Lorena Marchetti

A series of five outdoor "Counter-fronts" ["Contrafrentes"], which at first glance may seem documents of spaces, cities, they are landscapes and were the beginning, the journey and the exit out of the heaviness, the inertia and thee opacity of the world. Like the flight of Perseus, which allows me to change my approach, my methods of verification and knowledge, I got out with a medium format camera, my beloved Mamiya C330, lent by my great teacher Gabriel Valansi for a period of almost two years. I made this small but powerful series that would then trigger multiple pathways. A series made in a specific neighborhood within the city of Buenos Aires whose geographical location and / or name faded away to give way to something more universal, particular, local and total in each perceived thing. This is the series that represents me the most and still accompanies me. Images of a society that changes in a time and space that are constantly transforming, metamorphosing. Register of companies: spaces of the urbanized everyday? ¿Sketches from this world? Landscapes that cross these routes and on doing it they reinvent themselves: UTOPIA? NEO-LANDSCAPE? WALL OR FENCE? The term "space" (from the Latin spatium), as the extension field that contains all the existing matter; "space" as the distance between two bodies, but also the distance traveled by a car at a certain time (as well as the lapse of time between two events); it is also the part or place that occupies each sensitive object. Transit of information, multiple paths. A space, a zone: sensitive, permeable. "Hybrid zones", "permeable" or "sensitive" are the names I use to describe the work process and / or production performed in different spaces and / or cities. Not only cities, for being urban spaces, are the starting point of my raw material, so are the spaces, small or large. Regardless of their size it is everything that makes up a space or area to walk through, to feel, to move in. To draw routes and patterns which are simultaneously intertwined, interwoven and build. Creating landscapes that reinvent themselves: "improbable landscapes", "sensitive areas". Traces of a journey planned only by intuition and / or direct experience of subtle elections of streets, smells, materials, shapes, colors, sounds and appearances that will make it up and spin it in order to experience, absorb and give back. Registers of vital pathways such as: go-come, go forward-go back-go forward again, walk-run, lose oneself-find oneself, do-undo, stop and contemplate, so as to enter a zone. Timeless and hybrid. A zone in constant loop where the route loses its real start and end. Traffic weather to keep monitoring the constant quest to push out from the inside to see the need that it breeds. Shall the plain physical experience of colliding with a space be a zone? Or shall it be its traffic?

I would just suggest them to be committed with their own and subtle direct elections, which are displayed by their senses.

I identify with a generation of Argentine collective artists, with global and local experiences of self-management and exchange, translated into an "artistic gesture". Understanding the meaning of the word "collective" as an idea, rather than as a practice, which of course is not excluded. A collective thought whose thread is made up of many individuals and lines of thought that meet, intertwine. Managements and interventions, meetings and discussions. Surely a result of tools and media such as blogs, emails, Google, Flickr, shooting, teaching and offering new readings, new methods of knowledge. Made by many in virtual parallel dimensions with different backgrounds, geographical locations fighting with those limits, whether they be geographic or academic. Cultural, social and community exchanges made with great effort! Who but these remarkable persons are those that take part, and build the art today, or at least a cut of it and allow us to understand it? As the thoughts of those who have left their precious legacy, with which today we build our own, do and did! The crucial and confusing moment in which Eugène Atget merged into the streets of Paris in the XIXth Century. The vast abyss of Sally Mann, the new landscapes of Nan Goldin causing all kinds of nature. The sublime in Bosco, the Utopias of the cities and poetries of Xul Solar, of Niemeyer or of Gaudi. The wisdom of Joseph Beuys, the stark and forceful of Walker Evans. The color of William Eggleston, the depths of Sugimoto, the dreams of Paul Graham and the panoramics of Wenders. The energy and the joy of liberty of Hélio Oiticica, the line and the point of Mira Schendel. I am interested in the past and future of Francis Alÿs, Wolfgang Tillmans, Miguel Mitlag, Pina Bauch, Sophie Calle, Yoshitomo Nara, Christian Boltansky, Benito Laren.

The following exhibitions were highly significant, it would be a terrible crime to try to explain them, it is enough to have had the great joy of experiencing them!: 2008. United Manufacturers [Fabricantes Unidos] by Eduardo Navarro in LA DULCE Gallery, Once Neighborhood, Buenos Aires / Everything is possible [Todo es posible], photographic diptych by Cecilia Szalkowicz, MALBA / Liliana Maresca in Recoleta Cultural Center.