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Findings
Julieta Maria
Interactive Video Projection and Tiles, 2007
This project comments on migration and the fragile nature of memory, and how it aids in the construction of a subjective history in relation to physical traces, fleeting images and photographs.
On the floor there are white tiles with decorations that resemble the mudéjar (Islamic) design. This Arabic influence can be found in Colombia due to Spanish colonization, and there is a strong presence of immigrants from Arab countries, more specifically Lebanon, Syria and Palestine, my grandparents' birth town. On the wall, videos will be projected, which will change according to the movement of the public before the tiles.
The videos will have images of travel, changing landscapes, moving and undefined shadows of brief perception that nevertheless leave lasting impressions. There will be also projections of patterns and images of homes in which my family has lived. Family photographs will also be seen together with texts reflecting about the nature of memory and fate and brief tales of events that are said to have happened.
What is to become? We are made of changes and repetitions, of landscapes and houses.
Supported by:
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Entre Texto Y Tierra (Between Text And Territory)
by Patricio Davila, Brenda Goldstein, Ken Leung (interactive video installation, 2007)
"You know, imaginary technology
for those without access to the real one.
I mean, I'm arguing for an obvious fact:
When you don't have access to power
Poetry replaces science
and performance art becomes politics"
--Guillermo Gómez-Peña
Words of escape, control, and colonial history are triangulated to trace the connections between imperialism past and present. This interactive video situates the participant as mediator between texts representing prisoners of war, the U.S. military and the island of Cuba.
Legislative text secures the terms and establishes the jurisdiction under which unlawful enemy combatants are detained. Poetic texts attempt an escape from the confines of U.S. Camp Delta in Guantanamo, Cuba. Treaty text establishes the conditions of U.S. occupation in Cuba.
The land is present at every moment. The island of Cuba carries the words of the detainees, it is the object of the U.S Navy; its base in Guantanamo was established by the imposition of a contradictory and illegal treaty forced upon Cuba under threat of invasion.
It is the participant who chooses with which voice the land speaks.
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Remmants
by Guillermina Buzio,
Six channel video installation, 2007 Artists Collaborators: Jorge Lozano and Marta Cela
This video installation is an extension of my previous piece NN, which focuses on the disappeared babies in Argentina during the country's last military dictatorship. (See support material.) It consists of five t-shirts, of the size that would fit a ten-month old baby. They are made of different materials and mounted on the wall equidistant from each other.
Thanks to: Mariela y Eduardo Waissman , Lorena Salome, Baran Doda, Kathleen Mullen, Sinara Rozo, Pablo Rusjan, Adriana Yussen, Sharon Kahanoff, Hugo Ares, Gustavo Vergelli and all the pubic hair donators.
This project is supported by:
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Eviction Notice
by Jorge Lozano
Three channel video installation, 2007 With the collaboration of Alexandra Gelis ( Photography/Montage)
Perceiving, imagining and remembering: light, shadows, living organisms: viruses, people and events that left their presence and physical embodiment in my house. After receiving an Eviction Notice I begun to rethink my house: The Object House , The Phenomenal House and The Destroyed House.
Reciprocal constrains, mental images, representations that simulate moments, thoughts, objects, and people. As in the "House Taken Ove'r by Julio Cortázar the distinctions between Inner, Outer Macro, Micro are inseparable. Built randomly as it was shot EVICTION NOTICE flows like a digital clock in discrete jumps.
Special thanks to: LoLa Banana, Lalo Lorza-Baker, Guillermina Buzio, Pilar Gonzales, Ana Paula Luna , Carlos Gonzales, Arlan Londoño, Sinara Rozo and little Nico my great friend.
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A Conversation/Una Coversación
by Lorena Salomé
Interctive electronic device, (2007)
Dimensions:
12 in x 10 in x 8 in
In A conversation/una coversación, there are 10 solenoids producing sounds and creating a composition between lights and sounds. It is a cooperative and close system.
The piece is hanging on the wall. Its dimensions are very small so invites for closeness. But, when the viewer/participant gets close to the piece, the experienced scenery breaks down.
Although there is the possibility to get near it, it is a piece that can't be looked at from very close. The lights and sounds stop. The viewer/participant becomes an intruder.
It is a work that is asking for a distance.
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