Drawn and Quartered

2007 - 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

Los rastreadores
© » KADIST

Claudia Joskowicz

2014

Los 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...

Empire's Borders II-Workers
© » KADIST

Chen Chieh-Jen

2010

Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...

Empire's Borders II-Passage
© » KADIST

Chen Chieh-Jen

2010

Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...

La Memoria Verde
© » KADIST

Enrique Ramirez

2019

Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...

Untitled (Don’t See, Don’t Hear, Don’t Speak)
© » KADIST

Shilpa Gupta

2008

The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...

Corrupted file from page 14, (V1)
© » KADIST

Alessandro Balteo Yazbeck

2008

Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...

Drag
© » KADIST

Xiaoyun Chen

2006

In the video work Drag, a man in a dark room pulls on the end of a rope...

Shanghai Biennale Awaiting Your Arrival
© » KADIST

Xu Tan

2000

Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions...

Two Eyes Two Mouth
© » KADIST

Erika Verzutti

2015

Made 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...

Iris Tingitana Oxalis
© » KADIST

Yto Barrada

2007

This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...

Trópico entrópico
© » KADIST

Felipe Arturo

2012

Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...

State Terrorism in Ultimate Form of PreRaphaelite Brotherhood
© » KADIST

Xiaoyun Chen

2006

State Terrorism in the ultimate form of Pre-Raphaelite Brotherhood features a portrait of the artist wearing a zipped utilitarian jacket reminiscent of a worker’s uniform, with one arm behind his back as if forced to ingest a bundle of stick—a literal portrayal to the definition of fascism...

I used 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
© » KADIST

Daniel Joseph Martinez

1978

For 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...

Ante la imagen
© » KADIST

Oscar Munoz

2009

In 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...

100 Hand drawn maps of my country, India
© » KADIST

Shilpa Gupta

2014

These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...

Karachi Series 1 (Chandra Acarya, 7:50pm, 30 August 2008, Ramadan, Karachi)
© » KADIST

Bani Abidi

2008

The 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 ...

Visalia Livestock Market, Visalia, California
© » KADIST

Sharon Lockhart

2011

Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...

Metaphors of the presence or conversations at the speed of light
© » KADIST

Nicolás Paris

2012

Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...

Destilaciones
© » KADIST

Ximena Garrido Lecca

2014

Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...