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1976, Buenos Aires,  Argentina





Asi habito


Architecture shapes our experience, our way of assimilating and feeling the built environment. As a great visual archive, Inhabit questions about the current ways of inhabiting spaces by articulating a corpus of photographs with concrete objects from architectural practice.
Facade fronts with subtle details coexist with an arbitrary and loving selection of objects that human beings care for and treasure in a spatial way. Trace of the everyday, of the domestic.
Taking these scenographies as architectural pieces, Lorena Marchetti inquires about the ways we inhabit today.




The works raise a scenario of relationships between a man and the spaces he inhabits and that contains him. Stripped settings, panoramic views and high-rise architecture. Landscapes that are assembled and disassembled. It is recomposed and edited to be put back together. It is redefined, as an exhibition article, as data for the study, as a surveillance objective. Contemplation of an archaeogeography whose nature is exposed to an empty space.

The almost non-existent human presence can only be sensed by the uniform of a worker, an object or a control device.

Narrate a micro-story that talks about the human condition? Compose or shred pantones as if they were the still life of the 21st century?

A man travels three hours one way to work and three hours back, he takes care of a terrace with synthetic grass that nobody goes up to. He walks from one side to the other in silence. The sun slashes his forehead for eight hours. It is the eighth floor of the Museum of Contemporary Art of Sao Paulo, one of the best views of the megalopolis.

Cityscape data iconography.




Since 2011 Lorena Marchetti has been working on series that record a kind of Latin American peripheries and landscapes. Although she was always dedicated to the registration of urban spaces and cities, these landscapes bring the novelty of the geographical point of view in height and the very particular choice of her chromatic palette. Everything expands and extends in height; as the bird's eye; like the traveling painters or the incidental tourist.

In her series Peripheries we observe different photographs taken in the city of Lima, Peru. According to the artist, this metropolis is “an incredible city with high contrasts in every way. Extremes of beauty and chaos. Coast and mountains. Coastal desert greens and rocks. Fog. Fuzzy limits. Social contrasts. Its demographic, urban organizational chaos and dissonances expand towards the desert rocks of the periphery, generating new urban everyday situations and neo landscapes that invite new reflections. The popular or new neighborhoods, which in the best coral style make up a reef, emerged from nowhere, become epicenters and informal settlements that are shaping the mosaic of the city creating very own landscapes. With a sandy, rocky color palette and a contrasting range, they make Lima a very particular city ”.

Verónica Sanchis, 2013


Micro relieves

A lover gives paint
Perhaps when José Pancetti painted the coast he thought of photographs. His works, like no other, turn the imperceptible aspects of the beaches in delicate brushstrokes. The superposition of the different qualities of sand, the clear water with a frothy fringe, the sun, the light that modifies each of these elements moment by moment.
Although the human mass and superimposed constructions are completely absent in Pancetti's oil paintings, they are very similar to Lorena's paintings. Perhaps the thousand subtleties of Pancetti are reflections of glass in Lorena. Perhaps it is more accurate to speak of painting than photography. Perhaps it is not necessary to talk about photography. Perhaps photography does not exist.
Lorena recounts her adventures as a traveling painter who climbs hotel terraces in search of the best point of view for her landscapes.
What is closer to those ipanema palms than the leafy glass of the newcomer to Brazil Antonio Parreiras?
But then, she paints on the remains of those landscapes, pieces of those constructions that in her paintings are immovable blocks.
The last romance. Because after the earthquake you have to continue painting.
Santiago Villanueva
October 2012