Questions: Tribute to Graciela Sacco...

18:12

12/03/18 - Temporarily taking over a space full of stories and ghosts such as the old Hotel de Inmigrantes redefines Graciela Sacco's artworks. We know the artist focused on the daily battles, mainly social conflicts. Diana Weschler's curatorship contributes to create a space for thinking and questioning. Each image waits, in isolation, for the observer to activate it. For example, in the installation "Esperando a los bárbaros" (Waiting for the barbarians) several eyes (men's, women's and children's), look at us from behind intertwined pieces of wood. Is that a space, a hiding place or a shelter? Who is in the wrong place? Us or they? Are we the ones watching or are we being observed?
The exhibition opens with this installation and as it is placed in the entrance, we are forced to stop and be observed.


Esperando a los bárbaros, by Graciela Sacco (1995 – 2015)
Installation on the wall, video on screens and collage with found woods  / Variable dimensions
The installation "El combate perfecto" (The perfect combat) is aesthetically attractive and is favored by being isolated in a single room. The shadow this fragmented photography projects to the wall re-contructs the image. We see, then, a young man just before he is about to throw some kind of projectile. As we are place just opposite him, we become the enemy he is aiming for. The image is violent and we can't help feeling we received the blow. Who is this young man? Where is he aiming such fury? 

El combate perpetuo, by Graciela Sacco (2001 – 2010)
Light installation - Photography on pieces of acrylic and light / Variable dimensions.
The exhibition displays more artworks that open to other questions and concerns. Sacco was obsessed with limitations, borders and injustice, specially related to social issues. Also on display is "Cualquier salida puede ser un encierro", in which we found ourselves surrounded by an  undefined sea and are forced to walk over boards in a close space. Unfortunately Graciela Sacco (1956-2017) can't tell us how she feels about this exhibition nor can she explain those artworks that bring more questions than answers.

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Liliana Wrobel


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Carla Mitrani

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