Others participants. Meeting for Confrontation of art-works

Nora Dobarro

Participant - Meeting for Confrontation of art-works

Bed frames outdoors

Installation of several objects and work materials, photographs and paint. Fiberglass sheets, photographic paper, timber.
Centro Cultural Casona de los Olivera, showrooms. Buenos Aires, 2000.

"Do ceilings fall?
Does the sky fall?
Does my bed dissolve ceilings?
Am I the ceiling or my own ceiling?
Concave and convex at the same time, to
dissolve, to erase form. Which is the place, where to construct? So I need to construct
the space that contains the objects?...
(...)The day of assembling arrived, I took the photographs of metal sheets taken years before, I took the poles which supported wings in a previous installation, wings of freedom, now used as a poster holding up ceilings, I took new, large metal sheets, unused, I took the dismantled stool-for-not-sitting, I took a cobblestone that supported a photo of bricks made of old clay in the form of a roof, I took the Argentine sky from which fell all the photos which also included skies (and which broke when loaded in a pick-up truck), I took the metal sheets with oil paintings of skies in white and blue, black and violet, where concave and convex intermingle, I took two wooden prisms which I later painted starkly white, I took a grooved photo of Costanera Norte, with a small Argen-tine flag, casually left there and pictured by me on two occasions, once in black and white and, another day, another one in color, called "Alguien la dejó" ("Someone left it"), I took a photo of a globe I saw in a sidewalk in the Hindu quarter of London, a rusty image of the world replacing the original water mains cover, I took a small black and white photocopy of a mountain landscape and put together, in the space which already was there, what I could and that allowed me to corroborate that what was visualized was what the objects by themselves said, there was a period of rest, the objects awaited."

Nora Dobarro

 

Artist, lives and works in Buenos Aires and Córdoba. In her last work, perception through photographic records leads to the disintegration of the idea of art as previous will, documenta-tion becomes an obsession in which effort is addressed to making the artistic act anonymous, not intending seduction, neither by form nor by the material. Underlining her rejection of exhibiting architecture, her works fall, have accidents, become disassembled, can't be hung, lending new significance to a parallel with the profound crisis of an entire community. Leaving them as in storage tries to provoke in the public's regard a record of a space where "nothing is given". Dobarrondobarro@yahoo.es

Others participants. Meeting for Confrontation of art-works