Gustavo Christiansen

The Happy [La feliz] (2007)

The Happy [La Feliz] is a work that is set out as a game between the effects of daylight and the effects of night’s darkness.
It consists on an on the spot work, and due to that fact, it depends on the space’s characteristics where it will be placed, having a variable amount of images to display (this is related to the amount of windows that are available for this work).
The process starts when I print in reverse (mirror) an iconic picture of the city of Mar del Plata on the paper. As I print the image in the reverse of the page, and that reverse is placed against the glass, during day it is visible but when night arrives, the picture starts to disappear and, at the end, the final effect is a white page.

Untitled (2006)

The work sent involves the spectator not only as a witness but also as a member directly involved that completes the sense of the work. The topic addressed is to provoke a state of uncertainty, where an imminent danger is observed because the work itself could change or be damaged with the participation of any person. I started filling light bulbs with solvent liquids (benzene or gas/petrol). Each lamp is connected to its lamp holder and they are connected to the electric system. In this way, a state of curiosity is created but, to this state, it will be also added a state of repression in each observer. I believe that it also provokes suspicion in the spectator (I would press the switch, but what happens if the other does it).

950 cm3 (2005)

Fotos: Bettina Prezioso


Scientific elimination [Eliminación científica] (2004)

In this piece I work on the organized and programmed elimination of a text of a certain writer. I choose a short fragment and I type it in the computer where I center it in A4 format and I print it in a paper. I then eliminate the letter A in all the words that are on screen, leaving the space they were using. For instance, if in the first printing it reads (muercielago), in the second printing it will say (muerciel go). I print this second page and then I eliminate any letter E used in the words in the text, so that it would read (murci l go) and I print the third page. Then I eliminate the I (murc l go), then the O (murc l g ) and I continue with the elimination of the U (m rc l g ). Once the vowels are eliminated, I continue with the consonants until I complete the alphabet and I finally eliminate the punctuation signs preserving the final stops in each sentence, which would remain as the only reference to the original text.

Photos: Bettina Prezioso

75 watt 220 volt (2004)

The process starts when I write Nietzsche’s phrases in reverse (mirror) in light bulbs. As a mirrored typography is used, the text will be correctly read inside the lamp and not on its outside. They will be connected at 200 volt, meaning the thread of each lamp will be turned on, but as they are connected in series of three lamps each, their brightness will not disturb the reader. They’ll be placed in the same height that the eyes’ level of a regular person, 1.60 m approximately. The place where they are located will be illuminated but with a dim light, average, and this has to be this way so that the text can be perceived both form the inside and outside of each lamp. These series vary according to the size and characteristics of the place chosen for the setting up of the artwork.

Photos: Bettina Prezioso, Analía Regué

Time [Tiempo] (2000)

120 x 90 cm

Lines [Líneas] (2000)

230 x 160 cm

Mirror [Espejo] (2000)

This work sets out a game between the exterior and the interior of a mirror. It’s about an action where I work with the spectators. I write their name backwards with rouge in their foreheads. In that way they’ll only read their name correctly when they watch themselves in the mirror I place on the wall.

Photos: Claudia García Lorente

90 x 60 cm

Data [Datos] (1999)

150 x 120 cm

El trocadero books [El trocadero libros] (.)

I photocopy book of arts, aesthetic and other similar disciplines. Then, I exchange them for books, photocopies of books, art objects, videos, music, services, etcetera.
The books I use to photocopy have multiple characteristics: they are sold out editions, rare, out of sale, foreign or have a high cost.
So as to achieve a good operation and understanding among those who wish to participate, I made a regulation and a list of all the photocopied books that are available for exchange.
Once the exchange is agreed, it can be done in person or by mail.
Guidelines for the exchange.
• A previous meeting (through phone, e-mail or personally) has to be arranged among the people interested so as to agree on the election of the books. The books have to be photocopied as follows:
• The photocopy must have banding.
• The ringtail must be done in spiralling plastic (not metallic).
• The photocopies must be protected with a transparent plastic cover and a plastic back cover.
• The cover and back cover of the book must be photocopied.
• The printing (edition) must be in an excellent quality, 'legible'
• The photocopies have to be done in both sides of the page.

Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad