Temporal ventaja es una instalación que invita al espectador a cuestionar las nociones de verdad, realidad y tiempo. La pieza se manifiesta a través de un barco encallado en una plaza comercial, una imagen inquietante que plantea preguntas sobre su origen y propósito. Giaconi construye un relato simbólico donde lo matérico, lo conceptual y lo sensorial se integran para desdibujar los límites entre realidad y ficción.
The installation Temporal ventaja (Temporary Advantage) by Mauro Giaconi, commissioned by Arte Abierto, transforms the space into a shipyard that invites us to enter a large-scale ship, stranded in a shopping mall, in a waterless lake city. How does a vessel of this scale end up here?
A builder of narratives, a storyteller, Giaconi provokes and challenges our perception of reality and matter. He creates unique worlds and contexts using a powerful tool: graphite, combined with the strength of collectivity.
Giaconi conceives drawing as a portable refuge and a space of containment. Through it, he expands into other disciplines—such as sculpture and installation—exploring construction from the fragility of matter as a latent force. In this project, the ship rises as a container of stories and tools, a space of transit and protection that poses the question: is this a place of arrival or departure?
Temporal ventaja invites us to pause in a suspended time where reality and fiction collide, questioning the accepted truths of a present marked by uncertainty and lies. On this journey, the real weakens and constantly blurs, but Giaconi gives us the coordinates to “doubt everything” and return to the origin of human knowledge and wisdom.
Acknowledgments: Gustavo Arróniz, Omar Barquet, Ramiro Chaves, Marcos Castro, Gabriela Correa, Edison Cumes, Tania Candiani, Diego Díaz, Mónica de Haro, Fernando Funcasta, Adriana Funcasta, Ana Gallardo, Vera Giaconi, Federico Gloriani, Eleazar González, Sol Henaro, Enrique Ježik, Alicia Laguna, Valeria Mata, Julio Matadamas, David Medina, Sofía Olascoaga, Guadalupe Salcedo, Javier Sordo, Omar Trejo, Evelyn Useda, Micaela Urrutia, Roberto Velázquez, Laura Vieco, Equipo de Arte Abierto and Obrera Centro.
Team Mauro Giaconi
General Production of the Works: David Medina.
Paulina Carlos Fernández, Clemente Cárcamo Lobato, Francisco García Fragoso, Federico Gloriani, Paulina Granados Carmona, Darinka Lamas, Alan Luna, Julio Matadamas, Rogelio Ortiz Rubio, Víctor Ortiz Ríos, Ramón Salto and the special collaboration of Marcos Castro.
Who decides what things are made of? How can destiny be distracted? How long does an illusion last?
We try reversing the order where the image stretches until it cracks the gaze, with pessimistic ideas in general, but optimistic ones in particular. We build containers within containers, a place that can float until it loses gravity; a place that takes us as far as the illusion allows, where resisting does not mean enduring pressure, where seeing and distrusting are very similar, and where the thing does not seem us so exact.
The strategies of illusion and visual simulation propose a principle of equivalence that has been used throughout history by social resistance movements, political struggles, or just for survival. Unlike utopia, strategies based on visual simulations react to greater threats by resorting to imagination to create temporary fissures in the perception of reality, provoking moments of temporary advantage that transform precariousness into strength, weakness into superiority, and which hide in visual folds or simply feign vehemence.
Here, the plausible has nothing to do with reality. We searched for some references, wild tales, and stories that are compost of other stories and serve as decoys, all lacking in evidence. We found something about pirates and the color of their ships; something about multiplying bonfires and pretending to be a crowd; something about dazzling to confuse, about dirtying to disappear, and about negotiating with nature to defend food. We also found that humans are one of the few species that camouflage from themselves. We found something about magic as a weapon, some spells to feign arsenals to combat genocides and the enormous need to rest.
We use 837 square meters of paper to draw a ship: an armored, porous, paper ship made of pieces that will fall apart. We negotiate with materials, images, and with the journey until each illusion contains at least one hope. Here, a ship is merely an idea, a temporary refuge because fleeing isn't always about running away. Sometimes, it's about holding your breath until imagination is on our side.
— Mauro Giaconi
