Lead and Silver Times
- The project
- Kafkian suitcases
- Banyuls – Portbou_muga 600
- Bentham’s Panoptic
- Silver moments - Hospitality
- Silver moments - Image's power
- Silver moments - Silver’s (the) wound
- Silver moments - The innocence of evil
- Silver moments - Polysemic house taken
- Silver moments - A goal to survive
- Return home
- Hoouseholds of La Seda
- In Residence-Antaviana
- Combinatorial optimization
- Trilogy of privacy
- Domus Aurea
- Among book wings
- In the inner wine cellar I drank of my beloved
- Europe TV
- Small oranges from China
- Landscape memory
- Disappeared Missiones
- Wound of time
River of silver
- No water
- Panopticon_frontier 601
- Kafkian suitcases
- Kenosi- Anti-Keres
- Among book wings. Book of sand
- Among book wings. Josefine
- Among book wings. Das Kind
- Domus Aurea
- Wound. Narcissus' astonishment
- Wound. Holy Shroud
- Wound. Madelaine
- From the Pampa to Les Garrigues
- Europa TV
- Europa TV. The viewer
Video - Documentary
Video - poems
Where the_ language to come
WHERE LA_LENGUA TO COME
Explorations around migratory wounds within language
Three-channel video installation + interactive space. 2020
From the beginning, my videographic work has focused on the relationship we maintain with images as a force for exploring language and its ability to generate narratives outside of those installed from the usual communicational power centers.
In this work I have tried to address the speech of the other by constructing a narrative from texts where the wound of language is present in the structure of the story itself.
In WHERE LA_LENGUA TO COME i place in relation the communicational language and its distortions where the language becomes a symptom, in the same way as the complex linguistic variations that occur in the literature of authors impacted by migrations or the experiences of war.
In WHERE LA_LENGUA TO COME I paraphrase the text by Jaques Derrida and Hélène Cixous. Langue à come (2004) which develops the effects of language in relation to sexual difference and postcolonial social exclusion issues. In my linguistic game WHERE I place the language in the material reality of a body, a context, an experience. I also put the emphasis on LA_LENGUA written in such a way that it refers to Lalangue Lacaniana and on TO COME as an expectation for the future.
My own experience as an immigrant who wishes to integrate through the language in a bilingual territory, brings an important nuance to the work. My goal is to focus on the emotional effects that occur in the language as a result of exile. The case of Francesc Tosquelles, the great psychiatrist of Reus, his catafranç, a kind of Frenchman with a strong sonic component of his native language, plans in the work reminding us of this stage of a-structural language, alien to communication and so unique of exile and the essential loss that it holds.
Thus, the language in exile becomes a symptom, leaves a trace, in the same way, to the complex linguistic variations that occur in the literature of authors impacted by migrations and the terrible experiences of war such as Paul Celan, Cixous herself or Gloria Anzaldúa.
In WHERE LA_LENGUA TO COME, language emerges as a need for coherence and transmission in the speech of migrants and their daring struggle for individual survival and in relation to their inevitably identity character.
In the project I use two starting scenarios: The Pyrenees and the Ebro Delta.
On the one hand, some dams made in the performatic intervention, Banyuls - Portbou_muga 600, carried out on the "Walter Benjamin" route in 2018.
The Pyrenees, paradigmatic frontier.
On the other, the landscape of the Ebro Delta, which marks the beginning of the end and the loss of future horizons.
The Ebro, the red border.
Three projection channels narrate the same events, with different visual resources and oral communication strategies. The fourth channel will generate interaction with visitors.
1st Channel / Sense coartada (no alibi)
Is expression possible without language? Does the previous language exist, the unlearned one? How much of this pristine space emerges again in the first moments of the forced drifts. A journey in the past can lead to the loss of resources?
2n Channel / Transmissió (transmission)
There is no naive transmission, there is always behind a responsible generator and an inevitable subjectivity. In learning a new language we imagine a world that continues to be ours with new scenarios. How do we re-construct ourselves immersed in the language of the "other"?
3rd Channel / Desmemòria (forgetfulness)
The ramifications of the language, the interference of the primitive in the apprehended. Is there violence in integration? At loss? What ideology frames our integration? Is there violence in memory?
Fourth channel (interactive) lalangue
The intervention of the visitor, who through a simple device will join the content transmission chain. The integration of the public in "this truth that has a fictional structure" is an important key in the project.
Script and direction Nora Ancarola
Artistic direction Nora Ancarola i Ramon Villegas Guix
Actors Ina Dunkel, Aurora Vélez, Max Vilalta, Ramon Villegas, Marion Tamme De Aquista
Music Joan Guinjoan
Interpreter Amparo Lacruz
Reaalization and post-production Adolf Alcañiz
Work produced with a 2019 BBVA Foundation - Bilbao Fine Arts Museum MULTIVERSO Grant for Video Art Creation as a result of the selection made by an evaluation committee formed by Miguel Zugaza, Juan Pujol, Miriam Alzuri, Laura Baigorri, Cristina Cámara, Nuria Enguita, Chus Martínez, Berta Sichel and Virginia Torrente.