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“I remember my first experience in movies, a film made of a series of fragmented glances organized in the flowing of a travelling.
These transitable sculpture projects are the product of the same glance. The foundation of a place set by a journey and the forms and typology as a result of a way to walk it. I tend towards a sculpture of urban intervention and I see it as the art of its journey. A horizontal space to the andante rythm.
I believe in a sculpture that stretches out to architecture, though for us be an imaginary sculpture. The fact that most of my sculptures are projects confirms this”.

Fragment of an interview to
Carlos Boccardo by José Luis Cancio

If art as Adorno could say, has the ability to always put up a question in front of the deep certainty of common sense it is because the evocative strength of an image looks longer lasting and perhaps, deeper than its reference. Boccardo’s sculptures work on these tracks, they show us, through the intensive reflexion of art, this zone of the real that deeply rejects the trivial exhibition.
Boccardo reflects on building an image: the death’s body. (...) In a country where the intention was to erase tracks, the art informs as one of the forms of our memory (but, not of our reason): restoring tracks.

Beatriz Sarlo
(Fragment)

“Horizontal monument”
1980
Project done on a
deep-set space of 3,000 m2
“Cube homage”
1990
Project done on a 10,000 m2
surface
“Sunken square”
1982
Project done on a 2,500 m2
surface
Transitable sculpture
1997
(Fragment)
Cement
Measurements: 8 m x 8 m x 1,80 m