Critical texts by author
by Adriana Almada*
Cluster of lights. Erected between sea and earth, lighthouses have been an unequivocal signal pointing to the end of a road, relieving a shipwreck’s woes or fanning the desire for new adventures. Confronted by the advancement of the GPS’ and other localization devices, today these beacons of lights are blinking, dying. It is the end of an era, and Matilde Marín wanted to register this transition. Thus
Two videos derived from this investigation.
Diasporas and Exiles. During many years Matilde Marín fulfilled a ritual in the trips she took. As a roadmap, she photographed her body’s shadow upon each place she arrived. (…) She saw herself in that dark hole defined by the silenced contour, summarizing in that succinct form events and illusions which already spoke of a Diaspora. Not necessary the artist’s displacement but that of millions across the planet. It was during the Nineties when the identity debates and postcolonial studies dominated the art scene and globalization politics unfolded their inaugural artifices. That was the beginning of Itinerarios (1993 y 2001), a suite of 46 photos which won the Grand Prize of the VII International Biennale of Cuenca (2001), Ecuador.
Restructuring the findings. After the political and economic conflicts that culminated in the uprising of December 2001, the crisis came crashing down on Argentina. During the next year, the social and moral consequences were fiercely felt. This is when Matilde Marín started making these photo performances, color photographs and videos. Motivated by the country’s social and economic crisis, Marín created
These aesthetically exacerbated images shake the viewer precisely because of their distance from any documentary representation. To these signs of precariousness the artist adds the image of the lightness of any promise: the perfect and immaterial soap bubble. This last picture connects with a street videoperformance,
Registrating the fumes. To record images of fumes is to stop the course of history and make all bonfires one. In the same way that Bertolt Brecht extracted from newspapers maps and scenes of Second World War and mounted them in his
Other and more recent fumes are shown on the move -also confirming the end of an era-, such as the spectacular implosion of Kodak Building 53 (July 18, 2015) -which manufactured the acetate base of photographic film- in Kodak Park (Rochester, USA ). (…) Briefly: the story in terms of outburst, explosion, as Didi-Huberman would say.