Sacrificio is a video installation work with 6-channel sound in synchrony. This work unfolds in a room of ample space to generate a journey of immersive character.
The work plunges into the whirlpool of a collective, noisy, apocalyptic public sacrifice. A fury unleashed with the force of fire in an ancestral altar that contrasts with the house, that other altar of mute and small sacrifices. The two works are united, however, by rhythm, by that same circular movement, by that impossibility of the linear unfolding of space and time, reaffirmed by the over-darkness of the rooms, the containment, the claustrophobia.
Fragment of the catalog
Sacrifice, triptych version. National Artists Salon, 2013. Medellín, Colombia.
Mounting support: 40th National Artists’ Salon, Medellín. Ministry of Culture, Colombia.
The land after the sacrifices is not calm. It is a land without rest, furrowed by both presences and absences, limited by physical borders of blood and fire, but also by other invisible ones, of terrors and secrets. It is the land of war that does not fit into pacifying narratives. How to name it? How to make it visible?
More than cattle, what unfolds is a collective body that moves, is frightened, runs, becomes disoriented, bellows like a wounded being. The artist speaks of the underground. Of confinement, suffocation, closure. Of time and space with no way out. The noise of death unfolding in a space that establishes and closes.
Sol Astrid Giraldo, philologist
In this work we can feel the satisfaction produced by the territorial power, represented in that omnipotent, victorious, hysterical fire. And at the same time, on the other hand, we almost smell the impotence, the uneasiness, the desperation, the fear of that collective body-won, wounded and confused, that has lost its territory-refuge. This confrontation of fire/winned images occurs at the same time in the auditory sphere: the noise of the flames imposes itself over that of the footsteps, the marches, the bellows. It devours it.
Sol Astrid Giraldo
TECHNICAL DATA SHEET
– 6 simultaneous projections in synchrony
– Sound: 5.1
– Duration: 10 minutes
The sound in Sacrifice is dominant: the trepidation of the legs fleeing from extermination expresses dishabitation and conflict in stampede. The gesture of horror and fear builds a sound that sweeps and overwhelms the space.
— Liminal Retrospective. Miguel Urrutia Art Museum, Banco de la República. 2020.
— Sacrifice (diptych). National Museum of Colombia. “The Earth as a Resource, Salon” . 2016.
— I International Biennial of Cartagena de Indias, Colombia. 2014.
—43 SNA (inter)National Salon of Artists. Medellín, Colombia. 2013.
— Bestial Sound: Affect, Metaphor and Posthuman Memory in Clemencia Echeverri’s Sacrificio. Juan Diego Pérez in the book: Violence and Resistance, Art and Politics in Colombia (edited by Stephen Zepke and Nicolás Alvarado Castillo). Cham, Switzerland.
General direction: Clemencia Echeverri
Camera 1: Camilo Echeverri
Camera 2: André Barón
Camera 3: Francisco Medina
Sound: Santiago Camacho y Clemencia Echeverri
Sound synchronization: Juan Forero