new-york

Regina Silveira

Ledisflam

Masterpieces (In Absentia), 1993, seemed at first glance to be a reedition of Regina Silveira’s installation In Absentia, presented at the 17th Biennial in São Paulo in 1983. On that occasion, the work consisted of the silhouettes of two of Marcel Duchamp’s most popular readymades: Bottlerack, 1914, and Bicycle Wheel, 1913. Both shadows, enormous and deformed in a sort of perplexed simulacrum of perspective, extended over the floor of the enclosure, rising vertically against the panels that encircled the room. The bases on which the objects should presumably have stood were empty pedestals, of an immaculate white in violent contrast to the dense darkness of the shadows.

In her recent installation, the entire series of elements with which Silveira has been formulating her work repeated itself: the white empty bases; the disproportionate shadows subjected to a process that goes beyond

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