ExhibitionNovember 15, 2024
Liliana Porter: Huellas y vestigios (Tracks and Traces)
El Museo Casa de la Moneda presents “Huellas y vestigios” (Tracks and Traces) by Liliana Porter (Buenos Aires, 1941), an important Latin American figure with an extensive international career who was recognized with the 30th edition of the Tomás Francisco Prieto Award (2023). Curated by Agustín Pérez Rubio, the exhibition will be on view until March 9, 2025.
The exhibition covers the entire career of the artist, who has lived in New York since the 1960s, emphasizing her relationship with the notions of trace or footprint, both as a formalization of the passage of time converted into an objectual vestige and as a mark caused by the action.
In her works, gestures, geometry, literature, and humor go hand in hand in small scenes or chapters of everyday life, in which she intends to question the viewer on mundane issues. She recreates scenes about instability, the non-linearity of time, fragility, or social collapse through her own hands, objects, or her recurring characters, which she uses as actors that she directs.
For this reason, this show flees from the chronological, in the same way as the artist’s work. It will be divided into five chapters: “Leaving a Trace: potentiality of an Action,” “Timelines,” “Still lifes: Between Disorder, Collapse and Return to normality,” “Spinning in Perspective,” “Destabilizing Representation: Wrinkle of the paper to the White Cube.” The thematic sections condense diverse interests in her practice—from the sixties to the present—helping the viewer enter a continuum of conceptual and poetic materialities.
The exhibition covers the entire career of the artist, who has lived in New York since the 1960s, emphasizing her relationship with the notions of trace or footprint, both as a formalization of the passage of time converted into an objectual vestige and as a mark caused by the action.
In her works, gestures, geometry, literature, and humor go hand in hand in small scenes or chapters of everyday life, in which she intends to question the viewer on mundane issues. She recreates scenes about instability, the non-linearity of time, fragility, or social collapse through her own hands, objects, or her recurring characters, which she uses as actors that she directs.
For this reason, this show flees from the chronological, in the same way as the artist’s work. It will be divided into five chapters: “Leaving a Trace: potentiality of an Action,” “Timelines,” “Still lifes: Between Disorder, Collapse and Return to normality,” “Spinning in Perspective,” “Destabilizing Representation: Wrinkle of the paper to the White Cube.” The thematic sections condense diverse interests in her practice—from the sixties to the present—helping the viewer enter a continuum of conceptual and poetic materialities.
Gallery
