Artist Statement c/o 500letters.org

Dario Vacirca (°1978, Melbourne, Australia) creates performances, media art, installations and conceptual artworks. By manipulating the viewer to create confusion, Vacirca uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.

His performances are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By applying a wide variety of contemporary strategies, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.

His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By merging several seemingly incompatible worlds into a new universe, he wants the viewer to become part of the art as a kind of integral component.

His works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By contesting the division between the realm of memory and the realm of experience, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.

His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By demonstrating the omnipresent lingering of a ‘corporate world’, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.

Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By creating situations and breaking the passivity of the spectator, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.

His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hannah Arendt cites from Franz Kafka. By applying abstraction, he plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense.

His works don’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying a poetic and often metaphorical language, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: note. His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements.

Dario Vacirca currently lives and works in Global.