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My parents have had a Liliana Porter print/collage on one of their living room walls for close to 30 years. It may, at times, have been on a different wall or maybe even in a different room, but it’s been in their apartment for a long time. I’ve always been more intrigued by the background of how that print ended up in their possession than the print itself, not because I dislike the print, I don’t, but because I’ve always found it curious how Argentineans who immigrated to New York in the 60s all seem to know each other, even if indirectly. They are all friends of friends, or cousins of friends, or went to the same university, or frequented the same café. I don’t remember the exact connection here, but I believe it involved a friend of a friend inviting them to a small art show.
Recently, I came across the image of the miniature man hammering a seemingly huge nail and it made me smile. Upon checking who the artist was, I was pleasantly surprised to recognize Liliana Porter’s name. Visiting her site revealed this collection of objects & installations. I love them. They’re charming and humorous, and maybe it’s just me, but I find them a little touching. Though these are new to me, clearly it’s not the case for many others. Porter’s work is included in numerous museum collections including the TATE, MoMA and Met.
To see many more of these miniature installations, as well as the rest of Liliana Porter’s work including prints, collages, photographs, video and public art, be sure to visit her website.
Those are beautiful and amazing and, like the great Slikachu’s stuff, as well as Isaac Cordal’s Cement Eclipses, also kind of sad. And I loved the story about your parents. Thanks, voice of the blog.