- Venue
- Centro Cultural Parque Espana, CCPE
- Starts
- Friday, November 6, 2009
- Ends
- Sunday, December 6, 2009
- Address
- Sarmiento y el rio Rosario Argentina
- Location
Baracca’s ongoing series of mosaics manifests a meticulous and repetitive process of cutting and pasting pieces of credit cards as a mode of activating a surface. The resulting surfaces appear to be continuous while revealing the units of which they are composed. The works in this exhibition reflect a new direction in Baracca’s work, in which he evokes this ancient technology to appropriate canonical modernist images by Duchamp and others that are themselves historically removed from the present time. As a result, implicit in these new works is an exploration of different layers of appropriation. More interesting perhaps is how he complicates the idea of appropriation further through his use of black and white, which itself could be seen as a metaphor of how a critical appropriation works. For black and white evokes the photocopying technologies through which Baracca first encountered these artworks as a student back in the 1980’s. A key effect of black and white is to foreground the differentiation of such copies from their originals. With this in mind it is possible to ask: what and how do these surfaces represent?
