Integrating the Liquid Mass
Victoria Migliori

Victoria Migliori was invited to participate in the Carapantallas Project, a programme that proposes artistic interventions on the traditional billboards of Buenos Aires. Victoria is an artist, architect and Communication Design Specialist at the UBA, where she also teaches Projectual Knowledge. Art has always crossed her professional work, sharing projects with Félix Rodríguez, Omar Estela and Diana Cabeza, among others. Between 2004 and 2014 he ventured into the publishing field, carrying out projects of architecture, design and knowledge books for renowned publishers, working mainly in the development of graphic projects and the curatorship and production of images. At the same time, she was trained in different art, calligraphy and photography workshops. As a teacher, she always maintained a constant link with art as a tool for reflection.

Victoria made the first intervention of the Carapantallas Project in ´ace’s studio, kicking off this new programme that seeks to blur the boundaries between public and private spaces. Her proposal consisted of producing a poster taking as a reference her work Integrating the Liquid Mass. As a procedure, a file was produced from the digital base used for the reference work, which was pasted on the Carapantallas in the same way that street posters are pasted. On the pasted poster, Victoria worked drawing in situ, in the same way she does in her drawings. The idea was not to reproduce the work, but to reproduce the process.

ARTIST STATEMENT

I investigate the relationship between writing and drawing. I am particularly interested in handwriting, anonymous and spontaneous, that which is usually found in items that are no longer in use: tickets, medical prescriptions, bills, postcards, letters… I work on the physical status of handwriting. What kind of drawing is it? What is the line that shapes the letter? What happens in the relationship between letters or between words? What happens in the space that the writing does not occupy? What is in the space between the letters? How much of the writing can we see, so that the meaning does not prevent us from seeing the drawing…? I invent questions to force myself not to know. To ignore in order to know, to force displacements of time, space and meaning. To allow myself to be estranged and once again to think of new ways of knowing: to focus and blur. Not to see well, in order to see other things. To question the focused gaze that dominates the universe of vision and to try a peripheral gaze that allows us to relate the focused with the unfocused, the sharp with the vague, the visible with the invisible.