The recent work of Fabio Kacero (Buenos Aires, 1961) relates to words and to their inexistence. In its disparity of media and techniques, the show presented at the Ruth Benzacar gallery brings together objects that ¿remain at the threshold of words,¿1 a book containing a ¿chimerical inventory of things that haven¿t come to be, that will never come to be,¿2 and a silent movie of which the artist seems to be the exclusive protagonist. Mostly, the objects have no title; the book is titled nemebiax and the film Moodloop. Kacero¿s objects are derivations of his previous works. Minimalist in appearance but painstakingly executed, the different structures are padded in foam and wrapped in vinyl cloth, with and without quilting, shining or not depending on whether they have been sealed using a translucent, lustrous plastic material. This time around the artist worked in smaller dimensions (around 50 cm each) in these figures that are based on certain geometries and shown grouped in shelves. Stealthy and seductive, these pieces offer a harmonious balance and appropriate the light around them. Impeccable as they are, one is tempted to touch them. But there is something in these compositions that makes them unreachable. ¿Mi works do not have a narrative,¿ warns the artist, ¿at least not an obvious one. The resist, somewhat, that indiscretion of discourse. What do they show? Perhaps someone who doesn¿t want to speak. It is a kind of work that remains at the threshold of words.¿3 Since he ¿doesn¿t want to speak¿ through his visual work, Kacero is also devoted to writing. For long time he has been playing with and creating words (playing and creating are, in the end, synonyms); he invents words, makes them grow, breaks them, attends to their rebirth. Already as a child he imagined words, which stay with him to this day, on the basis of certain life experiences. Alongside his figures, Kacero is also promoting nemebiax, a beautiful book of lists of seemingly meaningless words that come in succession, ¿ceding¿ one another ¿a letter with each step.¿ The artist admits that he has always had ¿a thing for literature (¿) words are more influential in me than images (¿) they are what has transformed me the most.¿4 Thus, between 2000 and 2003, the artist persisted in the creation of the most exotic expressions. Elegantly design, black-covered, this hardbound edition gives free rein to what Kacero calls the ¿indiscretion of the word.¿ These words are as musical as thy are incomprehensible. Speaking of lists, the Argentinean Association of Art Critics gave Kacero its ¿Sigwart Blum¿ award for video art for the year 2003, for a piece titled Cast/K. All that can be seen in it is an endless list of names, scrolling like the names of cast members and technicians do at the end of a motion picture. The video is a long list of all the people that artist has met in his life. There are relatives and acquaintances, loves and hates, teachers and colleagues, and many, many more, designated equally in reality and in fiction: Orly Benzacar as Orly Benzacar, for instance. Kacero, who has been showing his work in Argentina and abroad since 1990, completes this presentation at Ruth Benzacar with the projection of Moodloop. Produced in collaboration with Unión Gaucha Producciones (Karin Schneider and Nicolás Guagnini.) As its title indicates, Moodloop is a loop film showing psychological states, like those of the protagonist ¿Kacero himself¿ who plays dead. It also explores the attitudes (indifference, disinterest) of those who watch him and is act, ignoring that it is an act. This performance has long roots. The first time Kacero played dead like that was in a collective show titled ¿Rational Twist,¿ presented in 1996 at the Apex Art gallery in New York. In Moodloop, Kacero simply falls down in different locations of Buenos Aires historic downtown ¿Plaza de Mayo and its environs¿, always within view of a stationary camera that records both the inaction of the still body and the nonchalant reactions of the passers-by. Far away from any opportunism, y showing the silent act of the protagonist and the passivity of the equally silent witnesses, Moodloop is as eloquent in its spontaneous (and not negated) condemnation of the way in which the city dehumanizes, as it is subtle in its poetics. NOTES 1. Victoria Verlichak, ¿Fabio Kacero¿ in El ojo del que mira. Artistas de los Noventa. Buenos Aires, Fundación Proa, 1998. 2. Fabio Kacero, nemebiax. Buenos Aires, Ruth Benzacar gallery, 2004. 3. See V. Verlichak, ¿Fabio Kacero¿, op. cit. 4. Ibid. ?
May 20, 2018