artnexus #46

Despite the repeated claims of the "crum­ bling" of painting, artists such as Fabián Marcaccio (1963, Rosario, Argentina, residing in New York) show that it's alive and well in contemporary art.

Marcaccio has centered his discourse around the dialectics between painting's materials and their support. A tireless researcher of the pictorial plane, he breaks the support and expands the limits of the canvas as predictable a container of space, displaying his works in large and complex surfaces. Photography, along with painting, has given Marcaccio the possibility of creating a particu­ lar experience, both in terms of the plane and the behavior of the materials used. Painting, photography, and sculptoric techniques are the fundamental resources he uses to construct the complex paintants of his latest works. On them, he breaks with the notion of frontality, inviting us to take part in the observation of a tale we assemble freely from our own perspective. For the artist, this intention of generating a peculiar notion of the collage is linked to his wishto showthe imagesfrom amultiplicity that allows the spectator to "edit the piece in real-time. Contrary to the movies or the 'black box' of contemporary video's space, he's not forced or conditioned to see only a certain image. The piece can only be seen by zones, never in its totality. This idea has to do with the way we think nowadays."

(See "Fabián Marcaccio: The Current State of Political Painting" on page 58).

IVONNE PINI