Santander Mode d'emploi
“….por primera vez en mí mismo, como en un increíble país extranjero….”
Julio Cortázar
Manuscrito hallado en un bolsillo
The photos of this project are part of a prejudice: the arrival to a strange city and the irresistible tendency of arriving to a conclusion about it.
Through erratic travels around the city and its institutions and common places, I took visual notes of what I’ve found, constructing a deeply subjective speech of my impressions of the place and taking profit of the supposedly camera’s objectiveness and capability of capturing reality.
The installation of the work, set in a small room of the Villa Iris played with the compressed space, the colorful tiles of the place and random texts with instructions and advices (ranging from self-help books to Lothar’s quotes).
Eduardo Soteras
A boat for 17 - 1 and The Dragon Tree, 2012
My work has been developed within a research based-practice, mainly divided among drawing and sculpture. Such investigation is focused on botanical species and their accounts, which are the starting point for my artistic work.
During the workshop I continued to work on an account from a XVI century manuscript, in which it is reported that boats were made from the Dragon Trees trunks. Taking into account an engraving of The Dragon Tree from the XVIII century, I have created an object composed with sectioned origami boats in order to “monumentalize” that aspect
While thinking about boats, I decided to look for a rowing team ( Sociedad Deportiva de Remo Pedreña) where I could make a sound record of one of their practices.
During the workshop we also were a team, maybe not so synchronized. On an attempt to create a connection between the sound recording and our experience as a group in Santander, I started drawing. By looking at them, Lothar challenged me to do the drawing on the wall.
Nuno Henrique 2012
Sample of the sound recording in A boat for 17-1 and The Dragon Tree, 2012.
0 listens A boat for 17-1 and The Dragon Tree, 2012.
Paper sculpture, chalk on wall and sound recording of a rowing team in loop.
The project “Greetings from Santader” is a visual enquiry on the rethoric touristic experience and exploitation of places.
I realized a series of 15 selfportraits in the most popular areas of Santander as a typical tourist would have done. I always placed myself in the same position at the centre of the frame, at the same distance from the camera, stressing the constant and banal repetition of my presence in different sposts of the city.
The project ironizes on the standardize experiences that the touristic businness promote worldwide.
Pamela Breda
In betweenTemporary installation
50 Xeroxs 20x20 cm (size of each picture 112x112 cm), needles and blu trhead
When you create an image, you are producing an artistic map of a territory. This territory can be part of our subjectivity, our natural world or our cultural environment. But it is always a representation. The map can’t be the territory.
This piece tries to interpret the act of shaping our internal and external territory. I use two pictures: the first one is a delicate seascape and the second is a view of the mountains. I divide them in multiple frames, as a sort of de-construction process. The pictures are printed on Xerox, on a very light paper and then they are pinned on two opposite walls. I leave the needles out of the wall, moving each frame of the image towards the head of them.
With this process I want to represent the fragility of our physical and subjective environment, how it is possible to destroy it just with the touch of one hand. The picture/map is distant from the wall to underline the distance between an interpretation and the tangible word, but at the same time it is linked with the territory trough delicate and thin connections such as the needles. In the wall between the two pictures, there is an abstract architecture made with thin light blue thread and needles. It is to show the breakable and often invisible connection between two opposite aspects of the nature such as the sea and the mountain.
The final result is an immersive and light installation, that represent the unstable and fragile connection between our personal visions and our surroundings, between the map and the territory.
Fundacion Botin, Santander, Spain, 2012
www.lucaspano.com
Me gusta tanto lo bueno como lo salvaje.
by Lucia Simon
When I arrived to Santander, I had in mind a fragment of Walden. Walking through the city I found a magnolia petal, which took me back to Villa Iris and I began to work with the Magnolias and Plumbs of the garden. Me gusta tanto lo salvaje como lo bueno it´s a quote of Thoreau and I used as the titel of the two installation that I did in Santander.
“Era excitante, en esa época, recorrer los entonces ilimitados castañares de Lincoln –ahora duermen el sueño eterno bajo el ferrocarril- con una mochila a la espalda y una vara en la mano para abrir el zurrón, ya que no siempre esperaba a la helada, entre el crujido de las hojas y los sonoros reproches de las ardillas rojas y los sonoros arrendajos, a quienes robaba a veces sus castañas medio consumidas, pues estaba seguro de que los zurrones que ellos escogían contenían el mejor fruto. En ocasiones me subía a los árboles y sacudía las ramas. También crecían detrás de mi casa y un enorme árbol que casi la ocultaba era, cuando florecía, un ramo que perfumaba los alrededores, pero las ardillas y los arrendajos se quedaban con casi todo su fruto; los arrendajos acudían en bandadas por la mañana temprano y extraían las castañas de su zurrón antes de que cayeran. Les cedí esos árboles y visité los bosques más lejanos, completo de castaños.”
WALDEN
Henry David Thoreau
