Blau, Rot, Orange, Gelb, Grün, Orange - jeden Ausstellungsraum von FICCIONARIO IV hat der argentinischen Künstlers Sebastián Díaz Morales in farbiges Licht getaucht. In einem kurzen Interview erklärte er uns sein Konzept.
Vom 14. Oktober 2016 bis zum 5. Juni 2017 zeigte das Museum für Gegenwartkunst Siegen die Ausstellung FICCIONARIO IV von Sebastián Díaz Morales (geb. 1975 in Comodoro da Rivadavia, Argentienien). Im Zentrum der Präsentation standen die drei monumentalen Videoinstallationen "Insight", 2012, "Suspension", 2013, und "The Lost Object", 2016. Daneben waren weitere Videoarbeiten, Objekte und Zeichnungen ausgestellt.
Wir durften dem Künstler beim Installieren der Ausstellung über die Schulter schauen und ihm Fragen stellen. Das Interview führten wir im April 2017 auf Englisch.
When and why did you start scrutinizing the concept of reality so intensely?
Sebastián Díaz Morales: I guess it was when I came to understand that I wasn’t very content with what reality had to offer. I’d rather believe in alternatives to this, other options of reality.
What exactly did you take into account when creating the exhibition’s colour concept?
Sebastián Díaz Morales: I wanted to house a series of works in a shelter that was supposed to appear to be designed specifically for them. I not only needed the space to be functional for the works but also the museum to play along with their narratives and ideas. Lets say the architectural space of the museum has been treated like a movie. Every space has its own atmosphere and communicates with the viewer as if they are inside the set of the plot. I also did not want the installations to be projected in the darkness of a room but to interact with the space. In addition, I wished for the space and the lighting to interact with the installation, reflecting that light and thereby coloring it. In the end, the museum itself is a maze, a maze of meaning and of forms in which the viewer can get lost in order to find a new anecdote, thought, emotion, or impulse, a desire to act or react towards something by the help of this experience.
What exactly do you associate with mirrors? Why are mirrors a recurring theme in your works?
Sebastián Díaz Morales: Mirrors are a reflection of our surroundings, our context, our perception of things and of ourselves. As such, they produce an image that is a perfect copy of the original. But the doubling of the real also makes us look more carefully and deeply into the image that that reflection gives us. Cinema, literature and culture in general are reflections of our reality and vice versa. By looking at those reflections and carefully looking into their elements, sometimes this reality starts to become unrecognizable, uncanny. I’m interested in that happening.
What is your intention behind using abstraction to show the protest movements in “Lucharemos Hasta Anular La Ley” the way you did? The work is completly different in its style and technique.
Sebastián Díaz Morales: Maybe I ought to begin by letting you know that my point of departure is, quite precisely, reality, albeit a somewhat surrealistically twisted reality. What we had here was a demonstration against the passing of a new law that prohibited people from working on the streets. My brother, who was a filmmaker in Buenos Aires back then, heard something on the radio about how people were beginning to gather in front of the parlament and he hurried down there and started to film the event with a small video camera, standing alongside the many teams of media people from television networks and news bureaus. It is my brother’s recordings of the event that pose the basis for the visuals in the work.
I have been working on many occasions with this special kind of filter that I used in this video – in order to create a sense of distance, in order to break away from realism in the representation. I am a filmmaker and I am a documentarist, in equal measures. I always add some form of displacement or other; I am trying to draw the phenomena out from their all too unequivocally defined context in the hope that they will come to show us something that both contains their everyday definition and simultaneously expands our understanding of them as phenomena. The filter I am using in Lucharemos … serves to transpose the events into a more abstract world, a more surreal one, you could say.
Das Interview führten Kristin Scheller und Stefanie Scheit-Koppitz.
Zu Francis Bacon, "Man at Curtain", 1950crauss
Niele Toroni erhielt am 2. Juli den Rubenspreis. Im Museum für Gegenwartskunst eröffnete am gleichen Tag seine Ausstellung, die er selbst vorbereitete. Ein Rückblick und Resümme. ssk
Blau, Rot, Orange, Gelb, Grün, Orange - jeden Ausstellungsraum von FICCIONARIO IV hat der argentinischen Künstlers Sebastián Díaz Morales in farbiges Licht getaucht. In einem kurzen Interview erklärte er uns sein Konzept. ks