• Public collections: Banco de la República, Fundación Gilberto Alzate Avendaño and DAROS Latinamerica Collection.
• Creation research award. Faculty of Arts at the National University of Colombia.
Images of a turbulent river filmed from various angles, distances, and times of the day (as well as sounds from the natural environment), make evident the river’s indomitable force. Suddenly pieces of clothing appear on the water; people try to catch them from the shore. These people also try, unsuccessfully, to call absent persons. Their cry does not get a reply from the opposite shore; it is a lament drowned by the tumultuous river.
Treno is a visual and sound action originating in the feeling of failing to receive a response. It is the physical experience of a loss. The place of spectators in Treno is paradoxical; they are simultaneously on both sides of the river, as well as in the middle of the torrent of water from where the voices are heard. The cry achieves the dimensions of a song as it circulates through the gallery space.
Treno is not literally narrating a story but rather is feeding on the metaphor of the river in order to speak about a sense of impotence and distance, as well as the feeling of existing between two shores.
The forces of the torrent swirl, grow within us, and rise to the surface. Human voices echo in this thicket. It is about calls; voices that travel through remote silences, in the darkness of the depths of the waters. The power of a subtle allegory is working in us that refers us to war, violence between men, and mourning. The power of the allegory consists precisely in taking us to that state of immersion in the current, which places us in a reflective place, although not sought after, almost subjected to expectation, where involuntary relationships flow about human misfortune in violence. It touches the translucent background behind thought, intimately linking us to those contradicting forces that are an unstoppable torrent: war.
María Belén Saez de Ibarra, curator.
— Contemporary Art and Photojournalism in Colombia in the Netherlands, 2018.
— Les Abattoirs Museum in Toulouse, France, 2017.
— International Image Festival, Manízales, 2010.
— "For You", Daros-Latinamerica Museum. Switzerland. April 25 to September 6, 2009.
— "Don’t stare at the sun". Contemporary Art Center, "Znaki Czasu" in Torun, Poland. 2009.
— Speaking events at the Art Museum of the National University of Colombia, 2009.
— Video installation of sound and photography, Alonso Garcés Gallery. 2008.
In Treno he is not literally narrating an anecdote, but feeding on the metaphor of the river to speak of powerlessness and distance, of the feeling of being on two shores.
The place of the spectator of Treno is paradoxical, it is simultaneously on one side and the other of the river, and it is also in the middle of the torrent of waters, from there they hear the voices; the cry reaches the dimensions of the song, to the extent that it circulates through space. In Echeverri's installation, singing becomes a lament that cannot be answered on the other bank, the bridge has been broken and the tumultuous sound of the river drowns out voices.
Gustavo Chirolla, philosopher.
Direction: Clemencia Echeverri
Camera 1: Mauricio Bernal
Camera 2: Clemencia Echeverri
Camera assistans: Diego León y Lucas Jaramillo
Video edition: Diego León
Sound composition: Clemencia Echeverri
Sound design: Daniel Prieto
BEHIND THE SCENES