NUNCA OLVIDARÉ LO QUE NO RECUERDO
Nora Fisch Gallery, Buenos Aires, Arg. [ October 28th 2016 to January 6th 2017 ]
A solo Exhibition at Nora Fisch Gallery exploring and alternating various techniques and materialities : painting, photography, ceramics and wallpaper. The works originate from a collection of personal memories and are the result of an intimate process. The unique, and sometimes irreverent, way to playfully confront the essence of reality results in a deep reflection on memory, cultural identity and life discoveries.
by Ohne Titel combines her personal history with the history of recent art; an accumulation of private memories with a selection of cards and brochures from the circuits of contemporary art. Singularity and specificity get diluted with the collective and shared in the pictures that the artist crops and superposes, reusing all its fragments until there is nothing left. They are snapshots of her life, but could easily be someone else’s. There is something universal and quotidian in these family pictures: the flash, the framing, the look at the camera, the quality of the mechanical printing; the artist erases singularity and emphasizes generality.
This exercise of chopping and assembling is also a memory exercise, an attempt to hold onto these chains of moments that constitute one’s personal history. Although in this process those instants immobilized in time get less specific and almost illegible. They transform into something else (photographs topped by ceramics).
Some of the family photo collages are mounted on invitations to gallery openings, as if these events were destined to the same ephemeral status as a dinner with friends or a laugh at the park.
The wallpaper, designed by Ohne Titel is based on the postal cards that she had been receiving throughout her life since she was a child, and from when it was still a frequent practice.
A table made up of stacks of art auction catalogues, with an abstract puzzle on top – inviting visitors to sit and solve it – is rebuilding a scene from the artist’s childhood.
In the paintings, operations similar to those of photographic collages are put into play; on the canvases, there are annotations, drawings and memories of something that was significant to the artist, but they are veiled by the calligraphic gestures present on the glassine paper that covers it. Making use of the layering, fragmentation and disfigurement of the original images, the boundary between public and private is reconstructed, and general and specific gets diluted.