Voluntary Testimony

Voluntary Testimony (2011)

It is a video/sound installation of 5 simultaneous projections, 5.1 sound and five large format photographs. This work is a confluence between the poetic and the political, where the viewer, under an experience that questions him, is placed in an unstable way between inaccuracies of the image and the voice, preventing him from approaching the testimony of demobilized combatants of the conflict. The installation is located in various parts of the room. In a central axis there is a large format video from which sound and voice are emitted. In addition, in another part of the room, there are three narrow, larger than life-size projections that move bodies through the space without end and in continuous appearance and disappearance. The installation continues with a video in which people circulate with their backs to the infinite. The 5.1 sound overflows penetrating the space as a material that supports the various axes of the work.


Philosopher Gustavo Chirolla mentioned in his text Interpellations for the catalog of the work: “For a long time the ghost of violence and the violence of the ghost have been present in the Colombian art scene, however, the challenge of Clemencia Echeverri in this work lies, according to our interpretation, in the problematic and paradoxical staging of the ghost, not from the perspective of the victim, as she herself had done with the ghost of the disappeared in Treno, but from the perspective of the perpetrator. Of course, that the perpetrator can be haunted, haunted by the ghosts of his crimes, is a matter as old as Greek tragedy.

In any case, even if guilt and repentance are part of the staging of Versión libre, the location in which we are immersed displaces us to another place, puts us in a different situation, a situation of enunciation and interpellation, it is us there, while we circulate in a closed space around us, who are interpellated. According to Louis Althusser, we become the subject of interpellation when we recognize ourselves as the addressees of a discourse. There we are compelled to respond, to correspond in some way, in what way is the question, the uncertainty in which the work throws us, to correspond to the ghost of the victimizer, to his interpellant discourse, to his story, to his confession, to his demand”.




— Liminal Retrospective, Miguel Urrutia Art Museum, Banco de la República. 2019.
From Medellin, a Colombian art scene. Musée D’art Les Abattoirs. Toulouse, France. Curators: Valentín Rodríguez and Nydia Gutiérrez. 2017.
Luis Ángel Arango Library, 2014.
VI Luis Caballero Award. Production support. District Institute of Culture. Santa Fe Gallery. 2011.


Multichannel installation of 5 projections
Dolby 5.1 sound


Interpellations on Clemencia Echeverri’s Versión Libre. By: Gustavo Chirolla.


General Direction: Clemencia Echeverri
Video and sound editing: Clemencia Echeverri
Camera: Javier Quintero
Sound design and editing: Santiago Camacho
Production Assistance: Lattitude

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