ENTRE / ACTE, Imágenes de frontera I, 1997-2004

ENTRE / ACTE, Imágenes de frontera I

ENTRE / ACTE, Border Images I

Tipo obra:
Media installation
"Maquettes-sans-qualité" archives of 1997 updated in 2004 by Alejandra riera and Fulvia Carnevale._x000D_
Text and partial views inspired by 8 minutes filmed in Super 8 in November 1997 on the border between La Quiaca, Argentina and Villazon, Bolivia_x000D_
8 mm film transferred to single-channel video, colour, sound, 8 min, printed ink on DIN A3 paper and photocopies
Dimensions variables
MACBA Collection. MACBA Foundation
Registre núm:


  • Fecha:
    09 Feb. 2006 - 20 May 2007
    MARCO, Museo de Arte Contemporáneo de Vigo

Entre/Acto, Imágenes de Frontera I (Entr’acte, Images of the Border I) is a reworking of eight minutes of Super-8 filmed on the border between La Quiaca, Argentina and Villazón, Bolivia. This film is part of the archives of text-images from 1997 of the maquettes-sans-qualité (discontinuous dispositions of photographs and legends, texts, video documents on consultation and stories of training, begun in 1995).

These 1997 archives were restored and exposed in 2004 as a contribution to the project Ex-Argentina. Pasos para huir del trabajo al hacer (Ex-Argentina: Procedures for leaving work for action) by Alice Creischer, Andreas Siekmann and Gabriela Massuh. A publication printed in Argentina by the Cooperative Chilavert Artes Gráficas shop, a factory that was restored and managed during the crisis by its own workers, made the first showing of this work. It was expanded in response to the project How do we want to be governed? begun by Ruth Noack and Roger Buergel in 2004 and presented at the MACBA. Finally, Entre/Acto was shown in the context of the exhibition maquettes-sans-qualité. Travail en grève / Work on strike which took place at the Fundació Antoni Tàpies in Barcelona in 2005.

In regard to the showing of Entre/Acto, Imágenes de Frontera I, the authors would like to advise their public that: “Any re-presenting of Entre/Acto requires not only an ‘update’ within the context of a certain exhibition, but more specifically a dialectic applied in relation to a certain present moment. The act of re-questioning the work as well as the images and their problematic issues in response to a very precise context is one of the driving forces giving meaning to the soul of the maquettes-sans-qualité. Such an update is not possible within the context of an art collection, and therefore we must consider this work as an archive, as a fixing moment, not as a finished work but rather as a work that has had a part of its most important potential amputated. Consequently, without an update, Entre/Acto is reduced in potential. The public should reflect on the use that may or may not be made of this work in these conditions, and on what may be salvaged and debated in conclusion.”

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