Entrelazos

Representation and Memory

Projects that explore memory and culture through visual and sound installations, avoiding static representations and encouraging multiple interpretations. They use image assemblages to create symbolic connections. The installation by Didi-Huberman and Gisinger, as well as Correspondences by Patti Smith and Soundwalk Collective, invite reflection and exploration through immersive environments that challenge traditional categories of art. Like Warburg’s Mnemosyne Atlas, both projects seek to reconfigure memory without fixing it, generating new associations and suggestions through the combination of images and sounds.

Installation, Montage,
Aby Warburg’s Mnemosyne Atlas.

Nature and Self-Awareness

Ever Gaia 213 (2023) by P. Okoyomon and D. Hildyard, and The Baron in the Trees (1957) by Italo Calvino, explore the search for an authentic existence in harmony with nature, promoting individual freedom through an authentic way of seeing the world. In turn, Towards a New Aesthetic (2023) by Duyi Han seeks a new way of understanding the relationship between humans and their visual environment, inviting viewers to experience a deeper connection with time, space, and existence. In doing so, it highlights the importance of the bond between the individual and their surroundings in the exploration of human complexity.

Gesturability and Sensitivity

The essay The Body Still (1980) by Roland Barthes and Ai confini del corpo (1992) by Franco Rella explore, respectively, the meaning of the body in contemporary society and the limits of bodily experience. In turn, Haptopias (2018) by Ricardo Sarmiento examines the interaction between the senses and the body, highlighting the importance of the concept of the haptic. These works enrich self-knowledge by delving into our tactile and emotional preferences. Additionally, concepts such as “YUTORI” offer complementary perspectives on the experience of the present, thereby deepening the understanding of the complexity of human experience and its relationship with the environment.

Avant-Garde Cinema

Dziga Vertov’s “kino-eye” technique, as presented in I, the Eye (1920s), is valuable for the creation of video art due to its focus on objective observation and the spontaneous capture of everyday reality. By eliminating scripts and prearranged performances, this technique allows for a more authentic representation of human experience. In video art, the kino-eye can capture ephemeral moments and everyday details, as well as address social and political themes in a direct and unfiltered way, challenging traditional narrative conventions and leading viewers toward deeper and more personal reflections. Moreover, the emphasis on creative editing and montage makes it possible to experiment with structure and rhythm in order to achieve emotional and conceptual impact.

On the other hand, Sergei Eisenstein’s theories of cinematic montage, as described in “The Cinematic Language: Different Languages within Cinema” (1920s), offer tools for creating meaning and emotion through the juxtaposition of images, the manipulation of rhythm, and the construction of emotional tone. These principles, together with experimentation in retinal persistence and the visual perception of the zoetrope (1860), lay the foundations for understanding cinema and other forms of moving visual media, emphasizing the importance of the illusion of movement and visual storytelling in cinematic art and visual entertainment.

Umbral resonante

Between dreams and realities, the threshold opens — a portal of emotions the soul carries us through. In the dance of dreams, the heart pulses, an echo in the void, an infinite melody. At the boundary between the known and the imagined, empathy blooms, souls meet, an ethereal bond in which everything is shared, within the resonant threshold where dreams intertwine.

geocuerpos

In the dance of opposites, in the fluidity of movement, the body adapts, transforming itself in every pause. In every landscape, in every journey and encounter, the body merges with the earth, with the wind. In connection with nature and its mysteries, the body becomes a map, an idea, a geobody that moves between dreams and destinies.

Espejos vitales y acuosos

In the reflection of deep waters, the stories we tell ourselves are revealed — a distorted image, a hidden truth, in the vital mirror where we meet ourselves. Each word, each gesture, is a fragment of the narrative we weave, in the watery mirror where time slows down, we reflect our essence into the universe.

Cuerpo cavernoso

In the hidden shadows of the mind dwell the deepest mysteries, memories that pulse in every latent corner of the cavern, in every second. The body is the temple where the stories of the past are kept, the scars of the soul — a labyrinth of paths that are retraced, a universe of secrets time does not claim.

Anamnesis carnal

In the depths of being, in the muteness of the flesh, ancestral memory lies—the essence that guides us. A temporal journey, embodied remembrance, sealed in every heartbeat, in every cell. The flesh, a book of our history, traces of the past, shadows in memory. Carnal anamnesis, resonant life, secrets unveiled, penetrating truths. Temple of the body, inner cavern, guarded knowledge, greater wisdom. Carnal anamnesis, ancestral memory, in every whisper, in every visceral beat. Exploring the hidden, connected in the ethereal, we discover the essence, the uncertain revealed. We define ourselves, we become — beings of light and shadow, of anamnesis, serene.