Paula Massarutti

PRODUCTION LINE (2014)

HD video, color, sound

TRT 10:03

FUNCTION (2014)

HD video, color, sound

TRT 5:53

POSTCRIPT (2014)

HD video, color, sonido

TRT 4:31

PRACTICES AND FICTIONS IN THE INDUSTRY (2014)

Drawings

26,5 x 20,5 cm.

DOCUMENT (2014)

Drawing (Graphite on paper)

“Paula Massarutti delves into the testing of social bonds that implied the emergence of collective strategies to respond the abandonment during the flood. The forms of solidarity and energetic presence of the other, in rescue, shelter and hospitality actions. Starting from a dialogue with the neighbors that live in the adjoining blocks to her house, she creates a fictional space that asks: What are we willing to compromise with the other? Her project imagines the possibility of elaborating an act of agreement or contract between neighbors, which materializes the commitment to mutual aid in case a new catastrophe occurs. Tensioning the boundaries between fiction and the real, the project transits the space between the spontaneous and anonymous solidarity and the will to build a sustained commitment.”
-Lucia Savloff

91.2 x 368 cm.

V (2013)

C–print

92,5 x 60 cm.

UNTITLED (2013)

Book and acupuncture needles

13,5 x 20 x 5 cm.

WE ARE IMAGE (2013)

Intervention in the Metronomo Gallery. North Passage Obelisk in Buenos Aires.
Fluorescent tubes, cellophane and greaseproof paper

47 x 243 x 170 cm.

THE CENTER STAGE (2013)

Neon

48 X 74 cm.

THE OBJECT (2013)

Video, color, sound

TRT: 4:52 minutos

WHY SKY IS NOT YELLOW? (2012)

Performance and installation on showcase and sidewalk.
(Detail)

Séverine Hubard, Alexandra McCormick and Paula Massarutti

Variable dimension

THIS IS NOT A HOTEL (2011)

Intervention with signs in the San Antonio neighborhood of Cali (Colombia).
This work arose, when we asked us about the place us inhabit during our stay, an old house in the neighborhood of San Antonio. After several days we decided to articulate our space as: ¨This is not a hotel¨. Then, we made and placed a styrofoam sign in front of the house with that phrase. From that very moment, we began to receive visits and comments from the residents of the neighborhood: - and if this is not a hotel, then what is it?
In the following weeks we decided to open the house to the street and to propose neighbors to think about the definition of their own homes. After several talks, with some of them, we devised together definitions for their houses, and we built new signs installed on their facades. Thus we established a new relationship between private and public space in this old neighborhood of Cali.

Project developed by Paula Massarutti and Alexandra McCormick
http://estonoesunhotelcalicolombia.blogspot.com.ar/

DEPOSITS AND BASEMENT OF THE INTANGIBLE ASSETS OFFICE (2011)

(Detail of installation and video)
El Parqueadero (Bogotá).

In collaboration by Alexandra McCormick

“Deposits and basements of the Office of Intangible Heritage” is a project in collaboration with The Foundation of Friends of Intangible Heritage, is intended as a forum for exchange between artists and the general public who is interested in participating, view and create relationships between museums and life”.

Variable dimension

UNTITLED (on the left) (2011)

Serigraphy
Graphic ink on photographic paper

90 x 70 cm

THE WISH (2011)

Drawing
(Graphite on paper)

Oversized, (1:6) of a certificate of baptism apocryphal, from the documentation file kept for the christening ceremony that took place on April 3, 2011, at the Cristo Rey Church in the city of La Plata, (Argentina). In this act the artist became godmother to daughter’s her best friend.

130 X 180 cm.

TO HERE (2010)

Sculpture (Styrofoam, polyester resin and synthetic paint).

This is a material modification, to lodge the loss of significance, turning the art object into a subject of curiosity and intrigue that com pulses to put a limit to space of the unknown.

This Artwork has been performed based on the scale of the artist's body in a position of supplication.

[Las Precolombinas] Pre- Columbian images known as the suplicantes, are archaeological pieces from the Argentine northwest that belong to the Low Formative and High Formative period [III to VII DC aprox.]. They are made in stone and show a curious combination of human and zoomorphic elements. In them, the repetition of a kneeling or genuflecting position or attitude is shown with arms and hands, placed on the back of the head [being the reason of their denomination].

The most relevant element in these pieces is their characteristic of exempt object; it is not possible to find in them, an implicit or explicit functionality, although there is an attempt to link them with magic-religious aspects of the Condorhuasi culture. As it is impossible to determine, the origin of its function, all interpretation is a hypothesis. We may say that these objects are a cultural surplus of an unknown process, it is a signal, with an unknown significance, but as it is still in use, we may call them a luxury.

83 x 66 x 117 cm.

BOOMERANG (2010)

Installation: styrofoam, polyester resin, synthetic paint and trestles.

This piece is part of a project that began by identifying which devices produce communication inside a computer. These tiny components (like resistors, capacitors, etc.) carry out technical operations (they store and regulate the electric flow in a circuit) to transmit digital signals that will be interpreted as language. This work creates an inert sculpted object made with expanded polystyrene and polyester resin and preserves the appearance of the original object, that is, the original electronic device. This new piece abandons its original function to represent that relationship (the possibility of communication), in short, turning its use into a sign.

96 x 150 x 130 cm

8 AND A HALF (2009)

Jogging in San Javier was undoubtedly the meeting place for her and me. While we ran, we talked about the experience and the problem of the registration of our previous works (Bien visto [Well Seen] and La oficina de patrimonio intangible [The Office of Intangible Property]). Part of our immaterial work necessarily had to be reconstructed in order to be conveyed. Our problem was figuring out how to take “the experience” to other people. We thought of the material aspect, the fact that if one were to run all one’s life, that action would become evident in one’s body. Somehow, we got close to what Father Florian Paucke did: “Discover a truth that was only known to us”. We recreated the image of jogging, but to do it, we wouldn’t have to move. We thought of the color of our clothes, the lighting of the scene, the surroundings, the balance we had to keep, of how we would touch the ground, convey force, sculpt it, and of the deceitfulness of the action.

8 y medio (8 and a Half) began with the need to communicate an experience: remaining in a concrete space and encountering the other. Exhibition room 9 is permeable; through several holes, it’s connected with the 8th floor where the administration of the MACRO Museum is located. Taking advantage of those holes in the architecture, we built walls that went down: a vertical continuity from the exhibition space in the 9th floor to the 8th floor, creating an area of encounter that we called 8 and a Half. The work was a new experience between the spectator’s gaze and the museum personnel engaged in their daily tasks. To do this, the public was invited to consult two texts plotted on the wall: “All you wanted to know about contemporary art but were afraid to ask” and “Tell us a story”.

Everyday-life relationships are concentrated in the space, modifying it, and at the same time, activating our present.

Intervention in the MACRO Museum_ Work done in collaboration with Colombian artist Alexandra McCormick.

WELL SEEN (2009)

This work, produced in the Pettoruti Museum, proposed a meta-image of another image. For two weeks, the museum staff went on about their regular work in their workplace (the museum), with the only difference that they did it within the exhibition space, the room called microespacio (microspace), a window display that could be seen from outside the building. It was a functional and fictional office especially assembled for this experience. Therefore, two proposals were put forth: “act as yourself” and “fare finta” (act as if).
Through this action, the exhibition space, normally designed to create a metaphor, instead created a fiction/real.

15 days

THE GIFT (2009)

It’s the compilation of knowledge about the mystery/object, which was carried away from its original place as if it were a strange body. Like a virus, neither good nor bad, this object is a body that has travelled in space and time (from Argentina to Bolivia) and has behaved differently and acquired different contents according to the reality and emotions of the individuals who received and sheltered them.
In the time of the internet, when we perceive the events taking place in other latitudes as our own, The Gift is an excuse to preserve the right to be astonished.

video

UNTITLED (2009)

Installation with wood, paintings and window.

Variable dimension

MORE REALITY [exercises about lying] (2008)

I created More Reality during my residency at Arte y Sociedad Espacio G (Space G Art and Society) in Valparaíso, Chile.
It’s an art research and a project that fictionalized the narrations of the neighbours and the production of scenes/montages as a result. MAS REALIDAD is not a confrontation between representation and object, or between fiction and truth, but rather the establishment of a system to recognize and verify the ways in which we perceive and build reality.

Installation_photos_videos

ART NOW (2008)

Art Now is a three-part editorial intervention on the art system.
The first part is an Object-book made by superimposing the erasure of another book, whose importance lies in having been created as a medium to circulate and record contemporary artworks and artists (Art Now Book, Taschen’s 25th Anniversary Edition).
The second part consists of torn pages that have been reconverted and framed to stress the cliché action of a privileged objectification and delimitation.
The third part is a flyer-message in which the book design is reproduced as a parody of the desire to be included in the recorded system.

Object-book_torn pages_flyer-message