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.
Amy Eva Raehse interviews Liliana Porter and Ana Tiscornia regarding their recent collaborative exhibition. Raehse poses the question of whether the collaborative work is supposed “to produce a transferred experience, a type of hybridization, or an awareness of collaboration itself.” The artists respond to Raehse’s inquiry by mentioning the creation of a third artist, who results from their collaboration. They discuss the first time they worked together and the “accidental and perfect” intersection they discovered when testing a new camera. Although they have joined forces for the exhibition, they make it clear that their “individual worlds interact” to become “juxtapositions of ideas,” with “nothing to negotiate.”
This interview was conducted by curator, writer, and critic Amy Eva Raehse (b.1974) on the occasion of the exhibition Dialogue: Liliana Porter and Ana Tiscornia in 2011 at Goya Contemporary in Baltimore, Maryland. She begins the interview by asking Argentinean artists Liliana Porter (b.1941) and Ana Tiscornia (b.1951) to discuss the first time they worked together. They mention the role the camera played in their first collaboration as it offered “fragments of a whole.” Even though this exhibition is not comprised of photographs, the idea of fragmentation “creates a sense of tension” in their work which carries over into their sculptural presentations.
Porter and Tisconria state the differences in their individual practices and modes of representation, but emphasize that these differences lead them to new discoveries while working together. Since they come from the same country and grew up within a similar time frame, Raehse asks if they activate a “shared memory of place.” Porter and Tiscornia clarify that while their works are “about the complementary aspects of their experience,” they also tackle the “contradictions that may exist” regarding those experiences, from where an “independent narrative emerges.”
[See in ICAA digital archive, the texts: “Intersections: The Art of Liliana Porter and Ana Tiscornia,” by Pedro Cuperman (doc. no. 1274516) and “Latin America at Bucknell,” by Bucknell University Press (doc. no. 1274663) regarding Porter and Tiscornia].
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), 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.