With caustic wit, Liliana Moro’s approach encompasses all the media - drawing, sculpture, sound, video, performance -, blurring the tracks of identity and representation by grappling with stereotypical forms of thought. Her earliest works, produced in the late 1980s, present everyday objects and ordinary materials, such as the foam rubber, in installations which reinvent its meaning: Casa circondariale, 1988 (three rearview mirrors all reciprocally refer to their image); No Frost, 1990 (working refrigerators are covered with adhesive plastic); Svegliatevi/Wake Up, 1990 (thermometers are lit by a faint light). Le Città/The Cities (1995) is a meaningful work, oriented towards childhood and imagination—the scaled down world of toys. It conjures up an earlier work, Abbassamento (1992), exhibited at Documenta IX, where, in front of several rows of female silhouettes cut out in paper, arranged in a theatre set, cardboard models of houses—children’s toys—evoked a mediaeval world with old-fashioned connotations. The incorporation of sound is another inherent factor in Liliana Moro’s works, a way of allocating an anthropological dimension to things and creating shifts of meaning. Since Scatole Nere/Black Boxes (1986), where she makes the sounds of a hammer emerge from black boxes, to Eau/Water (2003), where she collects sounds of water taken from fountains, rivers and seas, and Ta Pum (2009), she has been questioning the acoustic relations between object, body and space, relations which are especially challenged in videos where she directs herself (Tolleranza, 1994).
Liliana Moro (Milan, 1961) lives and works in Milan. She was one of the founder members of the group Spazio in Via Lazzaro Palazzi in Milan, as well as one of the editors of the magazine Tirasorrendo in the early 1990s. She has also made works in collaboration with Bernhard Rüdiger (La Casa, 1993). In 1997, she was offered a residency by the FRAC Centre and the National School of Fine Arts in Bourges. Her work has been exhibited in major international exhibitions, including Documenta IX in Kassel in 1992, the 1993 Venice Biennale, at Castello di Rivoli in Turin in 1994, at the first Valencia Biennial in 2001, at the CCA Wattis Institute for Contemporary Arts in San Francisco in 2005, and at the Shanghai MoCA in 2006.