Galicia

Challenge the pause

At a time when there is an excess of visual and informational stimuli, blindness is often pressing before that reality that walks silently along with the cadence of our steps. There is a certain anxiety for the simulacrum that overshadows the common and makes us contemplate life from a run-down system of inertia in which the pause seems to have been absorbed from the dictionary. But I like to interpret the pause as one of the supports of art. It is a support because it allows one to succumb to contemporary over-excitement and it sneaks through the cracks to slide in other possible directions; to question the world. In this edition of INTERSECCIÓN, after more than a year trying to assimilate a new global pandemic situation that has highlighted the natural state of social dynamics, we are interested in those views that introduce discourses about space and its transits, its social and political but also poetic construction. Once again we embrace, for the Galician section of the festival, a heterogeneous selection in terms of styles, formats and profiles, now pursuing the traces of a cartography of the inhabited that is projected in multiple meanings to conceive other possible places: the digital space, the dystopian, the intimate, the spectral, the physical, the cultural…
Sometimes it is about enabling observation processes that act as an archive of memories. As in Veo Veo (2021), where Sabela Eiriz explores the photographic as a metalanguage that she shows us through the images contained on her computer screen.
In this way, a confrontational sensation is produced between the stillness of what we see and the movement of the cursor, which transports us through the different corners of each photograph. The artist fragments the gaze, breaks it into pieces, blurs it, and only sometimes does she show us the context of all that set of details that are composed as a vital narrative. Because there is a lot of interior writing, of collage of forms and formats, so much that the word itself accompanies us, as an element of evocation, towards the amazement of the quotidian. Also in the case of Acacia Ojea, the daily, the ordinary, takes on a greater dimension. But El cansancio tiene un gran corazón (Fatigue has a big heart) (2020) takes the lock down as its point of origin and the horizon is more introspective; it leads us home, to the illusion of the landscape from the window. In the form of brief aphorisms, her scenes are condensed as a series of subordinate affections; Emotional impulses that respond to the aesthetics of haiku and are translated into audiovisual language from the interpretation of the books The Burnout Society by Byung-Chul Han and Knots by R. D. Laing.
At other times the tours are more incisive. It happens in the proposals of Ruth Montiel Arias, Santiago Talavera and Carme Nogueira, in which the territory appears as a concept from which to explore conflicts that have to do with human domination. Thus, Santiago Talavera presents in Hauntopolis (2020) the simulation of an imagined city, traversed by the specularity of a world suffocated by images and dogmas. This video, which is part of a larger project, allows us to appreciate the hybrid condition of his work, a commitment to the collision of visual languages ​​that signify both their aesthetic and conceptual coherence. Complex locations to locate, aerial shots that are opposed to other general ones and illustrate the suspicion of a space-time plunged into crisis and uncertainty, asking questions about the city of the future. In her new project, Ruth Montiel Arias maintains her reflection on the consequences of human action on the planet and the concept of power associated with destruction. Thus, the first images of Deeper (2021) show the grandeur of the sea, its hypnotic beauty, while a voice-over reels the crude story of the mistreatment of nature. In this sense, the piece embraces the paradox as a faithful reflection of the human attitude: if the view is recreated with the voluptuousness of the sea and its immeasurable character, reality speaks of a gradual mutilation that seeks to perpetuate, as the artist points out, our own hegemony. In Tenerife (2020), Carme Nogueira starts from the homonymous documentary by Yves Allégret and Eli Lotar (1932) to be interested in the political, social and cultural implications that are generated in relation to the construction of the territory. The film’s audio is translated from French by the artist as a historical guide, but her voice sometimes breaks, she doubts: it seems that she is questioning things. She questions the individual and collective reception of information often masked by the judgment of power. Following this game, the original images are replaced by a drawing that unfolds in layers and thus organizes a new procedure from which to stimulate the interpretation of urban times and transits.
Finally, there are other types of spaces that belong to more complex, or less tangible, universes, but that help to illuminate an entire imaginary from which to look again at the constitution of social support. One of them is the one presented by Alejandra Pombo in Mimic this (2021), full of subjectivities in which diverse cultures, expressions and superstitions are embraced. The film intersperses images of people performing different actions in a forest, as a performative impulse, with archive scenes from iconic films and excerpts from interviews with actors and filmmakers. Everything simulates a strange, vague gear that acquires clarity precisely in the apparent absence of a story. Alejandra Pombo manages to weave together fragments with subtle precision, jumping from dialogue to gesture, from the interior to the landscape, to draw an emotional symbolism in which it is easy to recognize oneself. And, from the cinema to each of the communication technologies, what happens with all that digital mapping configured on our screens? The frenetic pace of Blanca Rego’s proposals could lead us to think about the catharsis of today’s society, although in her case it is an exercise of the relationships between the digital data of the image and the sound. !DOCTYPE html (2016) works as a contemporary palimpsest from which to discover the visual and sound translations of the great universe of data hidden in our systems. The result, an explosive plastic experience that could be associated both with psychedelia and with the first pictorial experiments on celluloid by Norman McLaren or Len Lye. Abstract forms that bounce and reverberate accompanied by the same restless pulse of sound and that conform, in some way, the visual patterns of the digital system; a new interpretation for a modern cartography of space.
With these other places each artist contributes, from their perspective, to slow down the rhythms. They offer a calm tasting of the real that ends up being articulated or questioned, sometimes with a critical intention and other objectives of enlivening perception. But always with that faculty, which challenges the pause, to turn the visible into the unprecedented.

Curatorial text (by Sara Donoso)

Galicia

For the Galician section of the festival, we are committed to a heterogeneous selection in terms of styles, formats and profiles, pursuing the traces of a cartography of the inhabited that is projected from the digital, the dystopian, the intimate, the physical and the cultural.

Friday 29 oct | 21:00 – 22:30h

Fundación Luís Seoane