Facundo Arias

Facundo Arias

Mentioned by


Territorio (2011)

Paisaje generado por computadora.Montaje


set (2007)

Is photography (and/or art) a staging, a mise en scène?
Perhaps it is my vision of reality as a movie or as a pose of collective consensus.
Reflection or doubt (are all my reflections born out of doubt?) about the topics (or standardization) of photography.
Dialogue with (or interest in, or work triggered by) Edward Ruscha’s scenes of petrol stations (are there no more interesting topics for photography?)
The English titles (“Excess” “Time”, “Fotoshop”) aim at suggesting a homogenization of (linguistic and photographic) language, and also show the grotesque tautological references of images. What aimed at nihilism degrades into (trivial?) aestheticism and self-parody.

30 x 84 cm

Window: from the Microspaces series (2007)

This is the (de)construction of my bedroom window, through the day’s course; against the wall, the image fragmented in time and space; underneath, on the floor, a heap of slides with hours, ideas and residual “sounds” (from within and from without.)

100 x 150 cm

Mercury: from the Microspaces series (2007)

The mercury is obsessively repeated with its spasm; the game advances along the bedroom floor, through monotonous microworlds which I deconstruct and capture with an inverted lens, in physical/psychical interaction, distorted vision.
Setup: The parquet flooring is laid out on the horizontal ground. On top of it, heaped on the center, slides printed with the word “Mercurio”.

80 x 120 cm

Flora (2006)

Registro de acción


Manuela Bedoya (melodrama) (2006)

A repeated scrutiny of photographs of my grandmother.
I (de)construct time and space in the original photograph, creating a dialogue with takes, structures and movie genres. In the narrative, I become owner of my mother’s vision, without intention of achieving “truth” at all, only a sliding towards the distortion of memory and the psyche, a scrutiny of black spaces. The lens’ inversion determines images that capture my physical/psychical interaction with the photographs, stressing characters, untangling atmospheres and creating them arbitrarily.


Oxymoron: from the Microspaces series (2005)

The mattress as a mental space/conjunction of opposites, a place where one can think oneself: a poetic figure comprising two terms with (totally or partially) opposing meanings.
Setup: In the corner of a room, at a bed’s height (the mattress’ profile), 120 cm. long x 30 cm. wide (the part representing the mattress’ width), 190 cm. long x 30 cm. wide (the part representing the mattress’ length.) Under the photograph, in a corner, a heap of slides with the word “Oxímoron” printed over and over, as a fixed idea.

30 x 120 cm
Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad