claudia del fierro

 

AVANCE TEMPORAL (NOTAS DE CAMPO)


Avance Temporal (notas de campo)
2018
Video instalación
2 canales, video 4K, 10 minutos, loop, sonido stereo
2 pantallas, estructura de madera

 

Hace muchos, muchos años atrás, la cámara era una herramienta para mostrarle al mundo la increíble velocidad de los acontecimientos. No podíamos dormir, no podíamos cerrar los ojos.
Todos queríamos ser testigos de lo que aquí ocurría.

 

¿Cuál es el descalce entre el futuro imaginado y los restos de nuestra historia cercana?

Mediante un recorrido emocional por diversos lugares de Santiago vuelvo a mirar la ciudad en una relación íntima con sus espacios; laberintos del centro, lugares de encuentro amoroso, construcciones en abandono.
El video se construye en base a un relato oral y otro visual, registros disímiles y paralelos, interferencia entre el sensor digital y los ecos analógicos que aun flotan por la ciudad.

El dispositivo audiovisual permite un salto espacio-temporal; corte directo al ruido de la ciudad fervorosa de la Unidad Popular al ritmo de la percusión latina y el rock, soundtrack de la filmografía comprometida al cambio social. Esta historia no concluye nunca, las ondas sonoras y la incidencia de la luz en la película parpadean en la pantalla mientras enfrentamos una montaña de hielo, un edificio desmoronado, una fábrica en ruinas. No podemos sincronizar imagen y memoria.

Este proyecto tiene como punto de partida el texto de Hubert Fichte de 1971 Chile: Experimento del futuro
y su traducción de la ciudad, así como las imágenes de la época que hoy están disponibles, el amor por el cine documental y el escenario que es Santiago.

 

 

 

 

 

Esta obra ha sido realizada en el marco de la exposición Suprasensibilidades, Museo Nacional de Bellas Artes, Santiago, 2018, y comisionada por el proyecto Hubert Fichte:Love and Ethnology de Haus der Kulturen der Welt, Berlín.


 

 

 

Fast Forward (travelogue)
2018
Video installation
2 chanel 4k video, 10 minutes, loop, stereo sound
2 screens, wooden structure

 

Many, many years ago, the camera was a tool to show the world the incredible speed of events.
We could not sleep, we could not close our eyes.
We all wanted to be witnesses of what was taking place here.

 

What is the gap between the imagined future and the remains of our recent history?

Avance temporal (2018) is a 2 chanel video installation and performance by Claudia Del Fierro. The point of departure for the work is Chile: Experiment der Zukunft, a text by German writer Hubert Fichte written as a radio piece from his impressions during a trip to Chile in 1971, to interview President Salvador Allende. Experiment for the future is a sort of documentary, that puts forward some of the contradictions of the Chilean socialist experiment, posing some unfomfortable questions, and written from the perspective of a (queer) European white man who, nonetheless happens to admire Allende. But, what kind of documentary is being made in Chile at the time?

Avance Temporal looks into the gap between Fichte´s images of Santiago and the documentary films that we being made by local artists. The video is a collection of images of the city, of former factories, social housing, motels, movie theaters, or places of romantic encounters, now obsolete or abandoned. A parallel story runs through in the form of a voice over which is made of fragments of scripts from some of the documentaries made between 1970 and 1973, such as Reportaje a Lota,1 de Mayo, El derecho al descanso, Ahora te vamos a llamar hermano, among others. The scenes selected are some of the most representative of the films of the period; canonic images of the socially driven documentary, such as a worker operating a machine, women feeding the masses, barefoot children marching together with miners, male workers voting in assemblies, Mapuche people supporting Marxist demonstrations. These scenes, full of intention and hope, also fail to describe the complexities of the Chilean socialist experiment. The narration of the video is interrupted by a robotic voice that reflects on the expectations about the audiovisual medium in Chile throughout the last 4 decades, regarded as a tool for truth in the 70s, resistance in the 80s, democratization in the 90s and memory in the 21st century. Film turned to video turned to digital data, an oracle of history.

The images of the ruin and the echoes of the representation of the past are thus edited into the work. The distance between them is where we stand.

This work has been made in the context of the exhibition Suprasensibilidades, Museo Nacional de Bellas Artes, Santiago, 2018, and comissioned by the project Hubert Fichte: Love and Ethonology, Haus der Kulturen der Welt, Berlin.

 

 

Avance temporal (diario de campo). Vista de la instalacón. Photo: Daniel Zachrisson/Lunds konsthall

 


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