Sanchez, Casilda.

*1980 in Madrid, ES;
lebt und arbeitet in Chicago, USA
Studium der bildenden Künste an der Complutense University Madrid
2011 Master an The School of the Art Institute of Chicago

 

Ausstellungen [Auswahl]:

2010 Gruppenausstellung „Stories of Relativity“, Sullivan Galleries, Chicago, USA
2010 Einzelausstellung LG Space, Chicago, USA
2009 FILE RIO Electronic Language International Festival, Rio de Janeiro, BR
2009 Gruppenausstellung, Soho Photo Gallery New York, USA
2008 „Urban Jealousy“, International Roaming Biennial of Tehran in Berlin, D

As Inside as the Eye Can See 

(dt. So nah das Auge sehen kann)

 

 

Date: 2009
Length: 07:00 min
Format:  16:9
Specification: Colour, No Sound

 

Das extreme Close-up zweier einzelner Augen, die sich langsam aufeinander zu bewegen, erzeugt eine durchdringende Intimität und zugleich einen irritierenden Verfremdungseffekt. Durch die Kameraperspektive wird der Betrachter zum voyeuristischen Beobachter zweier pulsierender Kreaturen, die als äußerst verletzlich erscheinen in der Blöße ihrer pergamentartigen Haut und ihres kapillaren Nervensystems. Die Augen kommen sich immer näher, aber diese Annäherung, auch in ihrer impliziten Mehrdeutigkeit, missglückt letztlich. Die Distanz oder vielmehr die Nähe zwischen ihnen wird unangenehm. Ihre Wimpern wirken wie spitze, bedrohliche Nadeln, die der empfindlichen Oberfläche der Augäpfel wehtun. Die Augen versuchen etwas zu sehen, aber stattdessen berühren sie sich. Die Optik verwandelt sich in Haptik und macht das Sehen unmöglich. Dann ziehen sich die Augen wieder zurück und hinterlassen eine leere Bildfläche.
In ihrer Videoarbeit vermittelt Sanchez eindringlich, wie das intensive Verlangen, einander zu sehen und in intimer Weise an dem Leben des anderen teilzuhaben, als schmerzhaft empfunden werden kann. Wir sind oft nicht in der Lage, genau zu sehen und zu verstehen, weil wir zu nah dran sind. Wir brauchen eine gewisse kritische Distanz, damit unsere visuellen und intellektuellen Linsen den Fokus einstellen können.
OC

 

Interview:

► 1. Your video has been chosen among over 1700 festival entries to participate in Videonale 13. How central is the video medium to your overall artistic production? Is it complimentary to other media you use or do you work exclusively with video?

 

I have never considered myself a medium-based artist, as my practice has taken various forms throughout the years. It has been the concepts at issue what has constituted the continuing thread of my work. Nonetheless, during the past 2 years I have mainly produced video installation work, which has led me to investigate the problematics and possibilities of such a medium when placed in the space, when turned into a video installation.

 

► 2. Is there a particular theme, concept or problem your art addresses the most?


My work explores an immersion in the experience of vision, its relation with a physical beating body and the role of looking in a social context. I explore the ideas of vision, voyeurism and intimacy, as contradictions and metaphorical behaviors. I present concrete situations zoomed to the very basic image of the eye decontextualized from its continent. Through the various projects, a series of paradoxes are raised: from looking at an eye in its raw closeness to denying the possibility of reaching it as an object of desire. From seeing to being blind. Those specificities pretend to function aesthetically and metaphorically to connect us with the broader experience of our personal communication dynamics. A swing between personal subjective specifics and social global behaviors, embodied in a physical eye that beats, touches and relates intimately.

 

► 3. What artists do you relate to or find significant for your own art-making?


Artists that have influenced my way of thinking and have constituted "models" for me to refer to are: Mona Hatoum, Nikos Navridis, Dan Graham, Naia del Castillo or Vilhelm Hammershøi, among others.

 

► 4. Do you think the video medium can address social or political issues better than other art media?


I think that those are very big and broad issues that can be addressed in any medium. I don't believe concepts to be medium specific, I would say different media can open up the same question in different ways, affecting the audience through different approaches.

 

► 5. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Which of the two positions is close to your own art-making philosophy?


I intend to provoke emotional responses that open up reflections by showing distilled "events" that can be related to our tangible life. It is not a strategy that looks for a direct and specific outcome, but transformation can occur in the mind of the viewer.

 

► 6. How do you understand success in an art-making career?


Sustaining a life-long practice


► 7. What is the most difficult and the most rewarding thing about making art / being an artist?


Most difficult: coping with the multiple lives an artist has normally to live simultaneously


Most rewarding: spending time doing what you love and sharing it with others

 

► 8. What are your upcoming projects?


I'm working at the moment on two new video installations that take on some of the issues addressed by the previous ones, but which pose new and exiting questions.

 

► 9. What do you do when you don't make art?


Video production/editing as well as giving me some treats such as reading, eating, enjoying my friends and family, watching movies, and everything else.

 

 

Kalender

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