ELENA DAMIANI

 

 

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There are certain occasions where failure contributes to greatness and the unexpected error activates a channel to a casual but nonetheless mindful result. This is the case of the found bookplates that compose ‘The Exactness of Mistake’. Originally found in the Bolivian sculptor Marina Nuñez del Prado memoirs La Eternidad de los Andes, the 5 pages present imprint faults where photographs of two different works are overlapped against each other. The result is one of surprising success, where the layered juxtapositions appear as double-exposed filmstrips that fuse two remarkably distinctive stages in the sculptor’s work.


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Mistake 1. From the Series "The Exactness of Mistake". Collage. 2012


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Mistake 2. From the Series "The Exactness of Mistake". Collage. 2012


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Mistake 3. From the Series "The Exactness of Mistake". Collage. 2012


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Mistake 4. From the Series "The Exactness of Mistake". Collage. 2012


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Mistake 5. From the Series "The Exactness of Mistake". Collage. 2012


It is clear that this shift comes from outside intention, and perhaps it was published outside awareness. These appropriate mistakes confer a new dimension to the printed images and consequently a new set of works surfaces, as if Nuñez del Prado and the printmaker -most probably without consent- had produced a work together in non-collaboration. Here, the accidental or the unintentional led to something else, to rightness.