New York

Liliana Porter

Monique Knowlton Gallery

In a ’70s painting by Argentine modernist Antonio Berni, a showy bride, rendered in oil, shares the foreground with a phantasmagoric groom in gray and blue tones, as if reality and remembrance could merge and steal the scene. Liliana Porter’s recent photographic series gives a similar impression. Such an observation is doubtless rather odd: separated as they are by time and genre, there’s no obvious reason to link Porter’s photographs to Berni’s work. What prompts me to make such a comparison is that the characters in Porter’s photographs are, for the most part, mass-produced toys, and thus could be considered close relatives of memory itself. Inescapably, toys evoke a lost childhood, but also seem to be related to anything forever lost in the past. But where Marcel Proust’s famous madeleine opened up the world of involuntary memory, Porter’s toys operate, like fossilized fetishes, in

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