Amalia Caputo

This is the theme she thoroughly analyzed in the exhibition she titled “Transferencias”, in which she photographed “ things”, digitalized them in a video and finally decoded them in a long series of images she assembled, perhaps based on her own personal experiences. The objects − of that story − were also exhibited on long tables. They were pieces the artist had collected for decades and had now decided to part with, endowing them with a new aspect. Besides, she exhibited those implements for the viewers to take away, if they so wished, and assign a new use to them. The only requisite was that they should say who the new owner was. In this way she created a sort of “ family tree” of each object.

What she discarded were not precisely luxury goods, nor were they impeccably preserved. But in times of crisis everything goes. The proposal − not devoid of humor − not only contributed a new gaze on the subject of the found object, but also inserted it in a present-day dialectics. It was a recreation of memory insofar as we forget those elements which once aroused our enthusiasm but which lose interest with the passage of time. Caputo has become involved in a global concern to review past approaches with certain ecological consideration. An issue in which global art currently participates.