Family appetites
Family Appetites (1998)
Single-channel video based on the celebration of the New Year in the family, through the sacrifice of a pig. During 8 minutes the moving image and the still image, builds links more sensorial than visual to enter into the affective. It is a piece that brings the memory to the present, chaining fragile encounters with the real with the instant.
Inheritance Games, Alonso Garcés Gallery. Bogota, 2011.
The work implies a reflection on what it means to make history or to think history, aspects that at this point must be indiscernible. Indeed, the role of sound and video, in this case, is oriented to reveal and intensify aspects of violence that at no time can be reduced to a single image, always maintaining the ambiguity latent in multiple appearances of the same phenomenon. For this reason, the reference to the spectral is important, because the understanding that every event is ambiguous leads us to think that the inheritance, the inherited, demands an appropriation from us.
Gustavo Gómez, philosopher
TECHNICAL DATA SHEET
Family Appetite
Single channel video
Length: 7 minutes
Dimension: 4:3
1998
II Biennial of Bogota
Bogota Museum of Modern Art
EXHIBITIONS
-Liminal Retrospective. Miguel Urrutia Art Museum, Banco de la República. 2020.
-Spectral Retrovision. Approximations to a history of video art in Colombia. Los Héroes’ Monument, Bogotá. Museum of Antioquia, Medellín. 2018.
-Support: II Biennial of Bogota. Museum of Modern Art of Bogota.1999.
GUION
The excess in the theatricalization of his death, the weight of the blood, the violence of the event, paradoxically turned out to be the occasion to weave family ties and bonds. The family as a community that gathers to sacrifice as part of a belief in the rebirth of life (feast-celebration). The sounds of the heart are the pulse of intimacy in the act of union, in the everyday life of the home. The sound of the beating of a heart that is the protagonist in the scene, emphasizes the vital pulse of the moment and the intimacy of the union.
María Belén Sáez de Ibarra
BEHIND THE SCENES
