Project 1982 - 2007

Curator: This piece by León Ferrari, simply titled "Project," presents us with a dense, almost overwhelming field of minute marks. What's your immediate impression? Editor: My eyes are drawn to the small void at its center, as though an unseen force is pulling everything inward. The pattern seems like a coded language—a system perhaps. Curator: Ferrari was deeply critical of systems of power. This work, though undated, reflects his broader opposition to authoritarianism, particularly prevalent in Argentina during his lifetime. Editor: I see the potential for religious symbolism too. Is this a map, a circuit board, or a depiction of divine order? The sheer density mirrors the weight of imposed ideology. Curator: Indeed. It’s a striking visualization of control and surveillance, reflecting the anxieties of a society under duress. The grid becomes a symbol of oppression. Editor: Precisely. Reflecting on the cultural memory embedded here, "Project" seems to question humanity's role within larger systems of control. Curator: It leaves us to consider the nature of power itself, and the spaces of resistance within the most rigid structures. Editor: Yes, it's a stark reminder of how symbols can be both tools of control and potent vehicles for dissent.