Nóctulo, 2015

Nóctulo is a video-installation and multichannel sound project in two quadraphonic that proposes to produce an invisible and spatial mechanism from the ultrasonic sound of the bat (inaudible) in tune with the audible (its echo) territorial and the moving image of a space in abandonment. Four screens that form a closed cube generating the projections from the inside. It is a work that aims to bring the relationship between nature and culture in correspondence with the political and geographical distance in times of crisis, layers of memory and revitalization.

Nóctulo traces a sound “map” returning in echo as a flight guide. This sound trace of emission and reception becomes not only the central axis of the design and development of the project, but also the rhythm of the video image. The idea is to produce a space within the space in consonance with a sound network that flows from the exterior in encounter with the constructed interior. This sound situation is closely linked and in interaction with the high and low planes of the space.

Nóctulo is a psychic space. A state of consciousness where traumatic memories emerge almost erased but latent from a dark place: that very distant space that manifests itself here through echoing images and sounds like ghosts that return to reclaim. The ultrasonic sound produced by the bat -nóctulus-, now made audible, serves as an allegory of other dimensions of the living and other ways of perceiving. The constant fluttering of the colony of cockatoos at the bottom of this room traces the trace of the imperceptible work of carrying the seeds of life, (a multiplicity of pores, of black spots, of small scars or meshes – paraphrasing Deleuze and Guattari), to support the process of healing and forgetting in that remote place in a small farm in the neglected countryside of our inhuman violence.

María Belén Sáez de Ibarra,

Production support: NC-arte, Bogotá.

Installation of the work

In Nóctulo a contrary movement is presented: a sort of re-territorialization. Over the war map drawn with blood on the earth, the bat superimposes with its flight and ultrasound another aerial cartography, with which it creates a corridor of life, regeneration and cultivation. The ghosts of the house speak to us from those territorial fragments of isolation, poverty, oblivion and marginalization created by the war. From this no man’s land they remind us of their presence and the coordinate of time that always has a geography, a chronography.

Sol Astrid Giraldo.

NÓCTULO, edition for four LED screens.

There is thus in this cube-house a condensation of spaces and times: of spaces traversed by time, of times unfolded in space. There, to the irruptive, violent, brutal, destructive and fleeting event of the acts of war and displacement, is superimposed the slow time of the daily, laborious, persistent resistance and the internal rhythms of reconstruction, preservation and latency of the bat.

Sol Astrid Giraldo.

NÓCTULO, “Apuntes”. INTERVIEWS ABOUT THE WORK. NC-arte, Bogotá, 2015. (Realization Victor Garcés).


— Liminal Retrospective, Museo de Arte Miguel Urrutia (MAMU), Bogota. 2019.
— Multichannel video and sound installation. Photography and drawings. NC- Arte, Bogotá. 2015.
— Drawings. Conexão, Colectiva Galeria Eduardo Fernandes, Sao Paulo. 2015.
— The 5th. Wall. NC-art. Five-year review. 2015.

Nóctulo’s drawings are scores, they respond to the ultrasonic sound of the bat. I made compositions to try to understand its structure and establish relationships between the echoing path of the bat’s sound and the voices of reclamation from our Colombian region.

Behind what we hear, perhaps we do not see or even know, there is a daily, slow and persistent work of the bat that generates ecological sustainability. I wanted to bring the bat through its own sound, through its inaudibility; I wanted to make it matter, to hear it and see it. To cross the place of the physical and the real, through sound.








4 video projections in synchrony
Sound: 2 cuadrophonic systems
12 min


Director: Clemencia Echeverri
Camera: Camilo Echeverri and Daniel Cuervo
Camera assistant: Carlos Arbeláez
Video editing: Victor Garcés
Sound and sound design: Juan Forero
Sound assistant: Cristian Prieto A
Production: Nasly Martínez and Paloma Flórez
Animation editing: Mariana Emilia Vejarano

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