FOTOGRAFICA
A photographic installation made up of twenty-three pieces that display the unfolding of one of the video camera’s runs as it recorded junctures of the piece “Inherited Games.” It is the crossroad between photographic instants and their movements.
Frontera is a video work for a double screen with a duration of thirteen minutes, which gives expression to the encounters of a group of teenagers from opposite socioeconomic strata. It is their attempt to prove distances, differences and common meeting grounds, through their own experiences. The piece arose from a workshop/laboratory or mobile action that was realized for the first time in 2006 in the Colombian city of Manizales. In Frontera /Medellín the experience was replicated with twenty young students from two schools with opposite socioeconomic conditions: the Rodrigo Arenas Betancourt Public School and the Colombo Canadiense private school. The youngsters are the film’s actual producers, while they act as interviewers and cinematographers. The process is carried out by way of visits that they pay each other, in which they relate and share aspects of their everyday life with the guest.
The video is a conversation in pairs that tells of the familiarization with the language of violence from the perspective of life in the barrio, of the street experience, of the ways toward cohabitation and tolerance, along with the multiple urban and territorial interferences that are imposed upon young people.
This dialogue opens up the space so that the spectator may approach constantly changing realities.
ACIDIA (Anomie)
A calligraphic transcription on a wall of a fragment from the original manuscript of the book Mi vida [My Life] by the nun writer Josefa del Castillo y Guevara. This piece was conceived for a specific site, the Santa Clara La Real church in the Colombian city of Tunja. It was in that chapel that Mother Josefa del Castillo wrote some of the most significant pages of the Latin American mystical literature. Her prayer cell, her austere room and her desk are still there. Through an image that incorporates the strokes of her calligraphy, Mother Josefa’s voice is made present in the latter dwelling, where she did her studies and writing. The work is realized with invisible ink, UV light and timer.