Política de los recuerdos y los olvidos. Zapping Zone una instalación de Chris Marker
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Universidad Distrital Francisco José de Caldas
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Política de los recuerdos y los olvidos. Zapping Zone una instalación de Chris MarkerRESUMENChris Marker es autor de una extensa obra audiovisual, a través de la cual trata de hallar una política de la forma capaz de constituir las imágenes como memoria colectiva. Su trayectoria artística está marcada por una intensa experimentación técnica y estilística en torno a la imagen audiovisual. Esta experimentación le conducirá a romper constantemente los moldes, llevando su propia expresión más allá de la inflexibilidad de las tradiciones y las disciplinas. Este ensayo regresa concretamente sobre un proyecto tardío, su instalación interactiva Zapping Zone, para analizar las técnicas de ensamblaje y las tácticas empleadas respecto al visitante de la instalación. La obra es un buen ejemplo de un personalísimo trabajo centrado en la escritura de la historia y en los procesos de la memoria colectiva. En ella, Marker no trata de imitar o reproducir los mecanismos individuales y sociales, sino justamente de crear las condiciones técnicas y estéticas para la producción de nuevas formas de recuerdo y olvido.PALABRAS CLAVEArte contemporáneo, audiovisual, memoria, técnicas de montaje, olvido, Zapping ZonePOLICY OF RECALLING AND FORGETFULNESS. ZAPPING ZONE A CHRIS MARKER’S INSTALLATIONABSTRACTChris Marker is the author of an extensive visual artwork in which he intends to develop a politic of shape able to construct images as collective memories. The author’s artistic trajectory is considerably influenced by an intense technical and esthetic experimentation related to audiovisual image. The experimentation technique allows the author to constantly break traditions providing the chance to place his artwork at an upper level, exceeding the inflexibility of tradition and discipline. This essay takes a retrospective look at a late project, its interactive installation Zapping Zone with the purpose of analyzing the assembly and the used tactics regarding visitors who attend to the installation. This work is a good example of an outstanding devoted concern to history of writing and processes of collective memory. Marker not only pretends to imitate or reproduce social and individual mechanisms, but also attempts to create technical and esthetic conditions as new options for forgetting and recalling.KEY WORDSContemporary art, audiovisual, recalling, mounting technique, forgetfulness, Zapping Zone.IUIARISPA KUNGARISKAmANDA zAPPING zONE CHURASKAKUNA SUTI CHIS MARKERMAILLALACHISKASug iaha runa suti Chis Marker kawachikame sug, rurai chipi munakume kawachingapa tukuipa iuiakuna kai runa kami ajai racha unai kaipi trabajaska iachami allilla chimanda mailla maillla allichispa ringapa suma kidangami churangapami kankuna sug rurai kaawngapa allillachu kudaku suti Zapping Zone allichispa tukuikuna kawangapa. Kaipi iuiarispa ñugpamnda kawachinaku Kai kilkaipi ruraka runa suti Marker, mana kungarringapa iuiaikuna kaugsakangapa.RIMANGAPA MINISTISKAKUNA Ñugamanda rurai, kawachispa, iuiai, allilla churangapa, kungarri Zapping Zone.POLITIQUE DES SOUVENIRS ET DE CE QU’ON OUBLIE. ZAPPING ZONE UNE INSTALLATION À CHRIS MARKER RÉSUMÉChris Marker c’est un auteur d’une grande œuvre audiovisuelle, à travers laquelle il essaie de trouver une politique capable de constituer les images comme mémoire collective. Son parcours artistique est marqué pour une intense expérimentation technique autour l’image audiovisuelle. Cette expérimentation lui fait rompre régulièrement les schémas, en emmenant sa propre expression au-delà des inflexions des traditions et des disciplines. Cet essai retourne directement sur un projet tardif ; proprement de son installation Zapping Zone, pour analyser les techniques d’assemblage et tactiques utilisées vis au visiteur du montage. L’œuvre est un exemple parfait du travail personnel centré dans l’écriture de l’histoire et dans les processus de la mémoire commune. Dans celle-ci, MARKER n’essaie pas d’imiter ou reproduire les mécanismes soient individuels ou sociaux, par contre de créer les conditions techniques et esthétiques pour la production de nouvelles formes de souvenir et d’oubli.MOTS CLÉSArt contemporain, audiovisuel, mémoire, techniques de montage, oubli, Zapping Zone.
Chris Marker is the author of an extensive visual artwork in which he intends to develop a politic of shape able to construct images as collective memories. The author’s artistic trajectory is considerably influenced by an intense technical and esthetic experimentation related to audiovisual image. The experimentation technique allows the author to constantly break traditions providing the chance to place his artwork at an upper level, exceeding the inflexibility of tradition and discipline. This essay takes a retrospective look at a late project, its interactive installation Zapping Zone with the purpose of analyzing the assembly and the used tactics regarding t Detalle de uno de los monitores de Zapping Zone en el Kunstnernes Hus de Oslo, en 2014. Imagen cedida por el Kunstnernes Hus de Oslo © Coll. Centre Pompidou. Fotografía: Rosey Trickett. visitors who attend to the installation. This work is a good example of an outstanding devoted concern to history of writing and processes of collective memory. Marker not only pretends to imitate or reproduce social and individual mechanisms, but also attempts to create technical and esthetic conditions as new options for forgetting and recalling.
Chris Marker is the author of an extensive visual artwork in which he intends to develop a politic of shape able to construct images as collective memories. The author’s artistic trajectory is considerably influenced by an intense technical and esthetic experimentation related to audiovisual image. The experimentation technique allows the author to constantly break traditions providing the chance to place his artwork at an upper level, exceeding the inflexibility of tradition and discipline. This essay takes a retrospective look at a late project, its interactive installation Zapping Zone with the purpose of analyzing the assembly and the used tactics regarding t Detalle de uno de los monitores de Zapping Zone en el Kunstnernes Hus de Oslo, en 2014. Imagen cedida por el Kunstnernes Hus de Oslo © Coll. Centre Pompidou. Fotografía: Rosey Trickett. visitors who attend to the installation. This work is a good example of an outstanding devoted concern to history of writing and processes of collective memory. Marker not only pretends to imitate or reproduce social and individual mechanisms, but also attempts to create technical and esthetic conditions as new options for forgetting and recalling.