María Alche "Fallas"

Thu, 20/09/2012 - 20:00 - Fri, 16/11/2012 - 20:00
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"
María Alche "Fallas"


No wonder Maria Alche - actress, film director - break into the circle of the visual arts with these autobiographical fictions: Family photos of a past generation, forgotten, found, in which she includes herself altering the timeline. Movies of a single frame: fiction, because in the reworking of the image, her grandparents are no longer her grandparents but the grandparents that she provides from a present in which the document becomes story.

The paradox is as old as orality. We can find antecedents in Velazquez's painting and Borges literature, in experiments that artists and videographers are doing in the film industry, including major productions such as Back to the Future saga. Now, given the case, better to leave the past alone.

Maria, as a child, she spent long hours in the lab that her father, a geologist, had assembled in a room of the house. The experience was vividly revealed as a family game, learning that gave way to study film and acting. His short film, Noelia, was awarded in the last -BAFICI- Buenos Aires Film Festival and his performance in The Holy Girl, directed by Lucrecia Martel, took her to the Cannes Film Festival in 2004. However, neither formal practice nor the awards obtained took away from her the original mystical photographic process.

The grandparents holidays around the world, the marriage of Bencho, summer naps on the weekend home, dad with school uniform, pregnant mom: She looks at the pictures of a time of splendor looking for voids, silhouettes out of focus, the shadows of who was out of the picture; signs of erratic real thing: the unexpected. Then she projects the images on slides to interact, within that window, with ghosts. Take care of the details absorbing light, costumes, and special effects, as the fan which makes her hair fly like the dead sea breeze flies her grandmother´s. The artist blends into the scene and the action is captured in direct engagement which in turn is then digitally reworked until it gets faded own time.

Verisimilitude actives the mechanism in the viewer's emotional gaze. This is not a work of art, this is life. Only then the work reaches another stage, the performance. She uses histrionic technique to access to that field between two unnamed fields, a space in which wanders cautiously, weightless, expectantly, with expression in degree zero, leaving a trail of mindfulness.

His condition reveals the operational reality of domestic photographic documentation. It is exposed contemporary mania file, archaic desire to preserve a moment, nothing innocent pretense of making a memory, to design and keep it forever. Mary doesn´t confront, in any event honors the phenomenon. The fact that identity and history are contructions is not new. The point is not to forget.

 

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