The artwork presents a collage of various stamps and markings, creating a visually striking composition. The dominant colors are blue and red, with the repeated "1100 LISBON" pattern adding a sense of rhythm and repetition. The overlapping stamps and markings convey a sense of bureaucracy and documentation, potentially alluding to themes of travel, international exchange, or the movement of people and information. The artistic style and technique suggest a conceptual or assemblage approach, where the found materials are repurposed to create a thought-provoking piece. The historical context or the artist's intention behind this work may relate to issues of globalization, identity, or the systems that govern human mobility. ...
Amalia Pica’s practice, which includes sculpture, performance, installation, drawing and video, explores human communication, its failures and intimacy. Human modes of interaction, such as the desire to be understood and accepted, are central to her work. Pica uses found objects, like hair brushes, wine bottles and confetti, verbal and non-verbal linguistic tools, like texts and venn diagrams, out-dated means of communication, like shutter telegraphs and slide projectors. Her live performances are audience-driven, creating situations of encounters, awkward and real. Having been born during the 'Dirty War' in Argentina, Pica’s works further consider the issue of state control, history, representation and systems of bureaucracy. In her performances, she explores the ways civic participation can become a mode of resistance to political oppression across time and cultures. ...
Proyectos Ultravioleta was founded in Guatemala City in 2009 as an independent artist-run space, and has since established itself as a leading voice in contemporary art in Latin America and beyond.
