TDTKs January 2015





Liliana Porter was born in 1941, Buenos Aires and has lived and worked in New York since 1964. Apart from photography and video, she also works on canvas, prints, drawings, collages, and small installations. Many of these pieces depict a cast of characters that are inanimate objects, toys and figurines found in flea markets, antique stores, and other odd places. The objects have a double existence – on the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity.

David Lamelas has a restless and ever changing artistic practice questioning the production of meaning and the transmission of information. His fascination with time, space and fiction are evident throughout his diverse body of work. He has investigated these topics in a range of post-minimalist installations, performances, photos, and films since his participation in Argentina’s nascent avant-garde during the early 1960s. We present two classic films of his from the early 70s.



FOR YOU/ PARA USTED Liliana Porter (1999 / 16 min, / video from 16mm)
“In this video many of my recurrent subjects are examined – dialogues between dissimilar objects, the absurd idea of illustrating perfection, references to political situations, amorous interludes, or simply commonplace events like falling down, dying, wanting to climb, and more…”LP

TO POUR MILK INTO A GLASS David Lamelas (1972
 / 8 minutes / video from 16mm)
A film investigating how meaning is constructed in film. “I decided to use a glass and milk. I wanted to find symbols for ‘container’ and ‘contents’ – to represent how the camera frames – and what is shown on screen. … The eight sequences end with… the glass being shattered and the milk splattering all over the table, which implies that there is no way to contain information”. DL

THE DESERT PEOPLE David Lamelas (1974 / 48 minutes / video from 16mm)
In this film Lamelas manages to blur the boundary between fact and fiction. It begins like a classic road movie – a car crosses a desert – but narrative conventions are soon interrupted by documentary-style interviews, anthropological analysis and self-reflection. The passengers have been staying on a Papago native Indian reservation …. They recount this experience to camera with numerous cut back to the car, the desert, and a final unexpected denouement.