La noche de los museos, by Jorge Macchi (2016)

MNBA

A huge carpet welcomes us to the room housing María Luisa Bemberg's Collection, on the second floor. It contains four well defined spaces (squared or rhomboidal, depending on where you stand), and over them, disassembled lighting fixtures.

According to the artist, the work shows that unique moment during the Night of the Museums were the room is deserted and a strange phenomenon occurs: the spotlights fall. This intervention, intimately related to the space (because the circles in the carpet have the same shape of the lighting effects of the room), calls for many meanings and explanations.

La noche de los museos, by Jorge Macchi (2016)

MNBA

The room accepts the installation: in spite of displaying South American art from the past century, it peacefully coexists with this contemporary art piece. On the other side, we might guess Macchi chose it because of his own interest in cinema, as that of the collector Bemberg. Plus, the dimensions and architecture were quite convenient. 

As for the installation in itself, Macchi combines the pictorial parameters of Renaissance: (a) he lights up the shadow; (b) draws in perspective and (c) presents a difference in the colouring similar to the concept of sfumato. It is also true that what the artist proposes us is a mystery and we can each find something different in it.

La noche de los museos, by Jorge Macchi (2016)

MNBA

Macchi has a recurring relationship with the movies, which began in 1992 with "Zenón's arrow", an artwork he paid special attention to during the presentation of the exhibition at the MALBA.  However, the video is not on display at "Perspectiva", because it is currently part of the exhibition "Unfinished" at the Met Breuer in New York. There he tried to explained Zenón's theory: if we successively divide the distance an arrow must go through to reach the target, it will never reach it because the halves are never-ending.