Environment Frame of Video Art
Environment, Caño Amarillo, 2009
Another video art made in 2009 on the banks of the Quebrada de Caroata is Environmental. For which I had the help of Victor Zarate, a bulldozer driver who works embaulado work of the ravine. Again without the help of the community living and working in the sector this video art have been impossible. We also have the technical support of the audiovisual department of the University, who provided camera, cameraman and security personnel for the team, not me. A general traits Environment highlights the relationship between the artist and his environment inmediato. Haciendo uso de las posibilidades me puede brindar que el espacio y el contacto con la gente de la comunidad en la que me desenvuelvo. Es una imagen inédita e insólita que causó revuelo en la gente que no siendo convocada, sino estando en sus actividades diarias en la zona, fueron testigos.
Resulta muy diferente la experiencia de haber observado el performance a la de observar el videoarte. En el video el cuerpo parece aún más vulnerado en su condición humana, se nos presenta en estado de abandono, laxo, tal vez vacío, llevado por la máquina.
Formalmente, la postura del cuerpo desnudo nos recuerda a la Maja Desnuda de Goya, pero la de Goya mira directamente a los ojos de quien la ve, al igual that Manet's Olympia. None of the three is a goddess, all are women. The tractor seems empty, led, for disposal. De La Maja de Goya suspected his identity. It has been speculated that this is the Duchess of Alba, but the fact that it is naked and looking straight in the eye of the beholder, suggests perhaps a prostitute. Probably we have this reading from the Olympia, for La Maja is a direct predecessor of the Olympics. The pestle of the tractor tried to be a prostitute, and if it relates to that meaning is only from the relationship between the Olympia and La Maja de Goya. Comes to mean a social waste by its position, the conditions under which it is and somehow the Prostitutes are considered social waste, as engaged in a stigmatized and discriminated against.
The body of the pestle of the tractor in this machine is objectified, becomes an object. Perhaps the image closer to us, if we think of a body inside a bulldozer, dead bodies are taken to a mass grave. Environmental conditions, chaotic, under construction, promote the reading. The self-object images that speak of Intra-Venus series of Hannah Wilke and Rimbaud in Anadyomene Venus appears to be.
Olympia Manet, oil on canvas, 1865, Orsay Museum
The Naked Maja, Goya, oil on canvas, 1799-1800, Museo del Prado, Madrid.
Intra-Venus Series # 3, Hannah Wilke and Donald Goddard, self performalista, 1992
VENUS Anadyomene
As a green coffin in tin foil, with hair slicked
, dark, and lacking
very poorly disguised, of an aged bath
emerge, slow and clumsy, a woman's face.
The neck is certainly crass and gray
bony shoulders, a back that
doubt in your exit, and then the kidneys want to take off:
under the skin, the fat, in layers, like puff pastry.
The spine, red, and all have
awful aftertaste, and is seen primarily
details that must be analyzed closely. The back looks
two words: CLARA VENUS
A body shakes and his mount
offers beautiful, with their ulcer, dark, in the year. Rimbaud
