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Global Socio-economic Politics, made simple
Series of objects
(1997 - 2007)
Pampa, Ciudad y Suburbio
Curator: Laura Malosetti Costa
Imago Espacio, Buenos Aires
2007
see catalog (in Spanish)
press (in Spanish): 1 2 3
A Parasite Showing II
Curator: Gregor Passens
Buenos Aires Yacht Club
2003
press (in Spanish): 1
I Bienal Ceará América: De ponta-cabeça
Curators Jan Hoet and Philippe Van Cauteren
Fortaleza, Brazil
2002
Perspectives 2000
Curator: Lynne Cooke
Ormeau Baths Gallery, Belfast, Northern Ireland
2000
Juried Show
selected by Lisa Dennison
New Jersey Center for Visual Arts, Summit, USA
1999
Introduction
In "Global Socio-Economic Politics, made simple", the emphasis clearly falls on the predicate: made simple. These works "explain" extremely intricate global issues on a childish scale as a form of parody. By inviting the million-dollar questions regarding said simplification, By whom?, How? and For whom? I call up very familiar but nonetheless potent issues regarding the strategic subjectivity of the entities in charge of informing the public of increasingly complex world events. I have tried to make the angle of spin I am throwing on these issues evident, but without letting my view steal center stage from the central theme of each work. Traditional separations between Economics, Politics and Social Issues are presented here as barely distinguishable threads in an intricately woven Moebius loop. I have taken a didactic, institutional tone for these works in purposeful sarcasm, looking to invoke skepticism that will infiltrate the viewer and thus extend beyond these pieces themselves. My impulse lies somewhere between that of a public service message and a very personal vengeance for deceptions perpetrated in the guise of education or information. I also indulge in a bit of simple pleasure here, of the sort that one feels while picking out spelling errors and typos in the newspaper or on TV, a nothing-to-lose attitude that applies to such a Goliath-sized target. The different materials and formats used have a certain surface playfulness, but a quietly defiant negation of the classical contemplation of color, surface or technique is also present, directing attention toward the function and motivation of each piece. This suite of works does not pretend to draw conclusions, rather, to investigate, albeit by way of poking a stick at the same drowsy beast from many different angles.
(1998)
   
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