We put a finger in the eye with the rather inconvenient purpose of blinding its owners momentarily so later they can see things differently.
At a time when the amount of images bombarding us has increased so much that it does not allow us to distinguish between real experience and what we have seen, this exhibition aims at activating a basic human ability: to think and feel through image (image-time).
“El dedo en el ojo (Cinco aproximaciones canarias contemporáneas) (The Finger In The Eye (Five Contemporary Approaches From The Canary Islands))“ exhibits the latest work of five artists from the Canary Island who are currently working with different video performances. The exhibition gathers different ways of connecting with the world through the blurred lines of video art, short film, documentary and video installation.
David Pantaleón opens the exhibition with “Nacionalismo”. A video installation of images composed of archive appropriation material found when he was researching on diverse archives. He deals with the concepts of “isle”, “isolation”, “periphery” and “national feeling” joining them together by the lava flow.
“Hurdle (Haikus)” is Pedro Deniz´s piece that belongs to his project Meridianos simbólicos del dolor (Symbolic Meridians of Pain) and which he started in 2014. It is metaphoric reflection about that feeling that affects us and it is inspired by a short sentence written on a sugar packet: “Grass is always greener on the other side”.
Cayetana H. Cuyás presents “Historia de la Historia” (History About History), a prelude of her work The Prado and The Moon, where she digs in her family´s past to build an identity which, similar to memory, is half real and half fiction. Historia de la Historia delves into the meaning of the creation of self-image for humankind, since Prehistoric times to Instagram.
Yapci Ramos in “I Don´t Mind II”, shows us a series of portrays of people at different at the times becoming aware of their sexuality,their body and pleasure, regardless of their conditioning. This piece proposes a detachment from others´ permanent watch and, at the same time, gives us an insight into the idea of self-determination and human-being´s loneliness.
Gabriel Hernández looks at the spatial dimension of our experiences and activities, the transformation of our concepts of space and how we make them ours. “Parts of some quintet” places the spectator in front of a great dilemma: Can a video be here and not be here? Or, Can it be in two different places but in different ways? What is a video? This major questioning, basis of his piece, closes this exhibition with the conviction that it will prompt more questions than answers.
Esther Aldaz Brunetto. Curator