The sculptures and actions of Liliana Maresca, who died in 1994 of AIDS, were done in the wake of the Argentinian dictatorship and ensuing state violence, which ended in 1983: a period of state terrorism, bloody strife and numerous unresolved disappearances.
Maresca’s untitled series of photographs from 1984 comprise a laconic photo performance, documented by Marcos Lopez. The abandoned Marconetti building, near Buenos Aires’ Parque Lezama, in whose empty interior the performance took place against a background of peeling wallpaper, was being occupied at the time by artists such as Maresca’s collaborator Daniel Riga. In one photograph, a hand reaches into the frame holding a small egg, the white light reflecting on the outstretched palm as well as the open door behind it. In another, we see a number of open doors in a room. Representing a transition between exterior and interior, this image has political valence: a political way forward by means of personal actions.