For years I woke up running away across the roofs, not able to return home. One morning the image of a broken child in a swing marked a permanent memory in my mind. One dawn I woke up blind of one eye and the next of both eyes.
MANADA reflects on the herd mentality that defines how individuals of a particular group can act together without a planned direction.
MANADA questions human behavior, looks for the confrontation of the guilt feeling against our moral constructs, focusing in acts of physical violence that human-beings repeat individually or collectively, and that define an important part of its nature.
-What have we done? Who is to blame? How could we do it? Why did we allow it to happen? – From a series of generic questions, appears the simulation of a trial which, while being an invisible structure in the project, will serve as work method. The objective is not to end up in judgment or verdict, but to lay on the table the human ability to inflict and endure pain.
In MANADA photography is the starting language, which is completed by three video projects, a sound landscape, and text narration, in order to build the emotional universe of guilt.
The hands: The defendants (Hands photographs, finished)
Hands have the ability of registering the inheritance of human acts, with them comes the power of the act.
Photographic language allows to stop indefinitely in contemplation of the portrayed hands, to come closer to marks on the skin. Each of the creases evidences pain, guilt, courage, surrender, endearment, forgiveness, honesty, submission, violence, … Intense emotions that speak about human condition.
Presented together to reinforce the concept of “herd”, the goal is linking to scenes about numberless acts, in which inevitably prevail violent behaviors and episodes of pain.
The structure of an imaginary trial appears as a tool that, from now on, will be used as working method. In this process, hands become “representative” of the acts, being able to question them as perpetrators, accomplices, and witnesses.
Brief natural events: The scene of the crime. (Video-instalation, work in progress)
After raising questions and reflecting about human behavior, the path leads to locations where we can observe scenes typical of life’s course without human presence.
With a hasteless look and in order to evidence the unavoidable coexistence with the environment, ordinary scenes occurring before, during, and after humans, will be presented.
The video capture in this piece allows translation of the never-ending life cycle, playing once and again.
Through the whispering wind in the trees, the tide reaching the shoreline, or the sun’s reflection on the water, the goal is to build an atmosphere of tension reminding us of our act’s reach, with respect to the environment that not only contains us but also observe us, and, without disdain, lessens our importance.
Human body Involuntary muscle movements: the clues. (Video-instalation, work in progress)
Nearly imperceptible muscle movements occurring under the human skin will be captured on video. This unconscious impulses represent the confinement of a latent conscience unable to confess.
Eyes moving under the eyelids, clenching jaws, pupils dilating, or brows furrowing, are involuntary spasms that will be presented as a sequence of fragmented clues. The goal is approaching the anguishing and futile effort to keep appearances.
Together, the repetition of these images in movement will reinforce the confinement and tension that is caused by the feeling of guilt.
Shadow zone: The evidence. (Video-instalation, work in progress)
In a space, invisible up til now in the project, as an “out-of-field”, the registration and exhibition of the acts committed continue to pile up, in a reachable archive.
Documented events, apparently direct recordings, and open access graphic material will be collected from the Internet in order to extract fragments of a world in the shadow, presented as proof.
Tortured animals, beatings, whiplashes, crucifixions, abuse, excess, … Have all of these happened? Is this happening? Is it real or fiction?
Emulating both the imprecision of memory, and the ephemeral and confused reality, this video-installation shows photographs of an eye, briefly interrupted by Internet captured video fragments. With this kind of edition, the audience visualizes this content in a fleeting manner, and without needing to stop in each sequence, the whole set represents the herd behavior referred to in MANADA.