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LILIANA PORTER to See Blue LiLiana Porter to see blue Green Hat 2007 f o t o g r a f i a e m d u r a f l e x 48,5 x 37,5 c m The Lecture 2008 Disguise (with Monkey Mask) 2007 f o t o g r a f i a e m d u r a f l e x f o t o g r a f i a e m d u r a f l e x 101,5 x 76 c m 46 x 35,5 c m Deer with Mirror 2007 f o t o g r a f i a e m d u r a f l e x 85,3 x 63,5 c m Deer - Violinist 2007 f o t o g r a f i a e m d u r a f l e x 77,3 x 61,6 c m Deer and Others 2007 Reconstruction 2008 f o t o g r a f i a e m d u r a f l e x i m p r e s s ã o digital e m o l d u r a d a , p r a t e l e i r a d e m a d e i r a p i n t a d a e pingüim d e p o r c e l a n a 18 x 71,6 c m 38 x 39,3 x 11,5 c m Violinist - Monkey 2007 f o t o g r a f i a e m d u r a f l e x 84 x 66 c m Situation with Glass Bird 2005 f o t o g r a f i a e m d u r a f l e x , p r a t e l e i r a d e m a d e i r a p i n t a d a e e s t a t u e t a d e m e t a l 46 x 48,5 x 7,5 c m Please Don’t Move (Blue Girl) 2005 f o t o g r a f i a e m d u r a f l e x 81,5 x 115,8 c m Dialogue Limit 1998 a c r í l i c a e a s s e m b l a g e s o b r e t e l a , p r a t e l e i r a d e m a d e i r a p i n t a d a e e s t a t u e t a d e p o r c e l a n a Dialogue Limit 1998 t e l a 152,5 x 142 c m / t o t a l 152,5 x 165 x 12,7 c m d e t a l h e d e t a i l To Hide 2001 a c r í l i c a e a s s e m b l a g e s o b r e t e l a e e s t a t u e t a d e p o r c e l a n a To Hide 2001 112 x 157,5 x 5 c m d e t a l h e d e t a i l To Be There 2001 a c r í l i c a s o b r e t e l a e i m p r e s s ã o digital e m o l d u r a d a To Be There 2001 152,5 x 246,5 c m d e t a l h e d e t a i l To See Blue IV 2008 To See Blue IV 2008 a c r í l i c a e a s s e m b l a g e s o b r e t e l a d e t a l h e d e t a i l 112 x 157,5 x 10 c m Untitled (with Black Drips) 2008 a c r í l i c a e a s s e m b l a g e s o b r e t e l a 91,5 x 91,5 c m To See White 2008 To See White 2008 a c r í l i c a e a s s e m b l a g e s o b r e t e l a d e t a l h e d e t a i l 71 x 112 x 12,5 c m Forced Labor (Weaver-Blue) 2008 Forced Labor (Weaver-Blue) 2008 e s t a t u e t a d e m e t a l , t e c i d o e p r a t e l e i r a d e m a d e i r a p i n t a d a d e t a l h e d e t a i l m e d i d a s v a r i á v e i s / m e d i d a b a s e 110,3 x 25,5 x 5 c m Painter 2008 b a s e d e m a d e i r a , e s t a t u e t a d e m e t a l e p i n t u r a s o b r e a p a r e d e Forced Labor (Weaver-Blue) 2008 m e d i d a s v a r i á v e i s / m e d i d a d o o b j e t o 9 x 5 x 5 c m d e t a l h e d e t a i l Forced Labor (Blue Sand) 2008 e s t a t u e t a d e m e t a l , a r e i a a z u l e p r a t e l e i r a d e m a d e i r a p i n t a d a Forced Labor (Blue Sand) 2008 9 x 110,5 x 26,1 c m d e t a l h e d e t a i l Forced Labor (Blue Sand) 2008 d e t a l h e d e t a i l Fox in the Mirror v í d e o - 20 m i n u t o s (s o m / c o r ) titulo do texto Ivo MesquIta The fonts contained in this archive are Freeware. 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  • Liliana Porter
    Liliana Porter English Pérez Art Museum Miami El hombre con el hacha y otras situaciones breves – Venecia 2017 1 2 3 4 Looking carefully at the hundreds of objects and diverse references from this series, such as a tiny woman weaving a and a white figure who oozes large amounts of white paint, materials that make up Liliana Porter’s expansive installation large piece of transparent cloth and several figures attempting both demonstrating moments when human contents, such El hombre con el hacha y otras situaciones breves – Venecia to rake large piles of colored sand. Understood metaphorically as emotions or remembrances, can no longer be controlled 2017 (The man with the axe and other brief situations – Venice and existentially, these scenes articulate the daunting and or contained. 2017), the viewer will notice several old clocks of varying sizes. perhaps impossible human task of searching for meaning or These symbols of linear time are shown completely broken fulfillment. A tiny figure carrying a suitcase appears alone, isolated in one apart, their white faces, circular metal casings, and interiors section. He stands between two lines that twist behind him spilling outward in disarray. Central to Porter’s practice is an Historical figures and symbols appear throughout the across an expansive area, forming a path he has apparently investigation of time. She is specifically interested in how, installation. A plastic toy replica of the car in which President been following. This is “the traveler,” another important player as time passes, the line between reality and imagination John F. Kennedy was assassinated is exhibited, which includes who has appeared consistently in many of Porter’s prints, becomes increasingly tenuous, as the current moment mixes figurines of both the president and first lady.
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    Trabajo forzado, Toll Gallery, Montevideo, Uruguay. Línea de Tiempo / Time Line, Museo Tamayo, México DF. México Liliana Porter, Simmons Visual Art Center, Brenau University. Gainsville, GA. 2008 Liliana Porter - Fox in the Mirror, Hosfelt Gallery, San Francisco, CA. Liliana Porter, Barbara Krakow Gallery, Boston, MA. To See Blue, Galería Brito Cimino, Sao Paulo, Brasil. Levitating Rabbit, Leo Fortuna Gallery, Hudson, NY. Liliana Porter, Hosfelt Gallery, New York, NY. Rehearsal, Dia Art Foundation, web project: http://diaart.org/porter 2007 Liliana Porter, Hosfelt Gallery, New York, NY. For Instance, Galleria Valentina Bonomo, Rome, Italy. To See Red, Galería Espacio Mínimo, Madrid, Spain. 2006 Recent Works, Goya Contemporary, Baltimore, MD. Red with Eagle, Sicardi Gallery, Houston, TX. For Instance, Hosfelt Gallery, San Francisco, CA. 2005 Girl with Rubber Dog and other Situations, Carrie Secrist Gallery, Chicago, IL. Eventos Breves, Sala de Verónicas, Murcia, Spain. Deer/Dear y otros raros encuentros, Galería Petrus, San Juan, Puerto Rico. Ellos y algunos otros, Galería Ruth Benzacar, Buenos Aires, Argentina. Diálogo con tetera y otros raros encuentros, Galería Casas Riegner, Bogotá, Colombia. Fictions and Other Realities, Georgia State University Ernst G. Welch School of Art and Design Gallery, Atlanta, GA. (Two person collaboration Porter & Ana Tiscornia). 2004 Eventos Breves, Palacio Aguirre, Cartagena, Spain. For You, Print Center, Philadelphia, PA. Inter-missions, Annina Nosei Gallery, New York, NY. Liliana Porter: Brief Events, Eli Marsh Gallery, Amherst College, Amherst, MA. 2003 Eventos breves, Galería Espacio Mínimo, Madrid, Spain. To Blink, Casas Riegner Gallery, Miami, FL Liliana Porter: Una puesta en imágenes, Teorética, San José de Costa Rica, Costa Rica.
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  • Radical Women: Latin American Art, 1960–1985
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    Now we have to quote Gayatri Chakravorty Spivak if we want to be modern, Conversation if we want to be “politically modern.” And not colonial. “To give voice,” is what English speakers call it, though the voice is always taken, never given. We must quote the Liliana Porter and José Luis Blondet last thing that the discourse of power has quoted in order to make it clear that we are knowledgeable, that we are a part of it. But quoting the source imposed by the cen- ter of power is more and more a colonial act…. Well then, I know about it but I don’t José Luis Blondet It seems right that this conversation take place on the stage of quote it. I decide to not incorporate it into my discourse. We don’t incorporate it. To a theatre, since we’re talking to Liliana Porter, who’s persistently explored notions relat- counter Spivak, Clark. To counter this pseudo French theory, the vulnerabilizado or ed to representation’s reach and limitations. Liliana once noted that seeing her work injured Portuguese discourse—though the problem is not Spivak but rather the army was like going to the cinema and watching a movie with the lights on. That is, everything of people quoting her who think that Marx is a legendary activist and writer. around the film is as important as the film itself. Or that it’s like putting a little mys- The fundamental question is, who manufactures narrative and from where? tery—irrelevant yet colossal—in the center of a stage.
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  • Accomplices:​ ​Liliana​ ​Porter​ ​&​ ​Ana
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