. CARLA ZACCAGNINI

fragments of text from newspaper and their systematic insertion in MUSAC’s printed material.

partial view

video projection and paint on wall Register in video made during the hours of an inter- oceanic navigation crossing the panama canal, toward Atlantic-pacific, between the 17hs of 27 July 2009 and the next day 13hs.

Mechanical and hydraulic sustem driven by the simultaneos use of children´s toys

Folded labels of beer, without cutting or mixing brands

photography series of houses constructed equal and transformed throughout the years THROUGHOUT THE YEARS

Video 68 min

This project was developed for the Octógono, a program dedicated to contemporary art, at the Pinacoteca do Estado de São Paulo, the oldest museum in town with an important collection of 19th century paintings. the intervention made use of the architecture of this space, taking advantage on the openings surrounding the central square with a double high glass ceiling where the program takes place. by means of a mirror game, the reflex of a painting belonging to the permanent collection housed on the second floor was transferred to the Octógono space. The painting, Saudade (1889), by Almeida Júnior, shows a woman standing by the window looking at a photograph from which we can only see the back. the title Saudade [something like nostalgia] refers to a distance that cannot be transposed by the image. The work also comments on the various layers that separate the viewer from the active art object once it is inscribed into the logic of the museum.

This project, idealized in 2002 and initiated in 2004, consists on a mechanism for constituting a collection of drawings of views mediated by discourse. These drawings are made by police artists, according to descriptions of views provided by any person willing to take part on the project. Each of these drawings in made on auto-copying paper, the original graphite drawings are given to describers while the mdvcollects the copies. The idea is that the resulting archive testifies the ways in which landscape becomes a mental image and how this mental image can become discourse and be translated to drawing. By means of the dialogue established during this process and of what is possible to communicate in this way, these images can be shared and made visible.

This project was developed for an exhibition at the Museu de Arte da Pampulha, in Belo Horizonte, installed on a modernist building by Niemeyer, originally built to house a casino. The work consists on a trip to Mar del Plata, Argentina, where the country’s central casino is located. The casino central, built in 1942, the same year of the Pampulha casino construction, is still active. All the records from this trip, including family pictures (I was born in Argentina and most of my family still lives there), air tickets, casino tickets, landscape photographs etc, was arranged as time map on the one wall at the mezzanine where the exhibition took place. This time map ordered all the material chronologically, but also divided them in several lines, according to their nature (personal references, conceptual discussion with the curators, actual action and dislocation, field research material, interesting visual results etc). The only object produced was a black and white postcard which showed a picture of the casino interior on the one side and a view of the mezzanine on the other side. Twelve hundred post-cards were produced to be taken away by the visitors. Both faces have lines and the space reserved for the stamp, leaving it to the user whereas they choose to keep the mezzanine or the casino as an image. In 1996 the Museu da Pampulha opened a small memory room at one corner of the mezzanine, where once was the casino cashier. This room was later closed to the public and transformed into a deposit. This project also re-installed the Sala da Memória, with all the souvenirs from the casino it used to present. A clandestine sound recording from the casino in Mar del Plata brought some of the atmosphere of action and suspense to the frozen objects kept as memory in Belo Horizonte.

This piece was developed for an exhibition called feira [fair], which took place at a commercial gallery in São Paulo, around last Christmas. the main idea of the show was to present pret-a-porter artworks that could be bought and taken away by the visitors. it consists of a 20 meters long piece of cloth onto which a series of three similar images of one single mountain were printed close to each other. the autonomous landscape pictures and the way they relate to each other as a continuous image place the work half way between prints and pattern. the cloth was sold at r$ 100.00 per meters. the size of each picture (40 x 60 cm) obliges people to choose between buying it either for the measuring or for the image. The repetition of these pictures does not obey to any regular order, making it impossible to buy a complete sequence.