Survival

Survival. Installation. One room (Approximated dimensions: 2,10 x 1,20 x 4,00 mts. [82,7 x 47,2 x 157,5 in.]). The walls are painted in dark grey, and on the floor there is a grey carpet. Video 8’30”. Inflatable bed.

survival-vista-general

Survival. General view.

survival-detalles

Survival. Details, entry and interior.

The spectator, lain on a pumped up bed, can watch a video work projected on the ceiling. The video work consists on a motioned zenithal shot of people walking in the street, from above their heads, like flying over them. At the same time we hear an audio recording of the fifties, with instructions to protect ourselves in case of a nuclear attack.

The act of seeing from above turns us into the over flying menace, bomber ghosts or “guardian angels”, sleepy, feeling confidence in the security that catastrophe will never reach us. “At long last –as Duchamp would say in his epitaph- dead people are always others”. However, this work shows an evident ambivalence. We cannot obviate the fact that, anyway, we are on earth, we have not even taken off. This situation, together with the soundtrack speech –instructive and prescriptive- moves us to the condition of potential victims. Mass media, as Baudrillard says, are ideological constructors of virtual reality, that kind of radical illusion which denies “real reality” by means of the rhetoric exercise of “hyper-reality”.

“Violence in itself can be perfectly banal and innocuous. Only symbolic violence generates singularity…. One tries after the event to assign to the latter any meaning, to find any possible interpretation. But there is none possible, and it is only the radicality of the spectacle, the brutality of the spectacle that is original and irreducible. “.

The spirit of terrorism. Jean Baudrillard.