Artists
Cristóbal Cea
Julián Brangold
Mateo Amaral
Karina Acosta
Diego Alberti
Ghost of Concordia (MacDowell) by Cristóbal Cea.
Starting from a one minute newsclip, Ghosts of Concordia recreates the floods of Concordia (Argentina, December 2015) using a variety of 3D animation and digital post-production tools in order to restore the gaze towards this now forgotten event. Ghosts, virtual cameras and 3D performances recreated from the little information available configures a looping narrative based in a dilemma: the inconsolable distance that separates event, witness and spectator. At the end, through subtle gestures, we might discover the main intention behind this montage: to treat this flood as a memory and not as an archive.
"Ghost of Concordia (MacDowell)", (2021), by Cristóbal Cea. Moving Image, Edition of 3. Still.
Observation Machine 1 by Julián Brangold.
This work depicts a composition created by manipulating, destroying, and rebuilding 3D scans of classical sculptures from ancient times that were stored in large databases and then recovered by the artist as subject matter. The camera movement and visual dynamic were created to replicate the point of view of an omniscient spectator "studying" the structure generated, as though to understand it better.
"Observation Machine 1", (2021) by Julián Brangold. Video Art / Film, Edition of 1. Still.
delta by Mateo Amaral.
Delta is an audiovisual construction inspired by the ecosystem of "El Tigre", a delta near the city of Buenos Aires (Argentina). This work is part of the We Were Humanity project, a narrative machine that uses 3D engines and artificial intelligence systems to remix the elements of a vast virtual world and thus build strange stories about the human being as a member of the natural world from the perspective of future entities, hybrids between artificial intelligence and organic life.
"delta", (2021) by Mateo Amaral. Video Art / Film, Edition of 6. Still.
Policía by Karina Acosta.
Using audiovisual footage found in news websites, video clips and modified videogames, Policia addresses violence as an everyday experience for different social groups in Argentina. An official speech states the official duties of police men and women as representatives of the State, meanwhile a cumbia -a popular music style usually associated with the lower classes- narrates the point of view of a part of society that feels victim to the crisis of capitalism. The streets, the night and soccer culture become the territories of institutional violence that describe the figure of an Argentine policeman in this found-footage video.
"Policía", (2014) by Karina Acosta. Video Art / Film, Edition of 5. Still.
Terrovision, 2021 by Diego Alberti.
Until just a few decades ago, TV in Argentina was one of the main cultural promoters in the country, broadcasting knowledge and entertainment to the entire society. However, nowadays it is mainly focused on getting consumers to buy products. Diego Alberti uses the data mosh technique to corrupt the coding of TV signals by operating exclusively on fragments of advertisements, thus creating a composition based on abstract symmetries as a result of the operations intended to degrade the quality of the recordings. The rhythm of the work is led by industrial percussion that reinforce the drama caused by the manipulation of the bodies that serve as mediums of media capitalism.
