Sweet.Documents / English
"Sweet.documents" is an audiovisual piece aimed for the exhibition “Apocryphal Colony”, MUSAC (Museo de Arte Contemporáneo de Castilla y León), León (Spain), June 21st 2014. Among other things, this work intends to intimate – from the persistence in the…
"Sweet.documents" is an audiovisual piece aimed for the exhibition “Apocryphal Colony”, MUSAC (Museo de Arte Contemporáneo de Castilla y León), León (Spain), June 21st 2014. Among other things, this work intends to intimate – from the persistence in the daily reality– with the great ideas presented at this exhibition about the Colonial fact.
And this is made by presenting an audiovisual document in which three foreign voices discuss and consider a set of images which they captured during a former trip to León. In the voice-over commentaries we will find a splintered visual document, in which by means of a voice game – half descriptive, half amazed – little urges are articulated in the mood of the speakers. These urges work as an intimate theatre – a parallel frame– about the sensitivities, reflections and historical facts exhibited at “Apocryphal Colony”.
In "sweet.documents" there are over 30 fade-ins; theft, adoration, the ancient world, hunger, the sweet menace are mentioned; there are watching, seducing or escaping presences. The trick or treat, rubber. The fascination of the man who came back, or the man who once was there. Once in a while – keeping a documentary echo - there are location games; Mind Maps where the physical places that our protagonists visited are shown from the air.
The Western World is referred to from the lost conscience in an electric isolated world – Mask. There are control traps by a man who offers himself – he penetrates as a visual fragrance – from the pleasure of the taste of Cocoa – That Man. Or memory and appropriation exercises - by the fascinating teacher – who came and kidnapped a childhood – Ring. Those same exercises repeated at adult age, with the appropriation of the objects which a mysterious man collected – of his idea of Love – in the last section – Emma’s Appropriation Exercises.
In sweet. documents, there is also an ironical update of the literary legacy of the end of the 19th and of the 20th century. In this document – inside the weird tourism presented – Herman Melville’s boredom, Joseph Conrad’s oppressive looseness, or Thomas Mann’s appeal and subsequent capture from astonishment can be understood.