buenos-aires

Liliana Porter

Centro Cultural Recoleta

“For a work to be what we call a work of art, it must generate an idea, perhaps another work,” Liliana Porter once observed, thus delineating the sphere of her production as the possibility of an ever-recurring cycle: a reality that produces a fiction that produces a reality, with one work containing another, like Russian nesting dolls. Now an exquisite survey curated by Inés Katzenstein has shown the extent to which Porter’s remark has guided her voyage through the world of representation.

Born in Buenos Aires, Porter moved to New York in 1964. A year later, together with Luis Camnitzer and José Guillermo Castillo, she founded the New York Graphic Workshop. A series of photo-etchings from the ’70s based on reproductions of works by René Magritte announced two of Porter’s fundamental preoccupations: simulacrum and reproduction—basic postmodern problems. Addressing the idea of mass

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