Screening of the selected videos from the II Convocatoria VERTICAL <25 , aimed at young video artists aged up to 25, and announcement of the highest-rated work.
The artist whose work receives the highest public rating will be awarded a 15-day production residency in Madrid in 2025, with expenses of up to €3,000 covered. An edition of the winning piece will become part of the Hertzog Da Silva Collection, sponsor of this open call.
The winning piece is “Swipe, scroll” by Jhonny Carvajal Orozco, selected through an open online vote accessible to anyone with the link.
During this event, we will enjoy the works rated highest by the online jury, selected from the following:
La vida en tiempos de Abril by Abril Duarte
Aritrisma by Lorena Verónica Sánchez Córdova
Esto no es un story, es una película by Ane Berganza
Swipe, scroll by Jhonny Carvajal Orozco
BURNOUT by Julia de Gabriel
far from home by Tatiana Sousa
Cuando el silencio me habla… by Mariana García Mejía
Do you? by Uriel Olvera
Narciso by Alejo Duclós
CHASED by Melina Fernández
Paradox by Yu Ting Tsai
Vacío Fractal by Luis Gallardo
Grimoice by Valentin Sismann
Nunc by Oriana Inagas
CuT.e by Abril Vivas
Again and again by Alba Amoedo Cal
Scream pdf by E.P Martín
Centro Comercial Jardín by Concha G. de la Fuente
ØBLITUS by Aran Sanz Cuesta
Mori No Subete (Everything about the forest) by Luca Barrios Lumbreras
Clown notes III: Notas desequilibradas by Cristal Clown / Melissa Lopez Santos
TEST 2 by Carolina Neka
industrial_sounds_on_flowers_and_other_peaceful_places.mp4 by Alba Matilla
EBULLICIÓN by sinergia.log
NANA by Yaku Studio
Coa cabeza ben alta by Abel Pérez López
Viaje al centro de la tierra by Txomin Lasa
Penosamente de la nada siempre by Mariel Tizon Prado
Fuera de Campo
11-20.09.2024
Opening: 20.09.2024 at 20:00
Artist: Adriana Rojas (col)
In this proposal for a cinematographic installation it is inevitable to go directly to the Marcel Duchamp reference and at the end of the “ready made”, use an everyday object to create an artistic work, without hiding the origin of the object.
In particular, Out of Field, enters into what Duchamp calls “reciprocal ready made”, given that the object changes its function by extracting it from its usual use, by separating it from everyday use and placing it in another space if its connotation changes. and they fall “deterritorialized.”
This film installation presents several layers: a physical layer, which is the ceramic sink, to which is added a second layer, the video (loop image) of the sinks, which allows the object to shine with the light of This is an image in color, which surrounds us and creates a third layer, where that hybrid between the physical and the projected emerges. The fourth cover is the projection of the Fuera de Campo video, which is displayed on the wall in front of the sculptural object.
The visual is complemented by an acoustic layer (soundscape), in which the spaced and intermittent sounds of opening and closing the sink faucet, the flow of water through the siphon, transport us to the “everyday” relationship, subject – object. , which, in this case, refers to a situation “idealized” by families in settlements that lack public services.
The use of the washing machine, that “useful object” that we believe is in every home in Colombia; It goes from being seen as a useful object for everyday use, to an object that offers us a critical and reflective perspective on a problem of inequality.
In the installation, when using the concept of “found object” there is a double meaning, given that, in the end, the washed hand is an object that appears “outside the field”, without leaving the usual place, and at the same time, when placed in a space just for the sake of it, will refer us to one of my objectives, which is to highlight how this valuable object is not part of the home of the families that live in settlements in Colombia.
