 |
|
| Global
Socio-economic Politics, made simple |
|
| Series
of objects |
| (1997
- 2007) |
|
 |
|
| Pampa,
Ciudad y Suburbio |
| Curator:
Laura Malosetti Costa |
| Imago
Espacio, Buenos Aires |
| 2007 |
|
|
|
|
press
(in Spanish): 1
2
3
|
|
|
| A
Parasite Showing II |
| Curator:
Gregor Passens |
| Buenos
Aires Yacht Club |
| 2003 |
|
|
|
|
|
|
|
| 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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