VIDEO PROJECT PINTA BAphoto 2023: THE MOVING IMAGE
Video Project is the section of Pinta BAphoto dedicated exclusively to the moving image. In its seventh edition, the common thread is the relationship of bodies with the environment and the notion that in every act of looking there is an expectation of meaning, where the important thing is not seeing, but the way we process and relate things. Tickets are available for Friday, September 29 and Saturday, September 30, and Sunday, October 1 at Ticketek.
The nine selected projects expand the physical and conceptual materiality of video and invite the viewer to relate and interact with the works on view. As a result of the coexistence of these images, the idea emerges that no statement can occur without the presence of a voice, of a surface, without becoming a body in a sensitive element and without leaving a trace in a space or in a memory.
Marcela Cabutti, Piedra Movediza, 2023
The 2200-million-year-old Balcarce Moving Stone was discovered by Antonio Landaño in 1962. At that time there were long lines to experience its movement. The rock was forgotten until in COVID Pandemic it was relocated and activated after 50 years. The recording process consisted on placing small clay stones at the point of support and rocking them, together with a series of microphones. The rhythmic jumping of people over the top generated images and sounds of the breaks and the igneous "awakening". The movement generates the reverberation of a cavernous sound that, like a great heart, vibrates the Body and Time. The clay stones used for the recording are casts of rocks from the Punta Tota site in the Tandilia System, where the territory of Argentina was "born".
Fidel Fernández, In Search of Loneliness within the Multitude, 2023.
The material used in the realization of the work is the termite nest, in this case, red earth. The starting point of the work is the consciousness of a reality, of a historical fact. The fragility of memory and the need to keep remembering in order not to repeat.
Joaquín Sánchez, Mboi Piré (Change of skin or snake skin), 2007.
A latex capsule in the shape of a heart floats adrift in Lake Titicaca. The artist's naked body rests inside and from that transparent membrane –the boundary between life and death– he observes and is observed. Joaquín Sánchez does not know how to swim and, consciously, he submits himself to an extreme situation that makes all certainty hesitate. The choice of the site gives this performance a ritual character, since the lake nourishes and preserves ancient myths of creation and transformation.
Rocío Gómez, Promises written in ice, 2022.
Promises written in ice presents the record of an action that consists of placing a phrase written in ice on the ground in the midday sun. The phrase says I am ready and in front of it patiently stands the body of the observer who witnesses the effect of time and the elements. Each day, sometimes slowly and sometimes very quickly the inevitable melting of the ice takes with it the promise to be ready. It turns the promise into something fleeting and transitory. The action was repeated in ritual fashion every day at the same time (12pm) although in different places.
Andrés Piña, Perfume Danger, 2020.
The domestic is usually associated with the space that should guarantee comfort, security, stability, even the sphere that germinates the familiar. However, being a place where alertness declines, even in terms of social protection, the house can also be a dense sphere, loaded with mandates, dangers, loneliness and violence. "Fever Bed" belongs to a series of sculptures that distort everyday scenes through altered objects. The bedroom is the home context of rest and sexual intimacy, but at the same time it is linked to instances of illness and physical weakness. The work contains the latent capacity to be acted upon. Requiring the presence of an operator, the body lies on the lower part, and through a metal piece, transfers the respiratory movement to the upper figure. The inhalation and exhalation, as minimal vital gestures, are transmitted to the sculpture. The act accentuates the inherent immobility of the objects, while giving the scene the vulnerability of the living.
Facundo Belén, Deep Cleansing, 2018.
The artist takes literally the concept of a "deep cleanse," an ideal promulgated by both spiritual marketing and some food-focused therapies. In the work, Belén ingests a range of household cleaning products, from detergent to glass and floor cleaners. The contrast between the bright, artificial colors of the products and the artist's pale skin, as well as the growing and evident wear and tear and discomfort that the latter is experiencing, make up an uncomfortable, even repulsive image, with which Belén parodies our relationship with consumer goods.
Daniel Romano, Cine móvil, 2023.
"In OTRO –as in my previous works– I continue my quest to stage systems of relationship or conflict, to bring unresolved situations closer to allow second thoughts. Who we are, what differentiates me from them, what differentiates them. I found myself with the challenge of rethinking others, those who are not me and, therefore, to revisit my own place of belonging. This project led me to approach the possibility of converging with others from the nakedness of bodies and souls using artistic methodology as a map and as a strategy. I try to expose the scene of intimacy, nudity and to know what makes us perceive ourselves as genuinely us. This project is an exercise of manipulation of intimacies, textiles and projections".
Martin Sichetti, Replicant, Series | Series Personæ, 2022.
The film genres of mystery, horror and science fiction define the narrative of "The Replicant", which is enhanced by the formal conventions of film noir, such as the low angle of the camera, the high contrast black and white and above all, with its philosophical roots, the questions about existence, being, nothingness, emptiness. Exhibited in: "Personæ", exhibition by Martín Sichetti curated by María Fernanda Pinta at Hache gallery, Buenos Aires, Argentina, 2023.
Enrique Ramírez, Alerce, 2017
The camera travels over its skin, its trunk and its intimate and powerful history, slowly until it is discovered in its immensity. The black trunk and the bark of time have lost their way. Time rises and rises towards its point of ascent and, without having to reach it, discovers along this long slowness the splendors it has sculpted, purpled and cut beyond all wound.