Even Though Exhausted He Still Fights (2000)
In Clemencia Echeverri’s installation Even Though Exhausted He Still Fights, instead of getting a sense of being inside when they enter the exhibition space, the spectators feel themselves as being outside because the most powerful stimulus they receive comes from images on macro-screens referring to cockfights and to their proper stage, the cock-fighting rink. That alternance of spaces is interrupted once and again by the soundtrack. In the act of dragging us toward other places, true references drag us into the war as well. Carlos Jiménez, Art Critic.
EXHAUSTO AÚN PUEDE PELEAR, one channel version.
In this piece, the artist does not stay in the image, but involves the space and time of this popular practice, treating the rooster, the feathers, the legs, the pecks, the spurs, the noises, the party, the colors, and the ring as a single and complex event that is brought to the showroom. It achieves this by transmuting the event into a sensory, acoustic, temporal experience. This goes beyond the direct allusion to popular and ancestral practice, to present itself as the sensory experience of violence. It is that he is not wondering so much about what this event can mean, but about establishing what "happens there".
It is an observatory "of the formal nature of violence," as Echeverri would say. A violence that is a party and the unfolding of identity in this hysterical orgy where our symbols reiterate once again our identity affirmed around death. Echeverri manages here to find the rhythm that accounts for this nature of violence. That dramatization of excess, that delight in the signs of death.
Sol Astrid Giraldo.
Four projections upon curved screens
Generating two arenas
5.1 Dolby sound
The oversized noise of the spur spreads powerfully over the space that it in turn generates. It repeats itself incisively, without mitigating: like a pure blast of destruction that kills any attempt at language. The audio-viewer has no choice but to listen to this devastating sound, full of memories.
The arena of the bullfighting circus, as well as that of the gallera or the doghouse, the historical substitutes of the Roman circus, are circular. That is to say, the place of the duels in the western tradition is a circle, and that of these roosters is evidently a territorial duel. What is disputed and at stake there is a territory. And this construction always refers us to a matter of power.
General direction: Clemencia Echeverri
Camera: Boris Terán and Clemencia Echeverri
Sound: Clemencia Echeverri
General Assistant: Oscar Moreno