The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
José Luis Blondet converses with Liliana Porter on the occasion of a symposium that is transcribed in this publication. Blondet provides an introduction to the conversation by suggesting that the location of the symposium, a theatre, is appropriate to Porter’s investigation of theatrical sentiments. Porter has played the game of representation in her work while exploring its limits and its reaches. He goes on to explain that Mexico City, the place of the symposium, is also significant to Porter, as it is not only where she began her studies, but is also where she had her first exhibition. Porter’s contributions to the New York Graphic Workshop is also an important topic to Blondet, as he commends her, along with Luis Camnitzer and José Guillermo Castillo, for dramatically changing the idea of what printmaking could be in the art world.
For the fifth edition of Simposio Internacional de Teoria Sobre Arte Contemporáneo (SITAC) curator José Luis Blondet speaks with Argentinean artist Liliana Porter (b.1941) on a topic titled Diálogos Impertinentes which questions the way artistic practices are changing the roles of institutionalized art spaces. Porter begins by crediting Luis Camnitzer (b. 1937) to changing the way printmaking functions within the art world. In regards to the infamous New York Graphic Workshop, she says it was Camnitzer who developed the innovative idea that a print could be anything from a slice of salami to a car. This comment prompts Blondet to ask Porter about her own printmaking and eventual move towards the prominent use of figurines in her work. Blondet says that in La explicación, 1991, Porter first uses two dissimilar figures to create a dialogue within the vastness of space, which opens a new point of discussion. Blondet and Porter delve into her literary and artistic influences and end with questions from participants.
This interview elaborates on an important moment for Porter and her work because figurines become a staple within her explorations of dialogue.
[See in the ICAA digital archive, the texts: “texto,” by Luis Camnitzer (doc. no. 772973) and “Liliana Porter: Durero, industria, objeto, week-end,” in El Mundo (doc. no. 772573) regarding the NYGW and “Shaking hands with Mickey,” by Gerardo Mosquera (doc. no. 1180798) regading Porter’s objects].
Since 2010 José Luis Blondet has been the special projects curator for the Museum of Contemporary Art, Los Angeles. Before that, he was curator at Boston Center for the Arts, where he organized exhibitions and projects with Liliana Porter, among others.
Liliana Porter (b. 1941) was born in Buenos Aires, and began studying art at the Escuela Nacional de Bellas Artes Manuel Belgrano. In 1958 she and her family moved to Mexico City, where she enrolled at the Universidad Iberoamericana and took classes from the German artist Mathias Goeritz (1915–90), specializing in printmaking with Guillermo Silva Santamaría. She returned to Buenos Aires in 1961 and remained there until 1964, from where she moved to New York City where she joined forces with Luis Camnitzer and José Guillermo Castillo to start the New York Graphic Workshop (NYGW, 1964–65), a space where classes were held and other artists’ works were printed (closed 1970). In the last 20 years of her career she has specialized in pictures and sculptures that incorporate figurines found in thrift stores and flea markets, as well as larger installations that incorporate surrounding spaces and sites. Liliana Porter currently lives and works in Rhinebeck, New York state.