ARTISTS
Sebasti谩n D铆az Morales: Pasajes IV
In his video works, Argentine artist Sebasti谩n D铆az Morales (b. 1975) explores the intersection between fantasy and reality. In his films, the analytical and observational imagery is often dramatized through a radical absence of human interaction combined with empty landscapes. The results appear as fragmented, surreal and highly psychological cinematic representations of a reality that is sectional, constructed and subjective.
This video work is part of a series of five entitled Passages (Spanish: Pasajes) which the artist created in 2012-2017. It confronts the viewer with a collage of different one-shot scenes of landscapes that, by virtue of the technique, unfold as tension-filled post-apocalyptic panoramas. Some scenes take the viewer to a mysterious no-man鈥檚 land at the end of the world in the Patagonian Desert, while others show uninhabited buildings in an industrial city in southern Argentina, where the artist was born and raised.
In the fourth episode of the video series, Pasajes IV, a woman wanders through changing spaces and landscapes that appear desolate and abandoned. The soundtrack and movements of the existential voids are defined by the wind as a dramatically silent commentator. Even the woman, whose unresponsive movement through rooms connected by doors and passages, remains mute. The viewer must interpret the cinematic narrative and construct a connection between the sequences 鈥� and not least mirror their own understanding of reality in the seen.
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In his video works, Argentine artist Sebasti谩n D铆az Morales (b. 1975) explores the intersection between fantasy and reality. In his films, the analytical and observational imagery is often dramatized through a radical absence of human interaction combined with empty landscapes. The results appear as fragmented, surreal and highly psychological cinematic representations of a reality that is sectional, constructed and subjective.
This video work is part of a series of five entitled Passages (Spanish: Pasajes) which the artist created in 2012-2017. It confronts the viewer with a collage of different one-shot scenes of landscapes that, by virtue of the technique, unfold as tension-filled post-apocalyptic panoramas. Some scenes take the viewer to a mysterious no-man鈥檚 land at the end of the world in the Patagonian Desert, while others show uninhabited buildings in an industrial city in southern Argentina, where the artist was born and raised.
In the fourth episode of the video series, Pasajes IV, a woman wanders through changing spaces and landscapes that appear desolate and abandoned. The soundtrack and movements of the existential voids are defined by the wind as a dramatically silent commentator. Even the woman, whose unresponsive movement through rooms connected by doors and passages, remains mute. The viewer must interpret the cinematic narrative and construct a connection between the sequences 鈥� and not least mirror their own understanding of reality in the seen.
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