Finale - work commissioned by the Carrillo Gil Museum for "Los Irrespetuosos" show
Finale / A clairvoyant describes to a curator the way in which he is going to die / Event documented on video / 2012
As a response to an invitation to create a new work for an exhibition, I asked the curator of the exhibit, Carlos E Palacios, to take part in it.
In consequence, the curator kindly agreed to participate on a session with a clairvoyant, Master Kiron, in which -through a reading of his eyes- the moment of his death is carefully described.
The session and the afterwards reenactment -in which the curator plays his own death according to the clairvoyant’s description- were registered on video. All the elements, including the music, only appear according to what was said by Kiron.
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Ante la invitación para crear un nuevo trabajo para una exhibición, le propongo al curador de la misma, Carlos Palacios, la posibilidad de tener una sesión con un clarividente, el maestro Kirón, quien mediante una lectura de los ojos de Carlos tendría acceso al momento de su muerte.
Esta es la documentación tanto de la sesión como del reenactment del curador interpretando su propia muerte acorde con la narración del clarividente. Todos los elementos, incluyendo la música, provienen estrictamente de lo revelado por Kirón.
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Créditos:
Finale fue posible gracias al aporte y las ganas del Museo de Arte Carrillo Gil, en Ciudad de México, para ellos muchas gracias por producir y financiar este trabajo.
Así mismo, gracias especiales a Carlos por su arrojo y valiente apertura, así como a Paola y todos quienes hacen el MACG.
El trabajo de cámara fue realizado por Alexandra Barao y Oscar Santillán,
Los equipos y datos técnicos fueron provistos por Jasso.
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La música proviene de la película "Las Islas Marías" dirigida por Emilio Fernández, y presenta a Pedro Infante en el papel principal.
Statement - Contact info
The gap between the possible and the impossible, between reality and fiction, is the creative territory from where my practice departs.
The repertoire of strategies for exploring this terrain has, in recent years, grown to include means such as: deceiving looks (i.e. a blurred video image, not produced through digital manipulation, but through the action of breathing on the camera lens); complex processes producing simple results (i.e. a colorful photographic composition as evidence of the effects of pigments injected into my own seminal vesicles); and, elaborate visual narratives (i.e. the documentation of durational actions, edited into highly compressed videos or slide projections).
Then, these strategies interweave with topics, bearing a more intricate cartography. In fact, there are two very prominent topics in my recent works: masculinity, or more specifically, masculinity from the sensibility of romanticism, something between Thoreau and P.T. Barnum. The second issue is a more subtle one, which I am tempted to call “phenomenological ethics,” where a physical action in the world is, in itself, a political statement.
Within the map of my utopian desires, there is a device able to fill the gap between clocks and calendars, and a rebellion in which the crowd whispers their demands.
The repertoire of strategies for exploring this terrain has, in recent years, grown to include means such as: deceiving looks (i.e. a blurred video image, not produced through digital manipulation, but through the action of breathing on the camera lens); complex processes producing simple results (i.e. a colorful photographic composition as evidence of the effects of pigments injected into my own seminal vesicles); and, elaborate visual narratives (i.e. the documentation of durational actions, edited into highly compressed videos or slide projections).
Then, these strategies interweave with topics, bearing a more intricate cartography. In fact, there are two very prominent topics in my recent works: masculinity, or more specifically, masculinity from the sensibility of romanticism, something between Thoreau and P.T. Barnum. The second issue is a more subtle one, which I am tempted to call “phenomenological ethics,” where a physical action in the world is, in itself, a political statement.
Within the map of my utopian desires, there is a device able to fill the gap between clocks and calendars, and a rebellion in which the crowd whispers their demands.
Contact: santillano@vcu.edu
Oscar Santillan is represented by dpm
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