reviews

Leandro Erlich

The globe-trotters of the contemporary-art world remember it still: In June 2001, at the 49th Venice Biennale, Leandro Erlich, representing Argentina (that year exhibiting in the Central Post Office), invited people to participate in a strange experience—to enter a swimming pool fully clothed and immerse themselves, without getting wet, in an enormous empty blue container, its roof a transparent sheet of Plexiglas covered by a thin layer of water. But the story of La Pileta (The swimming pool), 1999/2001, did not end there. Viewers could also climb to the upper level of the post office and see the installation from above,where, in a kind of reverse shot, another vision awaited, one that was just as satisfying: Through the fluid and reflective surface, one could see other Biennale visitors moving about at the bottom of the blue pool as if underwater, a chic subaqueous society strutting

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