LILIANA PORTER: SITUACIONS WITH RABBIT levitating
CLEARANCE GALLERY: until 05/03/1911
Since Lucio Fontana dare with that nerve to rip the canvas, the race to see who had that exercise further self-reflection wayward practice of art itself to the point of self-destruction finally entered into the phase of maximum acceleration.
If contemporary art is largely the preeminent way to analyze the media (and therefore artist as a privileged analyst media), exercise self-questioning of support were in the decades of 60 and 70 its golden age. rip, fold, expand the field, delete frame, delete the canvas, flirting with the sculpture, have all been-and remain-strategies that art, painting in this case has continued to perform at their own concept.
In the limit of the conceptual, these exercises can be without difficulty as the proper to do for a time he had in the dematerialization of the art object its main motif.
Liliana Porter seems to want to continue this tradition and fully seated archirecurrente as postconceptual what, but when combined in a very particular semiotic exercises to understand the painting as a distribution of signs on the flat surface of the canvas. Undramatic the semiotic rhetoric of resistance, giving up to give a further twist to the modus operandi neoexpresividad as you have signs in the space-canvas Porter joins forces with strange powers that border, at first with the narrative, with the pastoral innocence of the story.
For her, the canvas is no problem, but, rather, everything ocntrario: the most suitable for counting and display.
Who knows, ultimately, what we are proposing is to allow ourselves to arouse Liliana by what happens after the famous stand-Groys suspected - and ourselves to enjoy the fantasy event of the surface. Nothing, therefore, to question the reality of what lies behind, nothing to further the art and stress the leading destination Destruktion rope art as a global strategy since its inception illustrated.
If so-and-large it is, its exercise does not cease to be, you look at it, surrender to a destination that we long ago overwhelmed and traumatized us. Why not leave everything, and once and for all in the hands of the fun kind prudery prudish and conceptual? That is, if it all works out on the surface, if the drill has achieved the ultimate of eliminating any depth why the art has to follow erre que erre in the outdated address always proposed as alternative to barbarism?, why must follow understanding, art as a means of redemption? Liliana then proposes what is, and this may be the particular drama, stop being romantic.
But there is another possibility, another interpretation: it is that now, having become impossible to represent him, having arrived postmodern sublime on the edge of not-seeing, all that remains is to tell Microfictions, little fantasies that give shelved the old idea that art has its germ in the destination of a story to tell and which, above all, redemption. Is the logic of the micro as the only mode of resistance to the overall effect of telematics and simulation of collapsing all reality. Yes, obviously there are fewer things to tell, perhaps it is time to just let it show and micro displayed surrounded by the patina de insignificancia tan poderosa.
Solo así, fijándonos en su querencia por el detalle como ejercicio subversivo, llegamos a darnos cuenta de que los microacontecimientos de Porter , en su inocente siniestralidad, nos son de sobra conocidos. Los personajes parecen lanzados como dados al campo de batalla del lienzo; arrojados, sus existencia parece ser la del después de la tragedia. Pero no solo eso: hombres y mujeres enfrentándose a tareas imposibles, a ejercicios propios de Sísifo, a tareas sin sentido alguno. La extrañeza del juego que ya no es ningún juego, la siniestralidad de lo que de golpe, en su candorosa inocencia, se nos vuelve ajeno y desconocido.
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