Liliana Porter
To Do It (Man with Blue Shirt), 2017
figura sobre papel
figurine on paper
figurine on paper
19,6 x 15,2 cm
7..72 x 5.98 in
7..72 x 5.98 in
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Artworks
Liliana Porter
The Copy, 2017
figura e nanquim sobre papel
figurine and china ink on paper
figurine and china ink on paper
19,7 x 15,2 cm
7.76 x 5.98 in
7.76 x 5.98 in
Through references drawn from popular culture and collective memory, Liliana Porter uses devices that border on the fantastic to compose works that subvert the conventions imposed by everyday life and by art itself, creating ambiguous and controversial situations, called “vinhetas teatrais” [theatrical vignettes]. Through a private collection of images and small objects, the artist works on different supports ranging from photography and videos to installations, to present the viewer with allegorical and distorted narratives of reality and time.
Por meio de referências da cultura popular e da memória coletiva, Liliana Porter se utiliza de artifícios que beiram o fantástico para compor trabalhos que subvertem as convenções impostas pelo cotidiano e pela própria arte, criando situações ambíguas e controversas, em situações chamadas “vinhetas teatrais”. Através de uma coleção particular de imagens e pequenos objetos, a artista trabalha diferentes suportes, desde fotografia, vídeos e instalações, para nos colocar diante de narrativas alegóricas e distorcidas da realidade e do tempo.
Through references drawn from popular culture and collective memory, Liliana Porter uses devices that border on the fantastic to compose works that subvert the conventions imposed by everyday life and by art itself, creating ambiguous and controversial situations, called “vinhetas teatrais” [theatrical vignettes]. Through a private collection of images and small objects, the artist works on different supports ranging from photography and videos to installations, to present the viewer with allegorical and distorted narratives of reality and time.
Liliana Porter graduated in visual arts from the Escuela Nacional de Bellas Artes (Buenos Aires, Argentina) and from the Universidad Iberoamericana (Mexico City, Mexico). Residing in the USA since 1964, that same year she founded the New York Graphic Workshop, with Luis Camnitzer and José Guillermo Castillo. In 1974, she participated in the creation of the Studio Camnitzer artist’s residency, in Italy. She has held solo shows at notable venues that include Saint Louis Art Museum, USA (2022), the National Gallery of Art, Warsaw, Poland (2019); the Pérez Museum, Miami, USA (2018); El Museo del Barrio, New York, USA (2018); the Museum of Fine Arts, Boston, USA (2014); MALBA, Buenos Aires, Argentina (2013); Museu Tamayo, Mexico (2009); the Centro Cultural Recoleta, Buenos Aires, Argentina (2003); Phoenix Art Museum, USA (2000); Bronx Museum, USA (1992); the Museo de Arte Moderno, Cali, Colombia (1990); and the Museum of Modern Art (MoMA), New York, USA (1973). She has participated in group shows at many prominent venues, including Fundación PROA, Buenos Aires, Argentina (2021), Guggenheim Museum, New York, USA (2019); the Pinacoteca de São Paulo (2018); Brooklyn Museum, USA (2018); the 57th Venice Biennale, Italy (2017); the Whitney Museum of Art, New York, USA (2016); the Museo Nacional de Artes Visuales, Montevideo, Uruguay (2015); the Bienal de Curitiba, Brazil (2011); the Tokyo Metropolitan Museum of Art, Japan (2008); the VI Bienal do Mercosul, Porto Alegre (2007); and the III Bienal Iberoamericana de Lima, Peru (2002). Her works figure in more than 50 public collections, including those of the Whitney Museum (USA), Tate Modern (England), the Smithsonian Institution (USA), MoMA (USA), the Metropolitan Museum (USA), the Museu de Arte Moderna of Rio de Janeiro, MALBA (Argentina), the Museo Nacional Centro de Arte Reina Sofía (Spain), and Daros Latinamerica (Germany).
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