Video and sound installation
The unknown 17’, Working place 11’, Commodification 14’, Objects of desire 7’, The shift (loop), Division of labor 7’, The gaze 13’
7 screens, different dimensions
the maze, walls dividing a room 19 x 5 m
sound decalogues left and right 2′
The installation extends in a rectangular space of 125 m2. A series of wall partitions create different spaces and in turn creates different possible routes. The walls are placed in a way to design a labyrinth and as such it aims to disorient who lies within. Some walls are used as a projection screen, others has a screen installed in it, a total of 7 screens distributed in the space. There is also a sound piece installed in a wall right after one entrance broken wall. This sound piece contains two different headphones, in every headphone you can hear an elocution called “Decalogue”, every Decalogue explains that after hearing the ten opinions you need to decide if you agree about 5 or more. Depending on what Decalogue you agree the most you go to the left or to the right, so the viewer itinerary will be affected by this decision based on binary opposites agreement.
For this video installation I produced seven audiovisuals. Every audiovisual is different from each other. Different topic, recording technique, narrative and use of film language. Every piece has its inner coherence, one of them have been produced from a script of a traditional narrative film language, another is the result of an new edited storyline from online appropriated footage, another is an experimental nonlinear juxtaposition of a moving image portrait exercise, other is a minimalist documentary of people working in different tasks at the same institution, other is a re-interpretation of an excerpt of a well known experimental silent film (Men with the movie camera) captured from an online source, another is a documentary with a more traditional look, images and narrative voice over, and the last one is a circular narrative experimental short movie.
All this movies are not exhibited in a one movie-one screen correspondence. Although just one of them fits into this category, the Men with the movie camera excerpt interpretation. In The Shift, two versions of the same video are sharing the screen in a constant unsynchronized juxtaposition, and the rest are chopped in time sections and spread in different screens, in a way that one can see different sections of different audiovisuals in a random order. The installation is a physical maze as well as the structure of the video exhibition. The audience is invited to wander in the space meanwhile they make their own choices. To put together some pieces of the puzzle or/and create personal associations among all the pieces, and the the relation among the audiovisuals and the aesthetics of the design of the space distribution. All the walls of the maze have two very distinct sides. One of them is a smooth white surface meanwhile the opposite side shows itself as raw as a wooden wall in a backstage, some props used meanwhile the construction are accumulated against the “back” side of the walls.
Formally speaking the seven audiovisual pieces that integrate the installation are intentionally mixed. All have differences among themselves, for example in the narrative tone, the quality of picture and sound, assembly, the concept of time, editing, subject matter or the origin of the images, some are self-produced, while others come from appropriations drawn from the network. At a formal level all have different treatments and generally could claim to have little in common. Perhaps the only thing is that they have been produced by the same hand and all correspond to a period of very specific production between August and October 2015. Each product has been developed from an idea conceptually disconnected from the other , and thus also they have an individualized formal development. In short what I show in Breakdown is the artistic production of a portion of time. Several windows with chaotic views to the creative and thought processes of a particular moment in life. A kind of biography of the specific interest I had in the past and a catalog of formal solutions for the development of ideas.
A collage wouldn’t be a collage if the maker follows the rules and formal scales of realistic representation. And a maze wouldn’t be a maze if it doesn’t challenge the spatial memory of the one entering in there. This parameters applies to this installation. All elements have been combined following unequal scales with the intention of challenging hierarchies and automatic positions established between spectators and audiovisual products. In visual communication the concept of expectation, the cultural construction of what is expected from a given product, is very pronounced. What interests me about this experiment is to subvert those expectations, shaking the interfaces, ask the viewer to have the active role that she or he thinks does not belong. The physical elements, the fragmented videos, the unsynchronized time, the confusing space, everything is also active in its own way. The goal is to facilitate the interaction of those wills and various intentions, sometimes amalgamated in conflict.