The accident is a scar in the course of predicted, the unusual that pulls those involved in it for a different perception of time, a perception of exception. It is from this concept of chance that Tatiana Blass presents Acidente, the artist’s third solo exhibition at Millan, which represents her since 2005. The exhibition brings together about ten paintings, a sculpture and an installation. On the same night, a catalog of the exhibition (free distribution) will be released with images of the paintings and unpublished literary texts of Noemi Jaffe.
Upon arriving at the Gallery, still in the parking lot, the visitor is confronted with the Vaga installation: a car is partially buried, as if ground had swallowed it. In this first encounter with the exhibition, the idea of time that pervades and aligns all the works and their different supports already becomes urgent. The car swallowed by concrete offers itself to the visitor as a paralyzed moment, as if time holds its breath and does not let us glimpse its before and after.
In the exhibition space of the ground floor, there are about ten oil paintings on canvas of the Acidente series. In them, means of transportation, such as cars, motorcycles, airplanes and ships, appear in a waiting time. A kind of fog, present in all works, makes it impossible to distinguish near by, like a thick transparency, an obstacle that surrounds everything, erasing the contours and disfiguring the depth. Everything seems to pulse back and forth, in the same moving plane, ambiguous, indefinable.
In the upper storey, at last, the visitor finds the sculpture For the dead. Made of cast aluminum, the work carries the figure of a dead body, stretched out under a sheet. A chemical is added to the sculpture, which causes corrosion of the aluminum. As a result of the reaction, a white powder is generated and rests on the surface of the work.