Artist Graciela Sacco (Rosario, 1958) is presenting, at the Centro de Arte Contemporáneo de la Universidad de Tres de Febrero, a powerful and haunting retrospective + site-specific exhibition. The venue is in itself quite overwhelming: it's the old Hotel de los Inmigrantes, nowadays a Contemporary Art space, cold and damp, due to the nearby river, with walls of white tiles.

The exhibition occupies the third floor and, as we climb the stairs, several pairs of eyes stare at us intently...

Nada está donde se cree, by Graciela Sacco (2014)

Site-specific installation

Centro de Arte Contemporáneo Muntref

As we get used to those eyes, the window on the first landing gives us chills! It's another site-specific work by the artist, prior to entering to  the actual exhibition. The two-meter-high window, in a strange perspective, shows the footsteps of passers-by. This work belongs to the series M² (square meter), in which Sacco refers to the small spaces in which we are forced to spend our daily life.

Migrantes (de la serie M²), by Graciela Sacco (2014)

As we reach the third floor we are once again observed by other eyes, this time hidden behind an old wooden wall.

Finally, at the exhibition, the artworks come one after another, in stress, as if shouting to us, stalking us. Definitely a display to intimidated senses. Each exit might turn up to be in fact a prison. Graciela Sacco warns us about this and we feel it as we lose all space references (See here the video-installation "Cualquier salida puede ser un encierro").

"Nada está donde se cree" could not be a more proper title for an exhibition where everything is disrupted and nothing seems what it is. Here is where we get to wonder what is real and what is not, but in our own existence. A must-see, from the beginning (when the mouths of the series Bocanadas get in our way, as daring as that of Alejandro Kuropatwa) to the end, when we are forced to recover from Sacco's art proposal.

To see... Catalogue of the exhibition: "Graciela Sacco, Nada está donde se cree", de Diana Wechsler.