​Natheim & Charly Fargas重庆驻地作品展与交流会

“CIMA”是一个西班牙语的词汇，简单翻译成“山峰”，但它的内涵远不止于此，是来自阿根廷的文学浪漫，是艺术家Natheim与文学家Charly看待世界的诗意。重庆作为山城在他们的独特艺术视角下，通过摄影、影像、装置展开创作，从观念与诗意的角度切入山与它的支流。

正如的Natheim与Charly的主专业摄影影像，起步的视角亦源于镜头后的凝视，但未曾止步于平面——他们将表达拓展成影像装置，让摄影的“图像”与装置的“物与材料”在空间中叠合、生长，诞生了诗意的艺术。它是立体的，是丰富的，艺术家用这种独特的创作方式，将重庆这座山城的立体感艺术美学化地铺陈开来。我们从他们的作品中清晰地看见，这“立体”绝非简单的物理空间堆叠，而是更深层的、带有山城市井“人文”温度的立体。在这次数十天极短的驻留时间里，敏锐地捕捉到山江楼宇，小巷烟火。

无论从以往作品还是此次艺术创作，我们在的艺术家的作品中似乎能看到某种“东方的意境”，但这样说其实并不准确。正是因为艺术家所淬炼出纯粹的世界感知，去解读这一东方现场。我们通过他们的作品，归本溯源，抵达人的最纯粹感知对事物最本真美的映射。于是，跨地区文化在美与感知之下超越了语言，消弭了边界，建立起纯粹的感知链接。这无疑是在艺术家拉丁美洲视角与东方巴蜀山城文化对话中所碰撞出的深层话题——不是关于“他者”的凝视，而是关于人类共通情感的共振，关于心灵感知的确认。

——何京

CIMA—a Spanish word meaning simply “peak”. Yet its meaning stretches far beyond that measured height: it carries a literary romance born of Argentina, a poet’s way of seeing the world that the artist Natheim and the writer Charly share. Through their unique artistic gaze, Chongqing—a mountain-cradled city—is revealed through photography, film, and installation, each work poised at the confluence of concept and poetry, delving deep into the mountain and the waters that branch from it.

At the heart of Natheim and Charly’s practice lies photography and the moving image—born from the gaze held behind the lens. Yet their work has never been content to rest upon the flat surface. Expanding into video and sculptural installation, they allow the photographic image to meet the materials and objects of installation, where the two overlap, breathe, and grow within space—giving rise to a poetics of art: dimensional, abundant. Through this singular creative language, the artists unfold the very three-dimensionality of mountainous Chongqing, rendered as an artistic aesthetic. What becomes vividly visible in their work is that this three-dimensionality is no mere stacking of physical spaces—it is something deeper, a layered richness steeped in the human warmth of the city’s streets and its people. Over the course of a residency that lasted only a few dozen intense days, they keenly captured the high-rises that face the river, and those humble, life-filled alleyways where the city’s everyday pulse quietly beats.

Looking back upon their earlier works and the pieces born of this residency, one might glimpse a certain “Eastern ambiance” woven through the artists’ output. Yet such a reading, however tempting, proves not entirely precise. What truly speaks through their vision is a refined, elemental perception of the world—honed by the artists themselves—through which they interpret this Eastern terrain. Passing through their works, we journey back to the origin, arriving at the most primal human reflection upon the authentic beauty of things. And thus, cross-regional cultures, sheltered under the aegis of beauty and perception, transcend language, dissolve boundaries, and give rise to a purely perceptual bond. This is unquestionably the deep resonance born of a dialogue between a Latin American gaze and the ancient culture of the Eastern Bashu mountain city—not a fixation upon the “other”, but a vibration of shared human feeling, an affirmation of the soul’s recognition.

— He Jing

Natheim (b. 1982, Argentina) is a visual artist, photographer, and performer. She holds a degree in Social Communication from the University of Buenos Aires, trained in photography at the Andy Goldstein Creative Photography School, and is a certified cultural manager by Intermediae, Matadero Madrid.

Her photobook Lurraldeak [Territories] was exhibited at Fiebre Photobook Fest (2020–2022). She has presented solo and group exhibitions in Argentina, Uruguay, Ecuador, Spain, Italy, France, and China, including Afluente (NY20+ and Galería Mil Gotas, 2025) and Crater (A4 Residency Art Center, Chengdu, 2025). She was a finalist at the National Visual Arts Salon (2025) and FELIFA (2021).

Natheim has participated in international artist residencies, including Patrim+ (Basque Country), R.A.R.O. (Madrid), Cal Gras (Avinyó), Proyecto ’ace and Arte x Arte (Buenos Aires), Isla Invisible (Bahía Blanca), and NY20+ and A4 Residency Art Center (Chengdu), where she presented a performance and an artist talk. Her work spans photography, installation, and performative practices, often exploring materiality and symbolic objects.

She is director and curator of FotoCreativaBA, where she has organized numerous exhibitions, and has curated international projects including Experimental Photo Festival 2025 (Barcelona) and Santa Rosa Arts and Healing (Canada). She has also received production grants from the Fondo Metropolitano de las Artes, Buenos Aires.

Her work has been shown at institutions such as the Museo de Arte Contemporáneo de Bahía Blanca, Galería Gachi Prieto, Galería Acéfala, Museo d’Arte Contemporanea di Roma, Casa de América (Madrid), and Centro de Fotografía Montevideo.

Charly Fargas（Argentina）

阿根廷作家、艺术评论家、FotoCreativeBA联合创始人

Writer, art critic, and co-founder of FotoCreativaBA

查理·法加斯（Charly Fargas），1975年生于阿根廷。曾在布宜诺斯艾利斯大学学习法律与综合艺术。

他参与过多个艺术项目，包括协助纳特海姆完成《领地》（2019，巴斯克地区）及《我会成为什么？》（Què seré?，2022，加泰罗尼亚），负责展览记录、项目开发与艺术研究。2025年，他为纳特海姆在NY20+（成都）和Mil Gotas画廊（北京）的个展《支流》创作了影像、文字与声音作品。近年来，他开始探索实验影像艺术。

法加斯曾开设音乐治疗与安第斯文化、电影创意写作、礼仪与规程等 Workshops 及课程。著有《一场转变的历史》（Historia de una transformación，Dunken出版社，2007）。

他参与过多个合作项目的概念与技术支持，包括策展协助、文献记录与创意策略。其实践连接了批评写作、视觉艺术与实验媒介，关注叙事、仪式与行为实践的交汇。

通过合作、工作坊与出版，法加斯为艺术知识的传播与实验项目的推动做出了贡献，活动范围包括布宜诺斯艾利斯本地及国际。他的实践体现了对写作、视觉实验与参与式互动相结合的混合形式的持续兴趣。

Charly Fargas (b. 1975, Argentina) is a writer and art critic. He studied Law and Combined Arts at the University of Buenos Aires and is co-founder of FotoCreativaBA.

He has collaborated on numerous artistic projects, including assisting Natheim in Lurraldeak [Territories] (Basque Country, 2019) and Què seré? (Catalonia, 2022), contributing to exhibition documentation, project development and artistic research. In 2025, he created video art, a written piece and a sound activation for Natheim’s solo exhibition Afluente at NY20+ (Chengdu) and Galería Mil Gotas (Beijing). In recent years, he has been exploring experimental video art as part of his creative practice.

Fargas has conducted workshops and courses in music therapy and Andean culture, creative writing for cinema and ceremonial and protocol studies. He is the author of History of a Transformation (Editorial Dunken, 2007).

He has been involved in the development of collaborative projects, supporting both the conceptual and technical aspects of artistic production, including curatorial assistance, documentation, and creative strategy. His work bridges critical writing, visual arts, and experimental media, with a focus on the intersections between narrative, ritual and performative practices.

Through his collaborations, workshops, and publications, Fargas has contributed to the dissemination of artistic knowledge and the facilitation of experimental projects, both locally in Buenos Aires and internationally. His practice reflects a continued interest in hybrid forms that combine writing, visual experimentation and participatory engagement.

纳特海姆《巴蜀宇宙》

数码摄影：40×60厘⽶

2024

Natheim. Bashu universe. Digital photography. 40x60cm. 2024.

查理·法加斯《离开表面》（图左）

氛围实验影像

2024

Charly Fargas. Off the surface. Ambient experimental video. 2024

2024查理·法加斯在AFLUENTE展览上⽤⻄藏颂钵进⾏声⾳⼲预（图右）

Mil Gotas 画廊

2025

Charly Fargas, sound intervention with Tibetan singing bowls at the AFLUENTE exhibition. Mil Gotas Gallery. 2025

AFFLUENT展览，Mil Gotas 画廊，北京，中国，2025

AFFLUENT exhibition, Mil Gotas Gallery, Beijing, China. 2025 

本文节选自查利·法加斯的《富裕》

NY20+，成都，中国，2024年9月

This text is part of “Affluent” by Charly Fargas.

NY20+, Chengdu, September 2024.

神谕

Oráculo

2024

《神谕》 是由位于布兰卡港的费罗怀特工程师博物馆工坊组织的一次艺术考察的成果。入选的艺术家们栖息于蟹鸥岛，在那里我发现这片土地本身拥有信息与加密的回应，然而几乎没有人接收到，也没有人懂得如何解读，因为我们已经忘记了如何阅读自然，进而也忘记了如何阅读我们自己。《神谕》是一件装置作品，包含一幅未被揭示的图像——该岛屿的一张负片被升华在防水织物上，由钩子悬挂着（同时被撕扯、被伤害），其脚下堆满了被遗忘所浸透的港口残骸。同时，它也邀请每一位走近的人提出问题，并获取这座岛屿所传递的信息。

“Oráculo” is the result of an artistic expedition organized by Ferrowhite Museo Taller de Ingeniero White, Bahía Blanca. Selected artists inhabit the Island of the Cangrejera Seagull, where I found the same territory to be the possessor of messages, of encrypted responses, that almost no one received or knew how to read because we have forgotten how to read nature and therefore how to read ourselves. “Oráculo” is an installation that includes an unrevealed image, a negative of the island sublimated in a waterproof fabric, held (and bitten, hurt) by hooks, which has at its feet port remains loaded with oblivion. At the same time, it is an invitation to whoever approaches to ask and obtain the message of the island.

纳特海姆《神谕》

装置：巴伊亚布兰卡河⼝（加维奥塔坎格雷赫拉岛）的负⽚照⽚，防⽔布料，中间挂有废弃港⼝构件的挂钩

140×90厘⽶

2024

Natheim. Oráculo. Installation: Negative photograph of the Bahía Blanca estuary (Islote de la Gaviota Cangrejera), on waterproof fabric, intervened with hooks with discarded port elements. 140x90cm, 2024.

纳特海姆《岛》

数码照⽚：40×60厘⽶

2024

Natheim. Island. Digital photographs. 40x60cm. 2024.

界限即动词

El límite es el verbo

2023-2024

“界限即动词” 提出了一种集体性的反思，关乎那些即便近在咫尺，我们却回避、忽视或否认的事物。当我们的身体穿行于布兰卡湾河口的不同状态与肌理之中——这是一个被邀请去探索和认知的象征性领域——对于那些既近又远的东西，我们又能感知到什么呢？

在碎片化的河口与“自己的”河口之间，这一行动将界限置于审视之下，也随之检验了那些沉浸于体验之中的人的探寻与专注。这不是要去看什么新东西，而是重新去看，用整个身体去看，并认识到我们日常周遭的一切都带有一层我们自己强加的面纱。

这是一场通往词语的感官前奏，那些从亲近之处说出的词语，然而即便如此，我们仍未触及——或者，也许已经触及？

*作品中的⽂本由巴伊亚州作家兼诗⼈艾丽⻄亚·帕特诺伊（Alicia Partnoy）、奥⻢尔·桑佐内（Omar Sanzone）和塞巴斯蒂安·海姆（Sebastián Heim）创作。

“The limit is the verb” proposes a collective reflection about that which, even close to us, we evade, ignore or deny. As our bodies make their way through the various states and textures of the Bahía Blanca estuary – a symbolic territory that is invited to explore and recognize – what do we perceive of what is close yet distant?

Between fragmented and own estuaries, the action puts in check the limit and with it the search and attention of those who immerse themselves in the experience. It is not about seeing something new, it is about seeing again, seeing with the whole body and recognizing that everything that surrounds us every day carries a veil imposed by ourselves.

A sensory prelude that leads to the word, the word already spoken from closeness and that, even so, we do not manage to touch, or if.

*The texts that appear in the work are by Bahian writers and poets Alicia Partnoy, Omar Sanzone and Sebastián Heim.

纳特海姆《界限即动词》

巴伊亚布兰卡美术馆 

2023

Natheim. El límite es el verbo. Bahia Blanca Fine Arts Museum. 2023

纳特海姆《界限即动词》

⽤废弃的⿊⾊⾯⽚碎⽚重建的河⼝

50×100厘⽶

2023

Natheim. El límite es el verbo. Estuary recreated with pieces of disused black sheet pasta. 50x100cm. 2023

纳特海姆《界限即动词》

9块微透纱布，采用河口纹理照片进行热升华转印

200×150厘⽶/每块

2023

Natheim. El límite es el verbo. 9 microtulle fabrics sublimated with photographs of estuary textures. 200x150cm each. 2023

纳特海姆《界限即动词》

巴伊亚布兰卡当代艺术博物馆

表演

2024

Natheim. El límite es el verbo. Performance, 2024. Museo de Arte Contemporáneo de Bahía Blanca.

白泥

Barro Blanco

2023

“白泥”是一个当下的提问，关乎未说之言的分量，关乎那沉默的、隐匿于我们阴影之中的词语。

布兰卡湾的河口作为象征性的领地，代表着那些即便近在咫尺，却被否认、回避或忽视之物。靠近它、探索它，便是沉浸于沉默、停顿与姿态的遗产之中。

身体的重量是唯一能在悬浮之海中找到边界的重量。

泥浆的重量是唯一能在水与盐之间找到我们的东西。

“Barro blanco”  is a present question about the weight of the unsaid, about the word that is silent and hidden in our shadow.

Part of the Bahía Blanca estuary as a symbolic territory of that which, even close, is denied, evaded or ignored. To approach it and explore it is to become immersed in the heritage of silences, pauses and gestures. Unheimlich.

The weight of the body is the only one that finds the limit in a suspended sea.

The weight of the mud is the only thing that finds us between the water and the salt.

纳特海姆《白泥》

阿塞法拉画廊

布兰卡湾河口的负片照片，印于防水织物上，用钩子、铅坠和尼龙线进行介入加工

140×90厘米

2023

Natheim. Barro Blanco. Negative photograph of the Bahía Blanca estuary, on waterproof fabric, intervened with hooks, sinkers and nylon thread.140x90cm, 2023. Acéfala Gallery.

我们致力于搭建连接中国与世界的艺术对话平台，推动以重庆独特地域特征和在地深度体验为核心的跨文化创作，促进国际创作者与重庆的城市景观、自然生态、大足石刻及社区文化之间的互动交融。