Video and sound installation with five simultaneous projections, 5.1 sound, and five stills. The installation is situated on several positions in the hall. Sound and voices issue from the central axis, upon which there is projected a video in wide format that is in turn surrounded by five stills. In another end of the hall, three narrow yet greater than life-size projections shift bodies through space in an endless sequence of continuous appearings and re-appearings. Another video has people moving about with their backs to the viewers, closing and breaking the space ad infinitum. The 5.1 sound overflows and penetrates the hall as matter that supports the various axes of the piece. By virtue of the treatment of image and sound, visitors are relegated to the outskirts of the testimonies and subjected to an experience that interpellates them.
Video installation with four simultaneous projections in a square space.
In Casa Intima, as visitors come to the center of the hall, they find themselves facing a different film on each wall, and experiencing a state of familial loss, of urban violence.
The piece takes as its source the demolition of a house, which had been inhabited by several generations of one single family, in Bogotá’s Chapinero neighborhood. Its owners decide to move out but they take with them all of its constructive parts in order to build it anew in a different place. The piece stands as witness of the demolition, of the final everyday scenes, of the removal, and of the voices of the owners.
Video Installation
Specific project location with four projections on curved screen generating two arenas.
The visitor enters the exhibition hall and instead of feeling that he is inside he feels outside as the most overwhelming stimulus that he receives are the images on huge screens of cockfights and their own stage, the cockpit”….. “This alternation is interrupted time and time again by the soundtrack: they are real references that transport us to other worlds and by transporting us they transport us to war as well.
CAL Y CANTO
Cal y Canto is a video continuum realized through visual layers that traverse the city of Bogotá in a journey where castaway children, indigence and distress appear as phantoms that cry out for inclusion and representation. The video perambulates from side to side in two halls among multiple medium-format screens deployed in the manner of demonstration placards.
The piece carries a persistent sonority that conveys the befuddlement of the city’s congested streets and traffic junctions as it is punctuated by the loud singsong cries of scavenger women that range over streets and barrios calling for “your bottles and your paper.”
Interactive video and sound installation in a specific site: the Museo Nacional de Colombia in Bogotá, formerly the Panopticon of Bogotá – built by the architect Thomas Reed in the nineteenth Century – which served for more than seventy years as the Central Penitentiary of the Cundinamarca province. This sound and visual intervention is carried out in the three halls of the museum’s ground floor. In each hall a video is projected which captures the image of that same space as it has been projected on the back wall, creating a space that gets unfolded beyond the physical ramparts as well as real time. As the spectators make their way through the halls, sixteen movement sensors get activated letting out fragments of the voices of Colombian male and female prisoners of British and Colombian jails. At the same time as the spectator wanders through the hall, pairs of voices are heard coming from the columns. When the visitor stops, the voices disappear.
A video and sound installation with two or more large-format projections facing each other. Treno, lasting fourteen minutes, constructs a dialogue between the two opposing banks of the Cauca River in Colombia, forcing the spectator to yield between the swell of the waters and calling shouts that go unanswered.The Dolby 5.1 sound acts as the platform for a territory through which the water and the voices flow evoking loss and violence.
A multi-channel video and sound installation with a duration of twenty-four minutes, which explores the legacy left by a festivity that Spanish immigrants brought with them to Colombia and that was later assimilated by a community of the Colombian Pacific coast. The assemblage of the piece rests on two polyptychs with eight horizontal projections – four on each side – that engage in dialogue at some moments and at others generate and unfold circular trajectories. There is as well a ninth circular projection upon sand on the floor. Standing out among the sounds in the piece, that of the machete detonates in the air; it has an echo that resonates in space with its own cultural voice, replicating itself beyond its own boundaries.