KARINA EL AZEM
b. 1970 works in Buenos Aires
From the crime series: inmigration,
beads on sintra
Ostensibly universal, the language of pictograms and public symbols
aims at reaching maximum significance with the minimum of formal resources.
The success of the system lies at this border point, where the motif
cannot be reduced any more and the slightest modification renders
its reading ambiguous. Different corporations standardise the most
efficient motifs for each situation to be represented.
The motifs chosen in this series have been taken from the New York
Pictographic Corporation. My intervention consists of using, as the
construction element (the pixel), different kinds of bullets, tensing
the neutrality of this representation system that intends to reduce
and equalize. In some cases, through digital reproduction, these motifs
repeat and transform themselves or simply generate different relations
of meaning. The subject I'm developing is violence. In the works I
produced at Wasla, the subject is specifically the war that began
on the other side of the Red Sea on the day I boarded the plane to
attend the workshop. |
