Artistic Discussion Before Exhibition

Look, these—

Mm-hmm.

The landscapes, I’m going to put them all in the same room,

but with

indirect lighting so you can really see the play, you know?

Of lights—

Yes.

Shadows.

Yes, yes, yes, yes. Of course.

What do you think?

And they’d look very good next to the paintings you did in Salta.

Ah, yes.

When you took that trip up north, remember?

You brought those paintings back.

Yes, of course. But it’s a very good idea to group them all,

all the

landscapes. Very, very good idea, Morochi.

Thank you.

Yes, ma’am. Very good.

Well, Bianca, I don’t know. We’re four days away from the opening and

I still don’t have

things clear.

Why?

Well, because I’m having trouble deciding which ones are right for the

exhibition.

Let’s see.

In the end, I think I chose well.

Let’s see, wait.

Look, they’re here.

Show them to me and we'll take a look. Let's see.

Well, the, the important thing, or what I've tried to think

is to be

truly faithful to my style.

Mm-hm.

And I've made this selection. Let's see what you think.

Okay, let's see.

Well, they're certainly not the typical photos

conventional, right?

No, no, no. Behind each image, there's...

a reflection,

a story or a... look, a melody, even,

like this one.

Mmm.

I mean, I've tried to capture your creative process.

Mm-hm. Yes. The thing is, I think that's

the problem with these photos.

What do you mean, the problem?

They're too experimental, you know?

But, look, I, I thought you wanted something daring,

far from the

conventional, right?

Yes, but...

What I'm saying is that here, you can't see the process of a painter painting.

They're too experimental, too artistic.

Bianca, but that was the idea, right? I mean, otherwise, this

feature could have been done by anyone else.

I've tried to stay true to my point of view, to my

essence.

No, but Fina, yes, I see your essence,

but

I disappear, I don't see myself. You get it?

I think that's what I mean, that I don't, I don't see my

work. Look, let's see.

Let's look at these. Look, see?

These are much more fitting.

What do you mean, fitting? I mean,

are you saying my photographs aren't fitting?

No. Look,

the photographs are— they're great, but they're not suitable for

a first exhibition in, in a capital city, Fina. I don't think so.

Look, these, for example, show, first of all, the material I'm using.

You can see the material. My expression too, see? It counts.

The process is conveyed. Look, there’s one process, here’s another.

That’s what I’m telling you.

This is what I asked you for. This is what I need.

Well, then we misunderstood each other,

Bianca, because I thought you

liked all the photographs.

Look, the photos aren’t bad. I like them, but you also have to adapt to an

assignment.

And take it as, I don’t know, as advice from someone who has a

little more

experience.

But what advice? You’re throwing all the

work I’ve done so far

in the trash.

No, Fina, no, wait, wait. You can’t be so, so touchy.

You want to make a career out of this. With that attitude, you’re doomed.

Well, I don’t know if it’s worth dedicating myself to this, if I have to choose the photos that

to me are, um, the most bland.

Come on, I thought I could express myself

freely.

You can express yourself, but I don't think you chose the right

time for that.

This isn't a time to innovate. There will be thousands of opportunities where

you can,

uh, show this talent you have and exhibit it

in other

kinds of things. Now I'm asking you to let yourself be guided.

Will you be able to?

Yes, yes.

I'll make a selection that fits what you're looking for, Bianca.

Thank you.

Fina.

Hmm?

It's important to have talent, and you do. Look, look at all you're capable of doing.

But I swear, attitude is also very important.

Knowing how to adapt to projects

is necessary.

Hmm.

I have to go to Madrid. I have things at the gallery to wrap up, okay?

Mm-hmm.

Don't get mad.

No.

I'll keep you posted.