Vallegrande 1967
2008 - Film & Video (Film & Video)
8 minutes
Claudia Joskowicz
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it. The camera work, and the stylistic and formal devices such as tracking and establishing shots, create narrativistic voids that offer the transference of new political or social meanings.
Claudia Joskowicz is a video and installation artist working at the intersection of landscape, history, and memory. Her works form unsettling scenes that reimagine public and private histories of Latin American individuals and communities. Blurring the line between documentary and fiction, these works often involve violent images to bring traumas to the present, and to offer a moment of catharsis for the ones who were affected by these incidents in some way. In her works, Joskowicz intentionally gives a great amount of power and agency to the camera, reminding the viewer of their passive role in the construction of history. In this way, the artist critiques technology as a medium that easily manipulates one’s interpretation of history, controlling what gets to survive in the public collective memory. As Joskowicz’s camera wanders around the landscape, or focuses on one of the protagonists in her stories, the rest of the scene—and with it, other possible perspectives—fall into the dark, constructing yet another subjective historical narrative. It’s easy to focus on the slow movement of the camera more so than the actual event being recorded, which Joskowicz harnesses to remind her viewers that history is man-made. When texts or events are taken out of their context and technology is present to create an imaginary cinematic space, any narrative is possible.
Colors:
Other related works, blended automatically
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Claudia Joskowicz
2014Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
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Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
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Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
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Erika Verzutti
2015Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
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Daniel Joseph Martinez
1978For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
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Matt Lipps
2011Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
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Bani Abidi
2008The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
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Bani Abidi
2008The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
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Nicolás Paris
2012Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...
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Oscar Munoz
2009In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
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Yto Barrada
2004In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
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Gregory Crewdson
2005Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
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Felipe Arturo
2012Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...
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Mateo Lopez
2012With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
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Xiaoyun Chen
2006The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
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Sharon Lockhart
2008Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
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Sharon Lockhart
2011Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...