El Cuarteto La Caza

“All the fires the fire” by Julio Cortázar. I found this book, rather I rescued it from being burned in a rural school where I did my last year of primary school. “There were too many books, they took up too much space.” I recorded myself reading a small fragment of one of the stories, “Reunion.” Not long ago, a few weeks ago, the area around the town where I grew up caught fire. It is worth clarifying that the fires that occur in that place, in Cafayate, an area of ​​large businessmen with large portions of land, are usually intentional in order to take advantage of the land that the weeds and native mountains obstruct their “exponential economic magnification.” I had the pleasure of witnessing it, although some differ. An event worth observing. I managed to make some records while the fire was active, from the top of a rock, from a nearby warehouse. all the fires… the fire. The fragment takes me, makes me dance through the branches like a flame crawling through the bark. That fluctuating, organic movement is my inspiration. Cortazar sliding through its pages is my inspiration and my multimedia friend, who helped me use sound editing software to be able to articulate my reading to the code.

Technical, aesthetic and conceptual development

The technical component of my work is based on the convergence of different artistic expressions and digital media. I use sound editing software ‘Ableton’, articulating my reading of the fragment “Reunión” by Cortazar with the ellipse code, extracted from my previous work. I want to highlight the recycling of elements and recovery of material.

In this work I take what was done in Tp1 and articulate it with fire, with All fires. I chose this fragment because I liked the fluidity of narrating it, but then, even after finishing this work, I came across a study by a university student from Spain who mentions Cortazar and his process of recovering testimonial archives of Che Guevara, from when he fought in Sierra Maestra. That is where I articulate CAMNITZER’s text and find an unforeseen connection.

Questioned, I rethink my position as an artist and think about what I can do with that, being able to turn my back on entire mountains being set on fire, next to friends’ houses.

Latin American conceptual art contributes to the construction of content for the revolution, with the works becoming instruments of social consciousness, helping to build a collective narrative.

We choose with every decision, even when we decide to do nothing, when we remain silent. This work is a denunciation of those who know truths and still turn their backs on the fire, but the ashes remain.

Literature

• CAMNITZER, Luis. (2008). Arte conceptual y conceptualismo en América Latina. https://www.jstor.org/stable/43808824