Sorry for the metaphor #2, 2010
photo: Kunst Halle Sankt Gallen, GUNNAR MEIER

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exhibition view at Kunst Halle Sankt Gallen, 2012
Tribuna Transitable, Stabile (with Confetti), 2012, Sorry for the metaphor # 2, 2010
photo: Kunst Halle Sankt Gallen, GUNNAR MEIER

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Stabile (with confetti), 2012
photo: Kunst Halle Sankt Gallen, GUNNAR MEIER

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Some of that Colour 2009 
Dimensions Variable 
Image courtesy the artist and Galerie Diana Stigter, Amsterdam

 

Venn Diagrams (Under the Spotlight), 2011
installation with spotlights, motion sensors, and text

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Palliative for Chronic Listeners #1, 2012
photo: Kunst Halle Sankt Gallen, GUNNAR MEIER

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Palliative for Chronic Listeners #1, 2012
Bronze, silver, copper, gold
Dimension variable

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Instructions to make Catachresis #13 (elbow of the pipe, eye of the
potato, eye of the needle), 2012

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exhibition view at Kunst Halle Sankt Gallen, 2012
If these walls could talk, 2010
photo: Kunst Halle Sankt Gallen, GUNNAR MEIER Meier

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Spinning Trajectories, 2009
felt pen spinning top on graph paper, individual works, various sizes

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Dialogue (paper and mountain),2010
black and white photocopies, dimensions variables
Courtesy Diane Stigter Gallery, Amsterdam

all images courtesy of the artist

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Through her playful work, her loose approach of the relation between the signified and the signifier, of matter and the story attached to that matter, the work by Argentinean artist AMALIA PICA – a combination of different approaches including performative, sculptural, filmic and photographic objects, as well as texts and ready-mades – engages in a play of storytelling.

The ultimate question is for me whether art can be a form of communication. Obviously the issue of the viewer completing the meanings of an artwork complicates how art might communicate. The question I am interested in about art is how images can act as language. I do include myself in a tradition of artists that have thought about language but not necessarily through text. I think that issue is always present in my work and the self-reflective side of my work addresses that question of whether I am saying something  particular or not. It’s a failure from the very beginning because we know that interpretation is going to get in the way, it can’t be a straight-forward message.

Site specificity was the most important question to me as a young artist. I was making work in Argentina and it wasn’t about being Argentinian but when I moved to Europe I somehow had to excuse myself in a way that wasn’t demanded of European students. I was asked to account for the Argentinian-ness of my practice so site specificity became a burden. It became a fight to either re-contextualise my practice or to not contextualise it at all. So now an exhibition can only make sense in the relations between the works, they are autonomous pieces but they need the other works in order to gain that autonomy. – AMALIA PICA in conversation with JAMIE STEVENS, May 2012.

And good news: Chisenhale Gallery in London presents a solo exhibition by AMALIA PICA, featuring newly commissioned works across sculpture, photography, installation and performance. This exhibition (on view through July 15, 2012) is her first solo exhibition in the UK and is co-produced in partnership with Modern Art Oxford where a second chapter will be developed for exhibition in December 2012. Stay tuned!