Inherited Games / Juegos de Herencia (2009)
Production support: Alonso Garcés Galería, Bogotá.
INHERITED GAMES draws its beginnings from an indeterminate material, from a series of images recorded in the Colombian regions of Valle and Chocó, during several days around July the 20th – a date that marks the celebration of what is called there the “fiesta del Gallo,” or Feast of the Rooster. Aside from the direct recording of that event, the work utilizes a series of recreations realized in the manner of gestural unfoldings, which allow it to emphasize the minute actions carried out during the fiesta: loading the shovel, digging a hole, fixing blindfolds, clutching a machete, burying the rooster. As we observe the final disposition of those images, their montage – interior as well as installation, we do not however come up with a narrative description of the event. Regardless of the method put in play for recording the images, many would doubt the usefulness of the term “documentary” to comment on this piece. It is plain to see that the work does not utilize any of the narrative or formal resources that we traditionally associate with the documentary. Interviews and testimonials, voices off-camera, or any other explanatory resources, are replaced by the apparent quiescence of the image and the sound – the latter perceived as noise, even, at certain moments. The artist refuses to narrate the event, to expound a record of the fiesta in any effort to compose, to edit a document that may account for its singularity. She refuses to provide an exhaustive depiction of the particularity of the event, so as to address the possibility of removing its singularity, of making visible what – although it may be part of that concrete act – cannot be reduced to the act itself.
"The montage and the document: The (in)visible singularity", Juan Carlos Arias.
We observe the occurrence, but “something else” becomes visible to us in that occurrence – something unnamable, something that is not reducible to a written description. We are dealing neither with a concept nor with an abstract idea, articulated as metaphorical meaning. The spectators move between what seems to be a ritual and its permanent dislocation in the image. We sense the anticipation of death, the violence of the forthcoming act and, at the same time, the resisting endurance of life in the buried animal. It is not, however, only a matter of the rooster’s death, of the violence unleashed by those who perform the slaughter, and of the – conceivably futile – resistance of the concrete animal. Death, violence, and resistance no longer belong/pertain to any of the actors who take part in the particular event. We go beyond the executed victim and the executioner without ceasing to perceive them. We are facing the singularity of the act beyond its particularity.
Multichannel installation of video and sound
9 Syncro video projections
Dolby 5.1 sound
ONE CHANNEL TECHNICAL DATA
—Mono channel video. Instants Video Festival Marselle, 50Ans dÁrt Video. France. 2013.
—Mono video channel. "Instant Video Festival". Marseille, France. 2011.
—Mono video channel. Latin American Cosmovideography, CENART. Mexico DF. 2011.
—Video multichannel installation and photography. Alonso Garcés Gallery. Bogotá. Individual exhibition. 2011.
—Stainless steel print. ArtBo. Bogotá. 2009.
This is a work that allows both a sensory and conceptual experience, thanks to the sound and the blind manipulation of a machete on the defenseless head of a mute rooster. Says the artist: «The use of the machete, a cultural tool for cultivation and for acts of violence in this country in past and recent times resonated in my consciousness, identifying its blow, its timbre as the axis of the project. I follow this tool to know its hidden sound, its strength and its threat ».
Sol Astrid Giraldo, philologist.
Work: Inheritance Games
Dimensions: 67 cm X 87 cm