- Liliana Porter Buenos Aires, Argentina, 1941
- Material:Printed paper and adhesive tape
- Technique:Offset printing
- Descriptive technique:Installation consisting of offset printing of a soft ground etching depicting a sheet of wrinkled paper. The printed paper adhered to the wall partially covers it and is wrinkled at the edge
- Dimensions:Variable dimensions
- Category: Installation
- Entry date:2010
- Register number:AD06210
Liliana Porter formulated the bases of her conceptual and diverse artistic activity from 1965 onwards. A crucial influence was her participation in the New York Graphic Workshop, where she defined her concept of serial art, under the initials FANDSO (Free, Assemblage, Non-functional, Disposable, Serial Object). In this installation, the process of randomly wrinkling paper that is already printed to look like wrinkled paper, means the artist can comment on the distance between reality and fiction, as well as alluding to the process and the time spent on the work. The scale of the offset prints takes on monumental proportions, covering whole walls with the image of paper wrinkling, while simultaneously showing the process in the exhibition room itself. The installation contrasts the blocks of paper on the walls with others that have been torn down, literally wrinkled and then thrown to the floor like trash. The work contains an active element and a negative space, the smooth empty section of the wall, relating the notion of negativity to concepts present in the contemporary sound theory of John Cage.
Carmen Fernández Aparicio
Porter, Liliana ( 1941-)New York : New York Foundation for the Arts, 1996.
Solari, Luis A. ( 1918-1993)New York : Museum of Contemporary Hispanic Art, 1988.