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¡PARDIEZ! (by god!)
1990 - 1993
 
 
We are part of it, and therefore unable to perceive in an independent or isolated manner. Is not the subject-object distinction the by-product of a culture that places human beings at the centre? Has this distinction not imploded?
In Pardiez! I have explored the limit between "objective chance" as Breton defined it in Nadja1, and the controlling subject. Parodying the rules of a game, my work followed a procedure that could be described in this way:

1-CHANCE

Beginning with a series of photographs of the southern area of Buenos Aires -that I will here refer to as "original photographs"- I wrote down a list of words by free association. I then looked for those words in the newspaper and when I found them, I used that information to determine where to take new photographs --which I did without looking through the viewfinder- and collect objects.
In this fashion, the "original" photographs led me to a pensioners' demonstration, art galleries, Plaza de Mayo, etc. From these places I returned not only with the strangest latent images but also with the most diverse objects: pieces of coal from Río Turbio, fragments of acetate, glass shards, little marbles, etc.

2-CONTROL

I made a selection of the collected material and cut out the snapshots so as to relate these elements to the picture that had led me to them, in a temporary assemblage at the studio, seeking to create new meanings.
I photographed these little scale models in fragments, always keeping the photographic surface parallel to the picture that acted as the base, thus producing multiple cuts and perspectives. When juxtaposed, the resulting images are perhaps a more faithful representation of the way we perceive the world than photography based on a single perspective2.

3-CHANCE

I sent the exposed film to an mini-lab. In this way, the colour and density of the copies was left to chance, which emphasized their fragmentary nature since each part -aside from lacking parts of the image or having them in excess-differed from the others in colour, saturation and/or contrast.

4-CHANCE

Trying to find a name for the work, I opened up a dictionary and with my eyes closed I fingered a word at random: Pardiez, an interjection derived from the Latin per Deum, "By God!".
I thought the title was adequate because you could say that historically God has been one of the ways in which to overcome the impossibility of being the same, and with that, every limit. Especially, the line we draw between "objective chance" and the subject who wishes to have everything under his or her control.

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