A COMPLETE OVERVIEW AT LILIANA PORTER

The necessary shaping of her proposal in this Huellas y vestigios greatly facilitates the understanding behind her action as such, without temporal or chronological constrictions, giving a predominant role to the lines of work. These constants trace her interest in the poetic and the conceptual, in the relationship with the passage of time, in the life of objects and in a rethinking of meanings, and all this through the various techniques that the Argentinean has been perfecting until the results have become an unmistakable sign of identity.

Approached from five specific prisms, the exhibition is based on Porter's interest in the potential of action and the relationship that objects have in both the frame and the technique. Her first works in this sense reflect this relationship between subject and result, elevating the criterion of representation to a narrative plane of enormous consistency and strength that poses an analysis of the role and the illocutionary impact that can occur on the medium and technique.

Linear time and its dimensions, as well as narrative planes, also acquire a leading role in the exhibition, where, through her photographs or fully contextualized objects, he reformulates the conception of time and simplicity with a production that seems to combine the spatio-temporal in a succinct but sublime way. Geometry, the very importance of the body and gestures elaborate a specific imaginary in her graphic work, but also stand as the beginning of other ways of representation.

Agustín Pérez Rubio's curatorial work reveals an added interest in certain traditional representations, represented here by Porter's sensitivity to still life and still life as the axis for analyzing and understanding the underlying dichotomy between order and disorder or the sociological trace of collapse. This relationship marks, once again, the interest in the poetic and the conceptual, but without ignoring formality as an essential element of reality.

The importance of the geometric and the sensation of volume is shown as another of the great catalysts in the understanding of the artist throughout the exhibition, and it is here where we are invited to witness the importance of the perception of spaces. The reproduction of her Projects: Chuck Close/Liliana Porter, 1973, exhibited at MoMA, a milestone that marks the beginning of her exploration of the use of wires and cables as instruments to trace these geometries, stands out for its art historiographic importance.

Likewise, and in line with the museographic interest, the recreation of Arruga, a 1969 installation first shown at the Museo de Bellas Artes in Caracas and at the Museo Nacional de Bellas Artes in Santiago de Chile, which represents a spatial evolution of the homonymous portfolio of photogravures created a year earlier, becomes a perfect closure for the proposed tour. The usual reference to the dimensional, as well as a certain patina of criticism, the use of semiotics and the importance of gesture and the process marked in time, nuance and consolidate a wide range of aspects on which Porter has built.

Huellas y vestigios can be seen until March 9 at the Museo de la Casa de la Moneda, Doctor Esquerdo, 36, Madrid (Spain).