Laura Benchetrit lived in Paris for 11 years, where she started studies in drawing and painting at the atelier of Francoise Thomas. She also followed courses in History of Art at the Ecole du Louvre.

Upon her return to Buenos Aires, she continued her studies with Rómulo Sidañez, Marcela Baubeau de Secondigné, Cristina Santander, Gabriela Aberastury, Luis Felipe Noé (Seminar on Art Work Analisis) and Alicia Díaz Rinaldi. She participated in Seminars on Art Work Analisis with Luis Felipe Noe and Matilde Marin.

She is currently active in a workshop on lithography with Natalia Giacchetta at the Centro de Edición.
Galería Holz. Buenos Aires
Galería Holz. Buenos Aires
Casa de la Cultura Fundacruz. Río Gallegos. Santa Cruz
Empatía. Espacio de Arte. Buenos Aires
Galería de Arte Suipacha. Buenos Aires
Casa de la Cultura Fundacruz. Río Gallegos, Santa Cruz
Instituto Cultural Argentino-Norteamericano (ICANA). Buenos Aires
Galería de Arte Suipacha. Buenos Aires
Galería de Arte Suipacha. Buenos Aires
The Brick Lane Gallery – Printing Women – Centro de Edición - London
International Festival of Engraving and Art on paper - Fig Bilbao - Ac Contemporary Art - Bilbao
Panorama - Art Galleries  Week in Argentina - ArteBA
Aqua Art Miami–AC Contemporary Art-Miami
Papel-Arte Gráfico Contemporáneo-Fundación Rómulo Raggio–Buenos Aires
From the female perspective-Proyecto Internacional de Gráfica-Centro de Edición-BV Galerie-Klagenfurt –Austria / Galería Central Newbery- Buenos Aires-Argentina
Entre Papeles–Constelación Gráfica–ICANA-Buenos Aires
Galerie Metanoia-Centro de Edición–Gráfica Contemporánea- Paris
Paris Contemporary Art Show-AC Contemporary Art- Paris
ArteBA-Centro de Edición–Buenos Aires
Francofonia–Palacio Nacional da Ajuda–Lisboa
Art on Paper–AC Contemporary Art–New York
Engraved–Pompano Beach Cultural Center- Centro de Edición- Florida
Contemporary Argentine Artists-Prints and Paper-Centro de Edición-Art and Design Gallery-Miami
XYLON OSTERREICH and Friends-InParadiso Art Gallery-Venecia-Italia
ArteBa-Centro de Edición-Buenos Aires
Constelacion Gráfica–Casa de la Cultura Fundacruz–Río Gallegos–Santa Cruz
Impact 10-Encuentro–Santander
Paris Contemporary Art Show–AC Contemporary Art-Paris
Constelación Gráfica–Museo Municipal de Bellas Artes–Lincoln–Prov. de Buenos Aires
Art Málaga-AC Contemporary Art–Málaga
Scope Art Show–AC Contemporary Art-Basilea
ArteBA–Centro de Edición–Buenos Aires
Latinamerican Women Printing–Centro de Edición-Art  and Desing Gallery–Miami
Women Printmakers-Recent Works-Embajada Argentina-Washington
Latinamerican Women Printing-Pompano Beach Cultural Center-Florida
Art Medellín-AC Contemporary Art-Medellín-Colombia
Contraportada-Libros de Artista-Sala Municipal de Exposiciones Lidaura Chapitel-San Martin de los Andes-Neuquén
Artexpo-Acuarell Contemporary Art–New York
Affordable Art Fair-Centro de Edición-Milano
Affordable Art Fair-Centro de Edición-New York
Mirá, festival de arte-Centro Cultural Recoleta-Buenos Aires
Proyecto Octavo Territorio. Museo Provincial de Arte Fueguino. Río Grande. Tierra del Fuego
Proyecto Octavo Territorio. Palacio San José. Entre Ríos
Aleph 60. Fundación Internacional Borges. Buenos Aires
Octavo Territorio. Ushuaia Maritime Museum. Ushuaia. Tierra del Fuego
Eggo. Feria de Arte. Espacio Camargo. Centro Cultural Recoleta-Buenos Aires
"25 aniversario" Exhibition. Fundacruz. Casa de la Cultura. Rio Gallegos.
"Línea y Color X2". Casa Sur Art Hotel. Buenos Aires.
Expotrastiendas. Art Fair. Espacio Camargo. Buenos Aires.
"Abecedarios". Metropolitano Museum. Espacio Camargo. Buenos Aires.
Expotrastiendas. Feria de Arte. Empatía, Art Gallery. Buenos Aires
"Partes del todo". Teatro Argentino de La Plata. Buenos Aires
Artexpo 2009. International Contempory Art Fair. Hoy Arte Hoy magazine. New York
ArteSalta. Art Fair. Salta, Argentina
Hotel Sofitel Buenos Aires. The Art Market
Galería Holz. Los Coleccionables. Buenos Aires
Art at the Posadas Recova. Aberastury atelier. Buenos Aires
Holz Gallery. Los coleccionables. Buenos Aires
Galerie Artitude. Paris
ArteBA 2005. 14 Contemporary Art Fair. Suipacha Art Gallery. Buenos Aires
"From the Window". Hoy en el Arte Gallery. Buenos Aires
Artitude Gallery. Participation in Group Exhibitions. Paris
Art at the Posadas Recova. Baubeau de Secondigné Atelier. Buenos Aires
Artitude Gallery. Participation in Group Exhibitions. Paris
Art Cubic Gallery. Barcelona
Art at the Posadas Recova. Christina Santander Atelier. Buenos Aires
Art at the Posadas Recova. Baubeau de Secondigné Atelier. Buenos Aires
Taller de Baubeau de Secondigné. Buenos Aires
La Cave Gallery. Buenos Aires
Sara García Uriburu Gallery (atelier). Buenos Aires
Galería Sara García Uriburu Atelier. Buenos Aires
Miniprint - 8th International Biennal Exhibition - Rosario - Santa Fe
Miniprint - International Biennal - Proyectarte - Laguna Paiva - Santa Fe
International Miniprint Luis Bourband - Artemio Alisio Museum - Entre Ríos
V “Zulema Petruchansky” Engraving Exhibition-Asociación Estímulo de Bellas Artes
XX “Artemio Alisio” National Engraving Exhibition-Concepcion del Uruguay-Entre Rios
National Exhibition of the Bicentenary-Engraving-Concordia-Entre Rios
Miniprint. 3rd International Biennial Exhibition-Laguna Paiva-Santa Fe
International Miniprint ‘Artemio Alisio’-Entre Rios
XVIII National Engraving Exhibition "Artemio Alisio". Concepción del Uruguay-Entre Rios
Miniprint-7th International Biennial Exhibition-" Juan B. Castagnino " Fine Arts Museum-Rosario-Santa Fe
Miniprint. 2nd International Biennial Exhibition-Laguna Paiva-Santa Fe
International Miniprint -Paraná-Santa Fe
2nd Artist´s Book Biennial Exhibition-Casa Carnacini Museum-Buenos Aires
XVI National Engraving Exhibition "Artemio Alisio". Concepción del Uruguay-Entre Rios
National Exhibition of Visual Arts-104 th Edition-Engraving-
XIV Small Format Exhibition-General Pico-La Pampa
National Plastic Art Exhibition "Manuel Belgrano". Sívori Museum, Buenos Aires. selected.
National Engraving Exhibition "Artemio Alisio". Entre Ríos. Honorable Mention.
Miniprint. 6th International Exhibition. Roberto Fontanarrosa Cultural Center. Rosario.
Miniprint 2014. Centro de Edición. Exhibits in Austria and Argentina.
University of Belgrano Award for Artistic Creation. Selected.
University of Belgrano Award for Artistic Creation. Selected.
Miniprint. 5ta. Muestra Internacional. Centro Cultural Bernardino Rivadavia. Rosario.
Bookmarks Exhibition. Magenta Magazine. Buenos Aires.
Bookmarks Exhibition. Magenta Magazine. Buenos Aires.
Small Format Exhibition. Museum of Paper. Buenos Aires.
Small Format Exhibition. Museum of Paper. Buenos Aires
XLVIII "Manuel Belgrano" Plastic Art Exhibition. Sivori Museum. Buenos Aires
V International Watercolor Biennal. Mexico
VII Art Biennal, University of Moron. Buenos Aires
XI International Plastic Arts Exhibition. Honorable Mention. Barcelona
"Dimensions IV". Abstract painting exhibition. Buenos Aires
Buenos Aires Exhibition of Small Format-Alianza Francesa.. Buenos Aires
Buenos Aires Exhibition of Small Format-Alianza Francesa.. Buenos Aires

Creating a work of art is creating a World
Vasili Kandinsky (1)

In ETHEREAL, the new  exhibit by Laura Benchetrit, subtleness is redefined. This is an exhibit that brings together her recent work and groups it into two series, which are  distinct, yet interconnected. WORLD IN ECLOSION and CIRCULAR WORLD. In both series, the artist  deepens her research into the virtues of materials and the opportunities that different techniques offer, from the combination of both these sources she offers us a new  frontier of her art.  

Eclosion is the action of breaking up, blooming and expanding . WORLD IN ECLOSION   brings to light this effect , its  behaviour and its movement accross the plastic space. From a drawing which appears to be a spiral we see arising figures which are impossible to define; some will see losanges; other circles; whatever the impression that the spectator receives, it is the product of one  single line from which all the rest arises. In this way, Benchetrit constructs this “world” in a random walk. Like the bubbles produced by an explosion in the ocean bottom, her traits expand and look for their own, unique place. These are works made up of two parts : watercolour on paper as the base, and ink on acetate on top. The interrelationship between figure and background is striking.

In CIRCULAR WORLD , the artist pursues  her search along the oriental themes that she had explored in previous series, and that the art critic Julio Sánchez (2) had commented upon. Once again, starting with paper as the supporting material and building on it via the process of collagraph- an experimental technique of engraving- ,Benchetrit can transmit her gifts as a painter and engraver. When looking at this series, it could be perceived as a succession of abstract  landscapes, where the monochromatic background provides shelter to a number of random lines –at a higher tone – which serve as the structure that  provides support to figures which , yet again , are similar to the ones found in WORLD IN ECLOSION. In this overlap, the imbalance between crisscrossing lines and the open and closed circles, provide an interesting effect of instability.

In ETHEREAL, it is inevitable to dwell on the forms , but as Cezanne (3) said  : “ we should not say modelling (bodies) but modulating (colors)…”. Here lies the key to interpreting this body of work : in the harmony of the use of color we can perceive the freedom and plenitude  of the shapes.

Laura Feinsilber (4) once said that Benchetrit had reached her artistic maturity. While this may be true, this new stage of her work shows us that her creative ,restless temperament has not stayed  in the bounds of tradition and that she continues on an ongoing search for new frontiers ; this is where her work makes the whole difference.

Eugenia Garay Basualdo

(1) Walter Hess, Documentos para la comprensión del arte moderno, Buenos Aires, ed. Nueva Visión , 2003. Pag. 156.
(2) Catalog of the exhibition of  LB , Suipacha galeria de arte, Buenos Aires , 2007.
(3) Walter Hess, Documentos para la comprensión del arte moderno, Buen
(4) Catalog of the exhibition of LB, Galeria Empatía ; Buenos Aires, 2010.
In a recent article I wrote  I mentioned that there are certain artists’ art exhibits that result in a sort of refuge  from the “outdoor uproar” which  contaminates all levels of our political reality, our daily life and – we can´t expect it to be otherwise – the world of art.

It is actually a  healthy and also encouraging experience to visit Laura Benchetrit’s studio, there I found mildness, warmth and silence. The silence needed to contemplate a small work of art. Now, what do I mean by small ? Is it that her work is not important? Absolutely  not, on the contrary.

Fortunately, Laura´s work situates  itself  beyond what could be called “ the art show”, the fashion  art, the controversial art just for the sake of controversy.Laura Benchetrit ´s calling is doing. The sort of doing  that awakens live feelings both in critics and observers, that is open to  intellectual debate and emotional perception.

I was not acquainted with her work until I was  able to observe through different catalogues that on paper, her main “appoggiatura” (support), as the critic Fermin Fevre pointed out in 1993,  she  creates “an expressive atmospheric register, free from defined forms , figurative referents  nor any other image resources”. An evanescent material, a chromatic repertoire that in a graphic manner gives way to shape, or the lack of  it, construed with great spiritual intensity.

Gradually, geometry appeared in her work . We were able to verify it in her 2007 exhibition catalogue: pictures and object-pictures, overlapping panels wherein she “locks up” shapes linked to what is concrete, much more rational, but which also give place to her capacity to fill certain empty spaces with resources coming from her engraving mastery.

For this reason the critic Julio Sánchez pointed out that this new series “ built a bridge between two well defined dimensions….a link between the immediately visible and the adjacently invisible”.  Called as I was to write this text on her present exhibit, I feel at this moment that everything flows naturally: the background colors, a geometry that suggestively slides in seeming to advance, resulting in depth and space to fuse with her favourite techniques, aquarelle, pastels, collograph, within the limits set up by the conventional frame. “The annihilation of the art subject, of the artist, through the un- investiture of the creating act”, a rather apocalyptic phrase by Jean Baudrillard (“The Art Complot”) but which constantly hammers and  unchains in me encountered feelings and doubts about the reach  of my perception; it allows me to value the attitude and the mentioned doing,  since  Laura Benchetrit is far away  from the superficial, the insipid and the obvious.

The critics named coincide when referring to an inevitable association with oriental  mysticism. Sun Kio-tïng, a maestro of taoistic aesthetics, says there are three periods in the practice of calligraphy, and consequently in painting. I believe that Laura Benchetrit is in her third period,  wherein  “she has put all her resources in order, to join them in a simple style and easy appearance. And here we are, on the summit of artistic achievement.”.

March 2010
Laura Feinsilber
Member of the Argentine Association of Art Critics
"Parts of a Whole"

Teatro Argentino,La Plata

… Benchetrit, the artist uses geometry to experiment with space from the perspective of the plane and the fragment. Her perspective on the experiments of the Argentine avant-gardes allows us to delve into a peculiar research on the possibilities offered by the geometric abstract language, without falling into excessive rationalization. The textures and brush traces enrich the plane, and lay stress on the idea of a new abstraction vision, linked to the experimental dynamism of our epoch.

Rosa Faccaro
Magenta Art Magazine, October 2009
Everything seems to fly over the surface. Like a cloud of gold dust blown by an alchemist’s chubby cheeks. Until that surface is cut by a straight line, with geometric angles that put the shapeless chaos in order. This is the dialogue produced by the new series of paintings and object-pictures created by Laura Benchetrit.  Her works of medium size format conjugate blurry undefined colors with the rigor of straight lines.

It is not difficult to associate this work to the tradition of oriental painting and its western mediators; it distinguishes from them by the diluted gesture on the surface she alternates with powerful gestures in graphics. There are significant changes in her last production, maybe influenced by her latest incursions in engraving.

That blurry thickness of color, that which evoked the atmosphere of a William Turner, the chromatic haiku which characterized her paintings today faces a new spatial dimension that does not have to do with the virtual space of the representation, but rather with the soundness of what is real. The pictorial support, the panels, is superimposed in an order that can alternate between symmetry and asymmetry, or between an octagonal disposition and a freer one. This superposition of  panels, the sum of surfaces resemble the accumulation of minute steps in a pyramid that was never construed, and the picture turns into a thin object that can be related to the start of a mock up like those made by the artists of constructivism or the Russian supremacy. Laura grants peculiar importance to the intermediate spaces, as in Sombra Secreta (Secret Shadow), a piece where the plane that interrupts the continuity among the other planes, occupies an uncommon leading role. Not less significant are the negative spaces, the drilling of the surface of the picture by polygon geometric forms. These polygons, (usually with four angles) cut the panels through and become portals to a secret darkness, a chromatic infra world that the viewer can slightly guess. These “holes” remind us of the importance of vacuum proclaimed by Lao Tsé in his Tao Te King: “with earth are the made pots but the utility of the pots depend on their emptiness; to build a house doors and windows must be made; and those empty openings are what allow to use it”. The doors and windows that Laura incorporates to her works precipitate us onto a metaphorically infinite zone, the “behind the picture”, provoking a sensation of secret curiosity. The disposition of some planes, partially covering the “holes” predisposes us to think of a semi hidden access, as if she invited us in, although with a certain ill feeling. In previous works, Laura would immerse us in the womb of a storm of color; in this new series she builds a bridge between two well defined dimensions, between a universe that is unpredictably unfolded and a reasoning that orders it through geometry and the straight line, a link between the immediately visible and the adjacent invisible. The poetic titles: Geometry of light, Secret shadow or Unbearable lightness, confirm the intention of showing a reality that is somewhat difficult to compr, almost a paradox between that which is in itself and this which we can perceive.
Laura Benchetrit shows an unusual kinship with the English artist William Turner. I think of it when going over her latest works such as “Temeratte”-  or even more so- “Rain, steam and speed” where a steam machine goes through a bridge.It little matters that Turner has a certain figurative identity and that Benchetrit is absolutely abstract. Art has nothing to do with these differences, in the same vein, we do not say Mozart’s Magic Flute is more or less music than any of his symphonies. Art has to do with the quality addressed to what someone called the intelligent eye, the eye that thinks. Let’s not forget that out of all our senses the eye has the greatest number of ramifications within the brain.

Laura Benchetrit wanders back and forth through warm or cold shades. Her colors blur, mingling with the freedom of water. Except for some or other pastel-crayons on paper, Laura shows her greatest talent with water-color paintings on paper, one of the means explored by Turner.

The meaningful titles of her works imply life experiences that the artist traduces into plastic equivalences: “Deep Love”, “Passing Love”, “Lightened Purple, “Through a Tear” and thus,   diverse subjective emotions can be turned into objects by this creator granting them the citizenship of beauty.

An exhibit worth admiring.  

Rafael Squirru, 2003
An evanescent color

Color rules each and every one of Laura Benchetrit’s works, an intermediate generation artist with rare refinement in compositional approach.

Minimum gesture traces animate the surfaces where color poses itself with strength, in minimum scales, and produces evanescent effects which – as a final conclusion for the eye- have nothing to do with weakness.

A beautifully thought-out exhibit, as a series of ideas that had been placed in order.

Albino Dieguez Videla
La Prensa, April 27th., 2003.
Serene Communicability

The watercolors, temperas, pastel-crayons and combined techniques that the artist Laura Benchetrit presents in this exhibit, integrate an expressive unit that allows appreciating it as one great work open to different variations of the same concept.

These works remind us of Cézanne’s principle “color makes the shape”, because the artist develops her creativity from the standpoint of the perceptive qualities of color, which she senses with marked intensity.  Paper support contributes to its development within an atmospheric expression with no figurative dependence nor references, nor any other image resource.

In such a way, Laura Benchetrit achieves subtle and refined atmospheres proper of a sensitive captivation that grasps the essential, clear of any secondary element. She thus creates a space for serene reflection and encountering the world inside.  That is the reason why in her works there is an inevitable association with oriental mysticism.

Without any turbulence-causing gestures, nor resorting to the powerful attraction of matter- which in her case tends to be diluted and almost evanescent- the artist endows her works with undeniable mystery, taking us onto the grounds of ambiguity, an attribute of truthful artistic creation, and of the unreachable. Everything is like suggested, claiming absences and offering through the climate reached a possibility for spiritual encounter.

The predominant vision is harmonious and serene, as an appeal to the order of the cosmos and to the existential paradigmatic communion with it that mankind can aspire. The artist presents it as a search that she seems to start in each work, in a different manner, according to the chromatic scale employed.

Her works register different moods, moments when the soul situates before the universe, legitimately aspiring that thirst for the absolute we all have in the deepness of our being. The artist’s capacity reveals itself in the possibility to communicate what is personal raising it to a more universal scale, in such way to share it with the rest. This   transference of lived experiences, where the most profound identities can be found, holds the convoking power of art.  Laura Benchetrit makes it reality.

Fermín Fevre
Buenos Aires, March 2003
The first individual exhibit of Laura Benchetrit is promising, since it demonstrates the seriousness with which she approaches the difficult treatment of watercolor and tempera.

The forms of a lyrical abstraction communicate intimate feelings that could be related to certain literary texts and to the paintings of the celebrated French informalist George Mathieu.

Albino Dieguez Videla, 2001
Imagination, orderly chaos, a glance towards the Orient, abstraction, improvisation…

The paintings that Laura Benchetrit presents today speak softly about her significant contribution; dispensing with everything complex so that only what is simple and genuine remains. In this way, she succeeds in turning us spectators into participants…

Her desire to see and to know leads to her emotional memory, where she finds the forms that compose her work.

Her need to create takes her in the end to a clear objective; her liberation.

Rómulo Sidañez, 2001
The brush stroke and the synthesis of Laura Benchetrit takes us towards the Orient: this is her identity, and the essence of her search.

Her color is strong and yet very pure, her palette is rich in transparencies, the white in the background is treated as color…

Her watercolors are quite far from academic technique; her use of water and transparency leads us to a very special spiritual state. Thankfully, today we can enjoy the clarity of her work.

Her finely crafted temperas demonstrate once more that quality in art is not only in oil. Instead, creation is reached when sensitivity is allied with the appropriate material.

Baubeau de Secondigné, 2001
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Laura Benchetrit
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