Fragmentos da Jaula
Fragments from the cage
Foucault presents the notion of the archive as a fragmented entity and, according to the author, ‘the archive cannot be described in its entirety and its presence is inevitable. It appears in fragments, regions and levels’ (Foucault 2006, 29).
Thinking about memory as a space for reflection becomes relevant in a contemporary world that often leaves us alienated and besieged. In the context of contemporary artistic creation, and particularly in the performance and installation space, the archive makes a central contribution to the necessary ‘emotional inscription’ of memory as a vehicle for raising awareness of reality.
The evocation of the miner occupies this space of consciousness, because the history and memory of these workers, and what unites them in the past as well as in the present, is ultimately the realisation that they spent their lives digging up wealth that only brought them misery.
Fragmentos da Jaula is a multimedia installation in which sound, transformed into textures of light and shadow, is a vehicle for reflection on the fragmentation of memory and, in an evocation of Plato, the confrontation of the layers of reality. The descent of the miners' pit is projected onto the newspaper - as an untainted collection of the real - in the space of the reality of consciousness and of hardness - and coloured by the light that is sound, resulting from the fact that the movement of the light is digitally controlled by the sound variations, creating a sensation of immersion, as well as unity in the spatial perception of the installation itself.
Thinking about memory as a space for reflection becomes relevant in a contemporary world that often leaves us alienated and besieged. In the context of contemporary artistic creation, and particularly in the performance and installation space, the archive makes a central contribution to the necessary ‘emotional inscription’ of memory as a vehicle for raising awareness of reality.
The evocation of the miner occupies this space of consciousness, because the history and memory of these workers, and what unites them in the past as well as in the present, is ultimately the realisation that they spent their lives digging up wealth that only brought them misery.
Fragmentos da Jaula is a multimedia installation in which sound, transformed into textures of light and shadow, is a vehicle for reflection on the fragmentation of memory and, in an evocation of Plato, the confrontation of the layers of reality. The descent of the miners' pit is projected onto the newspaper - as an untainted collection of the real - in the space of the reality of consciousness and of hardness - and coloured by the light that is sound, resulting from the fact that the movement of the light is digitally controlled by the sound variations, creating a sensation of immersion, as well as unity in the spatial perception of the installation itself.
Foucault apresenta a noção de arquivo como uma entidade fragmentada e, segundo o autor, “o arquivo não pode ser descrito na sua totalidade e a sua presença é inevitável. Ele aparece em fragmentos, regiões e níveis” (Foucault 2006, 29)
Pensar a memória como um espaço de reflexão torna-se relevante num mundo contemporâneo que nos deixa muitas vezes alienados e sitiados. No contexto da criação artística contemporânea, e particularmente no espaço da performance e da instalação, o arquivo contribui de forma central para a necessária “inscrição emocional” da memória como veículo de consciencialização da realidade.
A evocação do mineiro ocupa este espaço de consciência, porque a história e a memória destes trabalhadores, e o que os une no passado e no presente, é, em última análise, a constatação de que passaram a vida a escavar riquezas que só lhes trouxeram miséria.
Fragmentos da Jaula é uma instalação multimédia em que o som, transformado em texturas de luz e sombra, é um veículo de reflexão sobre a fragmentação da memória e, numa evocação de Platão, o confronto das camadas da realidade. A descida do poço dos mineiros é projectada no jornal - como uma coleção imaculada do real - no espaço da realidade da consciência e da dureza - e colorida pela luz que é som, resultante do facto de o movimento da luz ser controlado digitalmente pelas suas variações, criando uma sensação de imersão, bem como uma unidade na perceção espacial da própria instalação.