Featuring: Elia Alba, Sara Blokland, Claudia Joskowicz, and Karina Aguilera Skvirsky
Screening and Q&A: Tuesday, December 14 from 7-9 pm
Participating artists: Elia Alba, Claudia Joskowicz, Karina Aguilera Skvirsky.
Exhibition: December 15 – 24, 2010
LMAKprojects is pleased to present Recorded Stories a film/video screening featuring the works of Elia Alba, Sara Blokland, Claudia Joskowicz, Karina Aguilera Skvirsky and Sari Tervaniemi. This exhibit is an exploration of identity through the eyes of five international artists. In the videos the artists approach and explore issues of their identity and affinity through such subjects matter as personal stories of race, political iconography of a continent, societal roles and stereotypes. Through their observation the audience is presented with different perspectives that allow for a review of preconceived notions.
In Sara Blokland’s two videos she examines the role of photography in representing and conceptualizing identity and personal history. The first video Roos not made for you Roos is a reflection on a photo shoot the artist made of her then seven year-old niece. The girl stares into the camera’s lens as she slowly becomes aware that she is the subject, while the artist questions herself about photographic strategies and their relation to power. In the second film Tissue Blokland shows a plain but disturbing self-portrait through a series of stills, the audience is unable to determine how her physical condition came to be. In both videos text plays an autonomous role as an image that negotiates and disturb the narrative of the photographic image.
Elia Alba’s videos are an examination of society’s struggle with subjectivity and personal identities as they become fractured, and are in a state of constant re-definition. Through masks Alba not only comments on the ephemeral nature of identity but presents to the viewer a potential collapse of our perception. The Gigglers presents four girls wadding in the ocean and while trying to sit still they proceed to giggle throughout the whole session while the viewer sees four still masks floating steadily with an undeterred stare. Pixie suite is the four teenage girls strolling through the water like red ridding hoods with masks while Gypsy music plays in the background, the upbeat tempo makes the audience alert and curious to know what will happen next as the film is abruptly stopped.
Claudia Joskowicz’ Vallegrande, 1967 is one of a trilogy of videos that re-create deaths of world famous figures that have taken place in her home country of Bolivia and that, mythologized through mediated recreations, have lost their initial meaning. Vallegrande, 1967 reenacts the display of guerrilla combatant Che Guevara’s corpse for the media after his assassination by the Bolivian army. The film shows the posthumous Che lying on a concrete slab in the same laundry room where the corpse of Guevara was originally displayed. The scene, modeled after the original media photographs, recreates the moment in which the media went to capture images of the defeated hero to expose his demise. The small building, now covered in memorial graffiti in his honor, has become one of the most venerated stops on the “Che tourist path” and thus, part of the Che myth.
Sari Tervaniemi’s Danger deals with the frustrations with an icon of contemporary culture: the car. It affects the air we breath perilous driving dominates our public life, and in car culture woman are usually more of an accessory rather then an individual. In Danger this frustration is expressed by a bare breasted woman who pretends to attack a car with a baseball bat while sound effects emulate points of contact.
Karina Aguilera Skvirsky’s video Antojo (Desire) is a series of public recitations of a poem her mother taught her to perform when she was 10 in Guayaquil. Afro-Ecuadorean poet Adalberto Ortiz used vernacular language from the oral art tradition of Esmeraldas, an area in Ecuador originally settled by escaped African slaves, to tell a cautionary tale about the dangers of miscegenation. By re-enacting her childhood performances in front of panoramas of contemporary Guayaquil at Parque Historico (the Historical Park)-she examines the racial stereotypes of the poem while embracing its authenticity as a part of Afro-Ecuadorean identity.