The multiple "mass-media" image opened new paths ir the fine arts fleid allowing many artists to inscribe their works in other spaces and circuits. Then it is not the delimited environment of the museum or the gallery where the artistic would take place, but it could definitely materialize in our everyday life.

With the democratic opening, over ten years ago, I shared with a group of artists, the interest of gathering the dispersed works of the Rosario vanguard, leading character of "Tucumán Arde". For the first time after a long silence as this material helped us build our artistic memory, and ful a unfortunate gap in the history of the Argentine art, as from this moment, believe, l could think and feel the artistic practice from an everyday place, with a difterent ethic-aesthetic conscience.

The observation of urban space and of advertising graphics helped me recognize the visual colonization practiced from the manipulation of the mass media, the aesthetic strategies of the street interacting with each citizen; and the contemporary image as a political image; political because it assumes its time aesthetically and artistically.

There is no doubt that the current hegemonic image discourse is produced by the development of high technology, of multiplicity, the strategic use of public and private spaces, setting its grounds on the preeminence of a culture which privileges the iconic.

The artistic practice that commits itself with its time has the possibilitv of interfering that speech. The image which interferes diaturbs, it lives within the gaps, emerges from the memory of objects and people; it is politically critical, when it questions power in relation to human condition, to established order to the formal attitude which materializes it. The intention is to show that there are other forms, other discourses, other sounds, between these gaps. Maybe it would be convenient to ask ourselves, does the system life?

In my cases the production of objects, generators of images is conceived as a witness remaining in the interior space. The produced image, stated almost completely as multiple allowed the signalling of urban space, the heliographic assemblage which interferes, mingling with surrounding advertisements within the saturation of the manipulated environment; it appropiates the space of a postcard; its support is a poster a stamp, the subway or the TV. The interference of images announces and denounces. Sometimes these images are instantly caught from real situations; their appropriation and their inscription in another context or attitude turns them into an artistic proposition. Then the intimate is public and the public could be appropiated by the private.

The dematerialization of Objects, materializes images. Images and concepts tell us about the world sharing the impact of the "interference".

GRACIELA SACCO
Rosario 1996