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Guillermo Kuitca

GUILLERMO KUITCA typically settles on a given structure as a form of emptiness. One may consider his work a kind of seating plan, as the Argentinean artist himself will tell you: Vacant chairs attest to an absence; what’s more, the plan is only a representation, not the thing it represents. And so the represented thing becomes merely a gap, a void—space as an object. Such empty space accrues the element of time, and the hidden cause of the desire. Am I saying that Kuitca draws, paints, fixes his collages into the dynamics of desire? Yes.

Not that there is one and only one structure in Kuitca’s work. Rather, there are series of ones, with each individual series depicting the form of a different plan: map, cemetery, stadium, prison, theater, or conveyor belt. The function of the structure is not to unify a series but rather to convey meaning to components of the series, to begin a count of

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