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Marco Maggi, ‘Global Myopia II (Pencil & Paper) (Installation view)’, 2015, 56th Venice Biennale
Marco Maggi, ‘Global Myopia II (Pencil & Paper) (Installation view)’, 2015, 56th Venice Biennale
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Marco Maggi

Global Myopia II (Pencil & Paper) (Installation view), 2015

Location
Venice
About the work
Exhibition history
Medium
Installation
Image rights
Photo by Alex John Beck for Artsy.
Marco Maggi
Uruguayan, b. 1957
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Marco Maggi makes small-scale drawings and delicate etchings on household products, everyday commercial goods, room-sized installations, and objects resembling architectural models and maquettes. “Fast viewers see, from far away, a drawing as a blank sheet,” he says. “Slow viewers can read the same drawing ten times, switching perspectives and conclusions. […] I am interested in the particular protocol of manners and pace in the viewing process.” When viewed from a distance, Maggi’s work conceals its complexity and intricacy; one must literally approach it to gain full comprehension. For Reynolds Wrap (2008) he engraved intricate, machinery-reminiscent patterns onto a roll of aluminum foil, while for Hotbed (2009) he embedded tiny sculptures in a massive array of carved stacks of paper.

Marco Maggi, ‘Global Myopia II (Pencil & Paper) (Installation view)’, 2015, 56th Venice Biennale
Marco Maggi, ‘Global Myopia II (Pencil & Paper) (Installation view)’, 2015, 56th Venice Biennale
Save
Save
Share
Share
Save
Save
Share
Share
About the work
Exhibition history
Medium
Installation
Image rights
Photo by Alex John Beck for Artsy.
Marco Maggi
Uruguayan, b. 1957
Follow

Marco Maggi makes small-scale drawings and delicate etchings on household products, everyday commercial goods, room-sized installations, and objects resembling architectural models and maquettes. “Fast viewers see, from far away, a drawing as a blank sheet,” he says. “Slow viewers can read the same drawing ten times, switching perspectives and conclusions. […] I am interested in the particular protocol of manners and pace in the viewing process.” When viewed from a distance, Maggi’s work conceals its complexity and intricacy; one must literally approach it to gain full comprehension. For Reynolds Wrap (2008) he engraved intricate, machinery-reminiscent patterns onto a roll of aluminum foil, while for Hotbed (2009) he embedded tiny sculptures in a massive array of carved stacks of paper.

Marco Maggi

Global Myopia II (Pencil & Paper) (Installation view), 2015

Location
Venice
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