Silvia Maldini
Interdisciplinary artist.
Her projects combine performing arts with visual arts. Master's degree in Theater and Performance Arts, UNA.
Bachelor's degree in Visual Arts, Universidad Nacional del Litoral.
National Drawing Master's degree, Manuel Belgrano National School of Fine Arts. She continued her artistic training at the Luis Felipe Noé Art Workshop.
She has studied in various areas of art, communication, and technology, in Argentina and abroad.
Graduate professor at UNA. She offers courses in her studio and at other cultural centers, in Argentina and abroad. As a researcher, she has contributed research articles to art conferences and publications.
Since 1988, she has held numerous exhibitions of drawing and painting, comics, installations, performances, and video art.
As an artist, she is interested in how art can coexist with the collective consciousness, surrounding the problems of ecosystem collapse, as an alternative and inspiring model of coexistence.
Love in the Ancestral Future (NAT Art Residence - 10/2024)
This project, Love in the Ancestral Future, is raw material, a reservoir for future works.
The starting point was the emotion generated by the experience in the paleocaves of Cantabria, not only by the cave art but also by the natural setting in this unique landscape. Love and uncertainty were the founding emotions of the initiatory moment.
This is my second residency in Tagle, and this time I focused on my encounter with the caves, whereas on the previous trip I was impacted by the landscape. I find a common theme in both experiences in Cantabria: time.
Life in the caves captivated me, feeling like I was part of that time and at the same time of the present, 2024. I can stop it, extend it, merge it, overlap it, until it becomes one, infinite.
The cave appears as a refuge, womb, mother, love, family, or clan. Simultaneously, the dangers and difficulties of the outside world, the uncertainty about the future of the planet, are presented.
The ancestral past blends with the recent past in the hands of my children and with the dystopian present-future of our civilization.
Desire emerges as a conquering force, in a dynamic that drives actions toward the creation of a home and the encounter with authentic love.
The first work created with this material was an installation in a Site-Specific Encounter at Espacio Umbral in Buenos Aires, in June 2025.
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Text in the Audio
1
Walk, walk
Cross the beaches and green hills
High above, a stone hut. Empty, broken.
In the house, a fire
Still unlit
Waits me
We will walk until we inhabit that stone house.
From its windows, I will spy on the dangers of the land, I will see the sea that becomes ocean, the curved horizon, and the snow-capped peaks far away and yet so close.
Seeing you arrive.
2
I enter the cave with my two little boys by the hand. We're coming from the forest.
I'm teaching them to recognize birds. We climb trees in silence
And remain still, amidst the greenery
and the birdsong.
We take the opportunity to pick fruit.
We take a dip in the river, which is shallow, but we love to play
to whoever can find the strangest stone.
Playing in the water makes us very hungry, and there are always snails
Or some tasty little fish to calm our stomachs.
Rolling in the grass to dry off is something we really like;
we turn green, and that color brings us great joy and pleasure.
We're almost fluorescent now.
Our hunger grows, and we know that in the cave awaits us
some delicious meat delicacy cooked over the fire.
The forest is starting to become dangerous. Noises,
winds, and darkness alert us that it's time
to return to the cave, to the warmth, to the love of the infinite forms that the cave represents.
3
The enormous cave is damp, pulsating, breathing, and transpiring.
The darkness is total at the back of the cave, but it brightens
as we approach the entrance's eaves.
The great curve of the roof fades into darkness,
though each family has its own fire.
The small circular areas of light form a
constellation of warm lights inside the enormous cave.
With their smoke and their Shadows.
It smells of food, animals, skins, our fluids.
And when the wind and rain beat relentlessly inside the cave,
the air clears and the footprints are erased.
It's like when everyone leaves the cave to move on to another refuge.
After an indeterminate amount of time, all traces of life are buried,
amalgamated in a single layer of earth and stone.
After another vague period of time, other humans,
new clans, return from the forest and activate the cave
With dances, music, paintings, fires, stories,
with their loves and heartbreaks.
And the rain, the sun, the wind, the intense cold,
the river water flooding the cave once more.
4
Watching the fire so I don't feel defenseless.
It's watching the darkness and the cold of the night and winter.
I feel that with fire we can live beyond the changes of the sun and the moon.
I also scare away predators, and we cook what we eat.
There are those who create controlled fires inside the cave,
because they know the best place to place them,
to have a good fire without too much smoke.
Because too much smoke doesn't let you breathe.
I think it's better to build the fire far from the entrance.
They say that long ago, humans from this same cave
found fire when lightning struck a tree,
and to everyone's surprise, they felt the light and the heat.
And then a band from this same cave did
all kinds of tests to control it
and keep it lit forever,
we even learned how to carry it.
5
Every year in Cantabria, when winter arrives, 10,000 hectares of forest burn. Fires have doubled in the last decade.
The locals are used to seeing the smoke linger; it has always served to tame the scrubby landscape.
But the issue is the abandonment and depression of rural areas.
This is due to the severe depopulation and aging of rural areas, and the cessation
of traditional agricultural activities.
Thus, the areas cultivated and grazed in the past are now
covered by scrubland or monocultures that are
doomed to burn sooner or later. Uncontrolled.
The climate is weakening and stressing the forests,
increasing dry vegetation, its flammability, and its combustibility.
And the forest has been haphazardly filled with houses,
without any plans to protect against fire.
The day when no one remains here on the farms:
Then the fires will come, and the mountain
as a place of life may disappear.
6
What to do if you see a bear?
The best thing to do is retreat slowly and quietly, so as not to alert it.
In the event of a chance encounter, if it's a bear approaching at close range and hasn't detected you, it's best to make yourself known. But don't make a fuss or shout, so that they change course before you get too close.
Bears roar when attacked, and if you scream, they can understand that they're being threatened and try to defend themselves. Never run! Bears can travel at 50 km/h and will likely come after you.
Bears are trying to protect their cubs, their food supply, or their territory. Bears don't seek to hunt humans.
In Japan, there's a vending machine that has gone viral, selling bear meat. It was installed at the Tazawako bullet train station in the city of Senboku.
Travelers can buy freshly hunted bear meat. At about 2,200 yen, or about 15 euros, for 250 grams of meat. This is a local product from northern Japan.
Bears are increasingly moving into inhabited areas due to the scarcity of their own food, so hunters are responsible for regulating their numbers to avoid accidents.
7
What does bear meat taste like? According to those who have tried it, bear meat is a mix of lean and fatty meat, which doesn't toughen, with a slightly spicy flavor, similar to venison.
The species that survives isn't the strongest or the most intelligent. It's the one that best adapts to change.
The Cantabrian brown bear is listed on the Red List of threatened species, in danger of extinction. A total of 370 brown bears have been recorded in Cantabria. They can hibernate for up to six months without eating, drinking, urinating, or defecating. Outside of hibernation, they sleep 20 hours a day.
8
I'm in a forest
Being in the middle of the forest is necessary
Being lost
In the forest
Alone
For a while
It's necessary.
My great-great-grandmother's grandmother
I knew her. The mother of my mothers.
I know her: a sweet and strong woman.
Spanish women of the forest, of the stones, of the fire.
She was fine. She wasn't hurt.
She gave me those seeds, that trust, that knowledge that everything is okay
That we've all healed.
A landscape, both wild and delicate
Campfire
An intimate, ritual moment.
Video of the Exhibition at the Site Specific Meeting, Espacio Umbral, 2025
1, 2, 3 and many (NAT Art Residence - 03/2022)
I arrived in Cantabria like someone seeing everything for the first time. And yet it is not. Because it is the land of my maternal grandmother, of my ancestors. I walked the impressive natural landscapes with the utmost respect and love, with all my senses wide open.
In the caves I learned about another concept of time and quantity… 1, 2, 3 and many… This is how it was counted in the Paleolithic. No more was needed.
My virgin gaze on the ancestral territory, hybridized with the Paleolithic rock art of the caves, with the birds of Cantabria and with what I was wearing from the big city.
The video performance “1, 2, 3 and many”, an intimate story stripped of these imaginary landscapes in which time is another, is continuous and contains all times.
Life on earth and memories of the origin. Everything is condensed in these landscapes.
These videos are disegned to be viewed simultaneously. Please press play on all together.
Text in the video
Counting time. 1, 2, 3 and many.
Counting over and over again: 1,2,3 and many. There is no need of any more.
Day over day walking. Free to start a life.
The freedom of the walker and the aroad.
The eyes that see trough far away.
The closed eyes. The outside is a mass made of sea, rock, wind an wood.
Shapes being shaped.
With the eyes open find maps and symbols that are carved on the rocks. Mistaking rocks with mountains in the rocks that are shaped as mountains. Stone rivers mixing with the sea. Matter is one. The same in everything.
With the eyes closed the images swirl as a whirlwind around me. The seas, the caves, the forests and the skies. Images of many lives. Everyhing is here. I don't know if there is a hereafter. Time is other, continuous and contains all the times.
The earth is.
Landscapes of many lives: wood that the sea carries and brings.
Stones pierced and sharpened by the wind,
moss rugs,
ivy covered tree trunks,
the water force,
the sound of 1,2,3 and many birds.
To Be Wild (Traces - 03/2021)
We live in cities.
We inhabit a world that takes for granted the urbanization of all the consciences that inhabit it, far from our natural and wild instincts.
This experience was born as another way of approaching the theme of nature in the city, from a less rational, more profound and essential place.
In a pandemic we live immersed in videoconferences and video chats. The network broadcasts videos, images, and advertisements without pause.
In the midst of all visual invasion, arises the idea of making a work in a different sensitive language, a work for the ears.
Leave the images for a while to contemplate, meditate, let your imagination and senses fly. It is about listening and letting yourself be carried away by the story.
Transporting oneself to our interior to connect with the wild that inhabits each one of us.
To Be Wild is a sound installation that invites you to experience by connecting with wild nature through a cat.
During a short period of time you can enjoy the experience of connecting with nature through a sound story.
In twilight, in a space with cushions, sit, lie down and listen to a story that transports us to the wild that lives inside us.
It is an intimate ritual moment.
To carry out the experience in each one's own space, follow the instructions:
- Find a place in the shadows, comfortable, intimate.
- Lie down on pillows or cushions on the floor.
- Flavor with incense or natural oils
- Listen to the story provided in an mp3 file and let yourself be carried away until you connect with the wild that inhabits you.















