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.
In this interview, Ana Tiscornia speaks with Liliana Porter about the ever evolving hypotheses Porter seeks to discover and her implementation of philosophical practices. In the introduction to the conversation, Tisornia mentions Porter’s attraction to the writing of Jorge Luis Borges, as Porter situates him as an identifier of the Latin American condition in relation to the world. Tiscornia says that Porter’s work “constitutes a metalinguistic exercise focused on the questioning of the border between reality and representation.”
For the publication Centro Atlantico de Arte Moderno’s 12th edition of their journal Atlantica, 1995, Ana Tiscornia (b. 1951) speaks with fellow Argentinean artist Liliana Porter (b.1941). Tiscornia begins by mentioning Porter’s interest in the conflicts associated with representing reality and purposeful representation. Porter says that while photography is often associated with the perception of depicting reality, when closely analyzing objects, she discovers a new reality within them and from there, she is able to invent juxtapositions via photographs to draw metaphors. For example, she mentions placing a ceramic pig and a plastic saint into a scenario, and with the idea that they are just toys, it becomes a metaphor within itself.
Tiscornia asks Porter if her work coincides with Baudrillard’s idea that “the illusion is no longer possible because the real thing is no longer possible.” Porter responds by saying that “reality is always possible in abstraction.” Furthermore, Porter goes on to explain that reality is a social construction in addition to an individual construction and in this idea, her practice thrives. She concludes that art is a representation and at the same time when one realizes that the thing itself is also a representation, one becomes more aware that nothing exists without representation.
This conversation is important because it delves into the philospophical implications of Porter’s work.[See in ICAA digital archive, the texts: “Intersections: The Art of Liliana Porter and Ana Tiscornia,” by Pedro Cuperman (doc. no. 1274516) regarding Porter and Tiscornia and “Liliana Porter” by Paolina Weber (doc. 1274468) regarding Porter’s object narratives]
Ana Tiscornia (b.1951) was born in Montevideo, Uruguay. Tiscornia studied architecture at the Universidad de la República. She has lived in New York since 1991. Not only is she a practicing artist, she is also an Emeritus Professor at SUNY College at Old Westbury.
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), 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.