Related
Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
Related
Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
In Pasajes IV the idea follows the same narrative, concept and structure as of former videos from the series. In the so far three Pasajes video works a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This is the geography of a story expressed in an alteration to the normal, which so far aroused from a montage of urban spaces.
In this proposed formulation of Pasajes IV the video explores the landscape of Patagonia.Crisscrossing this territory in the search of the differences on the landscape, a character as a guide, unites different territories disconnected in its geography, as essential pieces of a puzzle to understand this region’s present.
_
Information from Sebastián Díaz Morales’ website.
Credits
- Collaboration: ruangrupa and the 15th Jakarta Biennale
- Cast: Maya Watanabe
- Produced with the financial support of: Amsterdams Fonds voor de Kunst and the Stedelijk Museum Amsterdam
- Installation view: Venice Biennale, VIVA ARTE VIVA, 2017

You must be logged in to post a comment.