Drawing on torn canvas, Frame I detail, Start Mask

Queen Isabel’s Speech

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Queen Isabel's Speech
Video/Action/Drawing, 2012
HD Video 41”


When everything takes place between interactive terminals on the communication screen, the Other has become a useless function.

Baudrillard, The impossible exchange, 1999


Incidental

The screen breaks when the effort applied to it exceeds its elastic limit. Before breaking it is very very elastic. As elastic as our degree of deformation. We are deformed waiting in the supermarket queue, esperpentos assuming the anamorous entangled in a complex mathematical function.

In May I had the opportunity to collaborate in a research work of historical-artistic heritage along which appeared certain portraits of key characters in the history of Spain, interesting to me by the way in which later times they had returned an image of themselves through facts of another nature. Like mirrors of time.

One of them presented a quite violent tear of the canvas, like a punch, exactly in the face. A form of anachronistic revenge that would solve - symbolically - a part of the story or, at least, a specific case.

It was not an attack on the person, but his courage as a hero and his transcendence, his fame, the story that would save him from oblivion, his memory.

It was, by clothing, a portrait of the King Alfonso XII of Spain, Queen Isabel's grandson. I wondered where the attacking fist had come from. Undoubtedly it had to have been from the front, from where that fist could feel brave and joyful in his revenge.

The fist penetrates the plane and before ripping it warps the Riemannian cloth distorting the face in the hint of a grimace.

Queen Isabel's Speech

Far from thinking about its restoration, I was interested in breaking the vertical plane.

A tear of a single blow that warns the fictitious of the representation, telling us that there is nobody at the same time that there is, projected to culminate a battle. Attacked, no chance to defend. Converted into a costume or cardboard fair or a kind of mask. Habitable body or dress to get inside, assumes a new value.

Queen Isabel's speech is about the time deformed by our intervention and how it is distributed between anchoring events that are connected from different epochs, like hyperlinks. Which means that we can decide to change the history, all that is written and also the past, in the possibility of adhering to attitudes and acts that resolve other natures.

Queen Isabel's Speech
Video/Action/Drawing, 2012
HD Video 41”


Text for speech:

“Me sueño a mí mismo y de mí escojo lo que es soñable, componiéndome y recomponiéndome de todas las maneras hasta estar bien ante lo que exijo de lo que soy y no soy. A veces el mejor modo de ver un objeto es anularlo, pero él subsiste, no sé explicar cómo, hecho de materia de negación y anulamiento; así hago con grandes espacios de mi ser, que, suprimidos en mi imagen de mí, me transfiguran hacia mi realidad. ¿Cómo entonces no me engaño acerca de mis íntimos procesos de ilusión de mí? Porque el proceso que traslada hacia una realidad más real un aspecto del mundo o una figura de sueño traslada también hacia más que real una emoción o un pensamiento; lo desnuda por tanto de todo pertrecho de noble o puro cuando lo que casi siempre sucede no lo es”. *


Queen Isabel's Speech
Video/Action/Drawing, 2012
Frames

Drawing on torn canvas, Frame I, Start Mask
3
Drawing on torn canvas, Frame II, Appear Mask
4
Drawing on torn canvas, Frame III, Direct Stare Mask
4
Drawing on torn canvas, Frame IV, Stare Mask
6
Drawing on torn canvas, Frame V, Whisper Mask
5
Drawing on torn canvas, Frame VI, Speak Mask
4
Drawing on torn canvas, Frame VII, Horizon Mask
4
Drawing on torn canvas, Frame VIII, Provocation Mask
7
Drawing on torn canvas, Frame IX, Empty Mask
3
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Source

* From Bernardo Soares, Libro del desasosiego, Europa-América Publications, 1995, p.53, quoted by Claudia Galhós, Arquitecturas de la mirada, Unidades de sensación, p.163.

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