Untitled (Letter 3)

Untitled (Letter 3)

Mirtha Dermisache
Technical specifications: 
Ink on paper
28 x 22.9 cm
Date of acquisition: 
26 July 2017


Mirtha Dermisache was born in Buenos Aires, Argentina. She studied visual arts at the Manuel Belgrano and Prilidiano Pueyrredón National Schools of Fine Arts.

The 60s represent the beginning of Mirtha's career, with the appearance of random, loose graphics, reminiscent of the scribble. The 70s frame a stage of consolidation of an image, the graphics are strengthened as an aesthetic (considering them writing) and these are organized in new formats such as texts, letters, or fragments of history among others. Part of the 80s represented an impasse in her production, a moment of introspection, and in the following decade reappear the exercises, texts, letters and book projects, with a renewed passion for re-editing.
The illegible graphics or indecipherable writings are the most identifying hallmark without doubt in all its production.

In 1971, she created the Workshop of Creative Actions in Buenos Aires where she taught her method of teaching visual arts. Between 1974 and 1981, she gave a series of public workshops called Color and Form Conferences where she explained her method: "How to develop creative skills through artistic techniques".

Since 2004, Mirtha Dermisache together with Florent Fajole, a French publisher, created a series of devices for publishers that explore the dimensions of the installation and publication, which have been presented in Buenos Aires, Paris, London and Rome.

Starting from the search for freedom in creation, Mirtha creates a language of expression, rebelling against the logos - the word reflected - creating a method of "unlearning" language, intended for a reader who must find how to interpret it from her own and unique experience. This language runs in different textual devices such as books, texts, letters, postcards or fragments of stories. By cataloging her own work in "illegible texts" (spellings similar to manuscripts), "incomprehensible text"s (formal relations with mathematics) and "readable texts" (drafts of the creation process), Mirtha exercises an indecipherable gesture that could be associated with drawing.