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The act of opening and closing curtains would seem to be directed by an eye conscious of another eye. By closing the curtains, we have decided that what happens in the interior is not pertinent for the exterior, or viceversa. This does not necessarily imply that a window without curtains is a public space. To be conscious of another hypothetical gaze is also to find distant company in the solitary urban masses. There, a persecuted consciousness can find a controlling gaze, perhaps opportunely balanced by the possibility of a silent, repetitive, quotidian conspiracy. In the machinery of global neighbors, the passivity of the domestic passerby is a privilege with criminal connotations. And it is necessary to forget this daily criminal drama for these windows to continue shining like innocent frames.
An ode to sloth. A mediated fascination on the poetics of the apocalypse. A Self-portrait of an artist as an undercover agent of the real estate market. A reflection on the monetization of time and its consequences in the economy of the image.
Cineteca Nacional de México, Foro al Aire Libre, 2018 | Rooftop Installation Red Hook, Brooklyn, NY, 2012
Video by Luciano Piazza, with the collaboration of Sonja Bertucci and Heather Trawick.
Los Angeles, California, 2016.
EXIT at Barraca Vorticista Gallery, Buenos Aires 2009 Group exhibit of emerging artists.
PREVIEW
In Las Vegas in 16 Parts I explore the endless spectacle of an organic machine fed with fear and desire. It is a film constructed upon documentary images that aspire to become a fiction of an invented city. My gaze oscillated between the point of view of the scriptwriter of the simulacrum and the point of view of those who live in the simulacrum. Instead of trying to extract from Vegas a model to critique our “connectivity to the real”, I consider Vegas a “liquid ever-changing mirror.” I am fascinated with the bittersweet desire to belong to something, to be a significant part of the tradition that will narrate history, to find our reflection in a shining symbol.