Crónicas Visuais de onde não estive
/ Visual chronicles of where I have not been
installation, 3 channels, 4K, 3:1, Colour, Mono
2024
[Photos by Adriano Ferreira Borges / gnration]
The audiovisual installation Crónicas Visuais de Onde Não Estive invites reflection on certain aspects of fictional and narrative space through the construction of particular realities. In this work, Sally Santiago draws from childhood accounts of older generations, conveyed through overlaps or small lapses in memory, inherent to the act of recollection.
Referring to events that took place around 1950 on an Atlantic island, the three episodes now serve as the foundation for the three chronicles presented here, as scenarios where a long journey of signs unfolds—an ebb and flow of ideas and images—between a past that expands and recreates itself and a present that absorbs and fictionalizes. The artist fosters the openness of multiplicity and the expansion of the realm of possibilities, where the appropriation of memories fuels the sensitive perception of new actions and landscapes, both concrete and emotional, embodying an experimental alternative to contemporary speed and a certain present-day inability to truly see and feel.
By interweaving themes of daily life, where subjective perspectives are tinged with humor and irony, and through a play of figures and characters that interact within a particular slowness and melancholy, this installation seeks to explore the space between the visible and the invisible, the tangible and the intangible, leading the viewer into an exercise of remembrance, projection, and reconstruction of their own memory.
Referring to events that took place around 1950 on an Atlantic island, the three episodes now serve as the foundation for the three chronicles presented here, as scenarios where a long journey of signs unfolds—an ebb and flow of ideas and images—between a past that expands and recreates itself and a present that absorbs and fictionalizes. The artist fosters the openness of multiplicity and the expansion of the realm of possibilities, where the appropriation of memories fuels the sensitive perception of new actions and landscapes, both concrete and emotional, embodying an experimental alternative to contemporary speed and a certain present-day inability to truly see and feel.
By interweaving themes of daily life, where subjective perspectives are tinged with humor and irony, and through a play of figures and characters that interact within a particular slowness and melancholy, this installation seeks to explore the space between the visible and the invisible, the tangible and the intangible, leading the viewer into an exercise of remembrance, projection, and reconstruction of their own memory.
[Installation view at Laboratórios de verão. Gnration, Braga, PT - 2024]
A instalação audiovisual Crónicas visuais de onde não estive propõe pensar sobre determinadas facetas do espaço ficcional e narrativo através da construção de realidades particulares. Neste trabalho, Sally Santiago parte de relatos de infância de pessoas de gerações mais antigas, transmitidos através de sobreposições ou pequenos lapsos de lembrança, próprios do ato da recordação.
Reportando-se a acontecimentos ocorridos entre em 1950 numa ilha do Atlântico, os três episódios servem agora de base para a construção das três crónicas aqui apresentadas, enquanto cenários onde se estabelece uma longa travessia de signos, vaivéns de ideias e imagens, entre um passado que se dilata, recriando-se, e um presente que se permeia e ficciona. A artista promove a abertura da multiplicidade e multiplicação do território do possível, onde a apropriação de lembranças serve o impulsionamento de perceções sensíveis de novas ações e paisagens, tanto concretas como emocionais, corporizando uma alternativa experimental à velocidade contemporânea e a uma certa incapacidade atual de olhar e sentir.
Interpolando temas da vida diária, onde planos subjetivos são tingidos de humor e ironia, entre jogos de figuras e personagens que interagem sob uma lentidão e melancolia particulares, esta instalação procura trabalhar no intervalo entre o visível e o invisível, o tangível e o intangível, levando o espectador ao exercício de rememoração, projeção e reconstrução da sua própria memória.