Intervening Bogota

Intervening Bogotá, 10 digital prints of 50x75 cms, Colombia, 2008, radicalizes Wienfried Noth's proposal in Can Images Lie? about photography as a tool for representing the truth so at the same time to lie. In this case exposing different times sharing a single space in the image, expliciting the lie of photographic matter. The experiment of pasting on the walls of cold and industrial capital of Colombia, one natural size image of a naked man in a nudist beach and another of three men, wants to re-create Marc Auge's antropological reflexions about fluent and impersonal spaces and times of our routine transits, giving new significations to the dimensions space and territory in relation to the body.

Postcards from Italy

Postcards from Italy, fifty 10x15cms postcards, Fabrica, Benetton’s Research Center, 2007, wants to invert the idea of selling a place through photographic images. Here the intention is precisely the opposite: point to Italy as a strange place where something is out of its place, this is, where the fascism still remains. Cultural variables and political positions here are taken to create meanings and interpretations of photographic images, building what in Merleau-Ponty's concepts would be a particular phenomenology of the visible.

A Latin American in Italy

A Latin American in Italy, projection on walls, variable dimensions, 2007, was done at the Benetton’s research center Fabrica in Treviso, Italy, and consists in the image of a naked woman put around Treviso that describes exclussion as product of racism and the idea of women as a sexual object. These images are pointing to the formal question of photography and its use when dislocated.

Saint Sebastian

This series of Saint Sebastian, three digital prints of 2x1.4 mt, São Paulo, 2006, wants to give a place to female representation in the gay iconography and also points to the conjunction of digital images and manually drawn figures which completes the scene.

Intimate Duchamp

In the intervention Intimate Duchamp, digital print of 50x73 cms, Museum of Modern Art, La Tertulia, Colombia, 2005, Duchamp's allegory is inverted bringing images to a museum's toilet, looking for new places where to exhibit and create meanings for photography.

Installations

These instalations ask about the matter of photography. In the first image, Body and Voyeurism, three aluminum instalations of variable dimensions, bulbs, slides and glass, Bogotá, 2003. These instalations invite the spectator to see through a hole, a series of superposed images of women who will suffer a surgery. Here the superpositions act as a metaphor for distort bodies.

In the second one, About looking in Still Life of Albacora and Manteco, 80cm diameter instalation of digital printed image, bulbs, aluminum and acrylic, Cali, 2002. Here, a two dimensional image is forced to go back to its three dimensional original matter.
These instalations question what Regina Silveira's artwork proposed, as she was focused in the artificiality of the codes when representing space, and the conventionalism not only of prespective but also extended to all illusionist representation, including the photographic one.