Survivals / Supervivencias (2012)
Clemencia Echeverri’s off-center image emerges from that zone, from those fissures, from those silences, to reflect on what goes unseen notwithstanding an excess of visibility, to meditate on the steep and profound forces of memory’s layers, on the fraught present, on the impossibility of repose in anxiety-ridden times. It is the reverse of glittery mediatic fanfares, the counter-narrative of the documentary, and the newscast, as it assumes a perspective that shuns light, distinctness, immediacy, and plunges – iconoclastic – into the blind labyrinths of the unseen and the unnamed. It is there that a dense space solidified by time gets unfurled. The territory has been broken physically and mentally. How is a new map to be drawn?
The house of Survivals displays the wound of its looted private spaces, capsizes in the whirlpool of a loud, apocalyptic, public and collective sacrifice. A fury is let loose there with the power of fire in an ancestral altar, which stands in contrast with the house – that other altar meant for mute and minor sacrifices. The two pieces are united, nonetheless, by their rhythm, by the same circular movement, by the impossibility of a lineal deployment of space and time, and reasserted with the über-darkness of the exhibition halls, the damming, the claustrophobia. Nothing may be seen, but something has transpired in the dark, between image and image, between one and another focal point of light. Their exteriority notwithstanding, the fields, the mountains, the villages, the houses will no longer be displayed in a placid and Cartesian space. This work’s space is presently a surface full of scars, not unlike the skins of the survivors. History has passed over it, has shaken, broken it. Shadows may perchance be concealing the humps and pits of the new map; and the same may be said of Echeverri’s images.
Sol Astrid Giraldo, Filóloga.
It is in the midst of this darkness, thanks and despite it, where bodies emerge. The work envelops the viewer through the arrangement of the screens in space, through the omnipresent sound that fluctuates between different intensities. The experience, however, is not that of a dive in traditional terms. We do not move from the gallery space to a specific, recognizable place. The asynchronous time of video dislocates the experience of a definable place, the security of a decipherable narrative. We are moving into a dynamic territory that cannot be apprehended.
Juan Carlos Arias, art historian and filmmaker.
Multichannel Video installation.
6 projections in Syncro
Dolby 5.1 sound
The sound of male footsteps begins to emerge faintly from the background, like an incipient rain, until it becomes a fierce storm that invades everything. Domestic sounds succumb under the power of the public noises of war.
General Direction: Clemencia Echeverri
Director of Photography: Camilo Echeverri
Camera 1: Camilo Echeverri
Camera 2: Andrés Barón and Francisco Medina
Sound: Clemencia Echeverri
Video edition: Clemencia Echeverri
Video edition assistance: Victor Garcés and Cacumen Films
Sound Design 5.1: Santiago Camacho
Syncro Program: Juan Forero