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Liliana Maresca is Argentine artist born in Avellaneda, Buenos Aires Province in 1951. Liliana Maresca was a key figure who participated in the artistic scene since the early 80’s, starring the enthusiastic young bohemian that detonated Buenos Aires from the early years of democracy rapidly becoming an inflection figure. She studied at the Escuela Nacional de Cerámica and took painting classes with Renato Benedetti, drawing classes with Miguel Angel Bengochea and sculpture classes with Emilio Renart. She began making objects with found materials since 1982. In 1983, she completed her series Liliana Maresca con su obra (Liliana Maresca with her work), in which she was photographed in the nude by the artist Marcos López. Maresca always opted to show her works of sculptures and installations in unconventional settings and with unexpected use of materials; with such motivation, Maresca organized the group show Lavarte at a laundromat. Considered to be the "cultural communicator of the eighties" by her peer Marcia Schvartz(b.1955), Maresca created sculptures and installations that broke free from any sense of presciousness. She was a marginal creator even when her work circulated in the mainstream. Her works included objects, installations, performances, interventions in public and semipublic places, and the photographic performances. Maresca died of AIDS in 1994, just a few days after the opening of her retrospective at the Centro Cultural Recoleta in Buenos Aires.

Education
Liliana Maresca studied painting at the Escuele Nacional de Cerámica with Renato Benedetti, drawing with Miguel Angel Bengochea, and sculpturing with Emilio Renart. She later became a professor in the graphic design department at the University of Buenos Aires (UBA) and directed her own plastic arts workshops.

Art Works
Liliana Maresca's first public appearances go back to 1983 when she took part in a group exhibition at Estudio Giesso and a short time later she presented her first solo exhibition at El Porteño, magazine. A year after, she participated in Kriptonita verde, prepared by the Museo Juan Carlos Castagnino in Mar del Plata. With her ambition for unconventional in temperament, Maresca chose atypical spaces for her works.

In 1985, two important happenings mark the career of Lialiana Maresca. Along with Ezequiel Furgiuele, with whom she formed Grupo Haga, Maresca made a scarf measuring 328 feet long, composed of rags found in the neighborhood of El Once; the work was titled Una bufanda para la ciudad de Buenos Aires (A scarf for the city of Buenos Aires). That same year, she also organized a group show entitled Lavarte meaning "wash yourself" in an automatic laundrette in Bartolomé Mitre Street.

Liliana Maresca was a key figure who participated in the artistic scene since the early 80’s, starring the enthusiastic young bohemian that detonated Buenos Aires from the early years of democracy rapidly becoming an inflection figure, which initiates and develops many of the avant-garde that characterize the art of 90’s. Documents of installations and performances convey a comprehensive panorama of an artistic production that spanned the period between 1983 and 1993.

In 1990, the artist presented the installation Recolecta (Collects), which had the main theme of shopping cart like those pushed by vagrants on city streets where she created replicas of the carts that she called a "national symbol". Painted all white or in gold and silver, the carts were meant to critique the suffering of the socially marginalized. A year after, at 1991, she exhibited Ouróboros, an object made ip of unbound books forming the mythical serpent that devours itself, at the Facultad de Filosofía y Letras.

In 1992, her most conceptual work was created with the installation of Espacio disponible (Space available) at the Centro Cultural Recoleta. For this piece Maresca placed a signboard advertising the availability of the space "for any purposes" and included her name and telephone number and two dates. A few months later and with the help of colleagues, Maresca published in El Libertino fourteen erotic photographs of herself under a title suggesting a connection to the ad she had earlier presented and again including her name and telephone number. Both works revealed her interest in the performativity of the language of advertising and the expectations paced on the artist as a maker of objects and fantasies.

Performance
Her body of works include painting, objects, sculptures, installations, performances and fotoperformances. Her artworks reflected the neo-dada spirit, the minimalist models and the conceptual strategies that dominated the art scene in the second half of the century in Argentina.

Photography
From a post-avantgarde, post-utopian point of view, all the paradoxical, body- and object-based photo-performances with which Liliana Maresca was associated and obsessed since the 1980s and through her death in 1994. In 1982, Marcos Lopez, photographer from Argentina, began to frequent Liliana’s place. Over the next year, he made a series of black and white photographs. In those shots, Maresca was completely naked, surrounded by and interacting with her own artworks, granting each one of them a particular meaning. The object entitled “Carozo de durazno (Peach pit)” – an oversized vagina molded in foam rubber – appears in another image tenderly cradled in the arms of the artist, an ironic suggestion of how to treat the intimate female body. In the series Maresca se entrega a todo destino (Maresca surrenders to any destiny) strategies and contents are concatenated with the installation entitled Espacio Disponible (Available space) (1992). The erotic performance was made to be published in the October issue of the El Libertino magazine in 1993. In 1993 the Maresca-López duo reunites again to perform the latest photo shots, which were commissioned for the posters and postcard of the exhibition invitation Imagen pública – altas esferas (Public image - High spheres). The shooting took place in Liliana Maresca’s house along with the oversized prints of images from Página 12 newspaper produced to create and constitute such installation. Above them, Maresca lies naked in sexy attitudes and Lopez, from a mezzanine took zenithal photos. The latest series is a derivation of the work Imagen pública – altas esferas (Public image - High spheres). With the gigantographies, big scale prints, used to constitute the installation, the artist recreated a new installation in the east end of the Ecological Reserve located in the Costanera Sur of Buenos Aires.

The impulse to show and exhibit herself (overexposure) fort the register of the other's gaze had to do with an strongly existential content: to "show herself" in order to "be." In that sense, the use of the body as alternative surface to the sheet of paper of the canvas, was equivalent to a new neo-romantic strategy intended to get her engaged, through different means, with the surrounding world.

Selected Solo Exhibitions
1984 - Objetos, offices of the magazine El Porteño, Buenos Aires

1989 - No todo lo que brillia es ora, Galeria Andiana Indik, Buenos Aires

1991 - Watan-vulcano, Cosal de Catualnya, Buenos Aires

1994 - Frenesi : Retrospectiva, 1984-1994, Centro Cultural Recoleta, Buenos Aires

1992 - Available space. Installation. Casal de Cataluña, Buenos Aires.

1994 - Liliana Maresca: photoperformances, records & tributes 2008 -Transmutations. Retrospective Castagnino Museum, Rosario / Recoleta Cultural Center, Buenos Aires.

2008 - Liliana Maresca : Transmutaciones, Mueso Municipal de Bellos Artes Juan B. Castognino, Rosaria, Argentina

2012 - Liliana Maresca Un'identità multiforme. Spazio Nuovo Gallery, Rome.

Group Exhibitions
1960 - 1985: Radical Women: Latin American Art

1960 - 1985: Radical Women: Latin American Art