Liliana Maresca

Outstanding artist in the artistic panorama of the 80’s in Buenos Aires, Liliana Maresca generated a paradigmatic work since the early eighties, starring in the enthusiastic youth bohemian that detonated in Buenos Aires after the return of democracy, quickly transforming into an inflection figure who initiates and develops many of the avant-gardes that will characterize the art of the 90s. Her activity included paintings, objects, sculptures, installations, performances and photo-performances. Her works collect the neo-Dada spirit, minimalist models and conceptual strategies that dominated the artistic panorama of the second half of the 20th century in Argentina, intertwined with the iconographic repertoire of alchemy and spiritual searches, making use of the technological resources that the time offered, without forgetting in any case the necessary poetic elaboration. An artist who knew how to work in dialogue with her contemporary colleagues, highlighting one of the most controversial stages in Argentina after the military dictatorship, making the content of the image both an aesthetic and a documentary register. Her strong activism as an artist and as a woman committed to her social context, made her develop a characteristic discourse where the focus was not on unjustified confrontation but on offering her own body as a battlefield to question the status quo; works such as “Liliana Maresca with her work”, “Public image – High Spheres” or the self-portraits of Maresca in the Marconetti Building or the National Museum of Fine Arts, among many, give an account of this. The graphic media also served her to question the concept of work of art as a single piece, making it possible to multiply its image as a poster, thus approaching the field of mass communication. But it was as a pioneer in photoperformance – by then without that denomination – where Maresca found the ideal support to point out and denounce situations of social and gender-based violence, hypocrisy and double discourses, always committing her body, assuming different fictitious personalities, protagonists of stories where the image becomes a vehicle for the artist’s actions, a auxiliary that complements the action by fixing a moment in time, transforming it into something worth preserving.