Booklet Eulalia Valldosera #4, 2016

EULALIA VALLDOSERA

STUDIO TRISORIO

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EULALIA VALLDOSERA

STUDIO TRISORIO

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DEPENDENCIA MUTUAvideo performance, Napoli, 2009

Una donna delle pulizie lavora con un simbolo del potere. Liuba, di origine ucraina, è l’alter ego dell’artista e su sua richiesta accetta di pulire una statua dellímperatore Claudio custodita al Museo Ar-cheologico di Napoli, depositario di oggetti di valore che furono un tempo merce di scambio fra i potenti.

La superba figura maschile, simbolo del dominio, subisce i gesti mec-canici di qualcuno senza voce. Attraverso un particolare uso della luce e per mezzo del linguaggio filmico, l’artista rappresenta il modo in cui noi stessi assumiamo ruoli di potere nei nostri comportamenti quotidiani.

Attraverso una doppia narrazione, diurna e notturna, lártista traspor-ta il tema verso gli strati piú profondi del nostro inconscio e lascia affiorare, dietro un’azione apparentemente banale, i fantasmi della libido femminile. Ció che unisce i due poli opposti delle classi sociali si trova allínterno della nostra psiche: l’egemonico e il subalterno sono in una relazione di reciproca dipendenza, un ruolo ha bisogno delláltro per giustificare il suo posto nel mondo.

L’artista non ha timore di mostrare una situazione stereotipata in cui la donna si colloca apparentemente al servizio dell’uomo. Questo le serve come punto di partenza per continuare la sua indagine sul tema dell’identità, sul femminile ed il maschile come forze compresenti ed in continua tensione in noi stessi.

DEPENDENCIA MUTUAvideo performance, Napoli, 2009

A cleaning woman handles a symbol of power. Liuba, a Ukrainian wom-an, accepts the artist’s request to clean a statue of the Emperor Claudius at the Archaeological Museum of Naples where many priceless objects, which powerful men once used as tradable commodities, are housed. This magnificent masculine figure, a symbol of dominion, is subjected to the mechanical gestures of a person who has no say. Through her particular use of light and cinematic language, the artist conveys the manner in which we assume roles of power in daily life.

In a dual narration, night and day, the artist transports the subject to the deepest levels of our unconscious and her use of apparently trifling actions allows suggestions of female libido to emerge. That which unites the two opposite spectrums of social classes is to be found within our psyche: the hegemonic and the subordinate are in a mutually dependent relationship for each role needs the other to justify its very existence.

The artists has no fear of exhibiting a stereotype situation in which wom-en are apparently placed at the service of men. This serves as a point of departure as the artist continues to delve into the issue of female and male identities as coexisting, innermost forces in continuous tension.

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Dependencia Mutua. Abrazado, 2010giclée printing on cotton paper on forexcm 121,50 × 175

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Dependencia Mutua. Limpiar, 2010giclée printing on cotton paper on forexcm 85 × 120

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Dependencia Mutua. Polvo, 2010giclée printing on cotton paper on forexcm 50 × 70

Dependencia Mutua. Matrimonio, 2010giclée printing on cotton paper on forexcm 50 × 70

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Dependencia Mutua #12. Trapo, Velo, Lienzo, Pantalla I, 2010giclée printing on cotton paper on forexcm 45 × 30 × 5

Dependencia Mutua #12. Trapo, Velo, Lienzo, Pantalla II, 2010giclée printing on cotton paper on forexcm 45 × 30 × 5

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WE ARE ONE BODYStudio Trisorio, Napoli 2012

Nel teatro delle ombre dell’opera Mother & Father un uomo e una donna eseguono una sequenza di azioni come in un rituale di amore e odio. I ruoli di madre e padre che abbiamo interiorizzato, costitui-scono il nostro apparato emotivo e relazionale. Le immagini, proiettate da un’unica fonte, sono catturate da una moltitudine di specchi che riflettono frammenti di luci e ombre su oggetti di uso quotidiano in una stanza da bagno esattamente ricostruita nello spazio della galleria. Le luci e le ombre rimbalzano da un oggetto all’altro e coinvolgono lo spettatore in un gioco di riflessi multipli.

Nell’installazione We Are One Body le immagini della recente ri-volta ateniese trovate in rete scorrono sulla superficie di un vecchio vaso di terracotta, mentre dal ventre di un altro vaso esce il sonoro della guerriglia alternato alle dichiarazioni profetiche e metafisiche del-la ipnotista americana Dolores Cannon e alle proiezioni sul soffitto di immagini geometriche astratte che guidano verso la trascendenza. La dislocazione delle immagini e del sonoro spiazza lo spettatore rispetto alla fruizione consueta del linguaggio televisivo a cui è assuefatto. I protagonisti della guerriglia urbana, i manifestanti e la polizia, riman-dano all’archetipo greco del guerriero che difendeva il suo territorio a costo della sua stessa vita, ci ricordano il dramma sociale che stiamo vivendo a livello globale. I vasi simili agli orci usati per far fermentare il vino, alludono al fermento sociale in atto.

Nelle fotografie della serie Family Ties l’artista indaga i temi delle relazioni familiari e sentimentali. I soggetti delle immagini sono membri di due diverse tipologie di famiglia, una strutturata in modo conven-zionale e l’altra corrispondente a un modello contemporaneo molto diffuso che potremmo chiamare a struttura fluida. L’artista ha chiesto a ciascun soggetto di interpretare il suo ruolo consueto nella vita reale e ha sovrapposto scene in piena luce e in ombra, scene di corpi che inte-ragiscono e si fondono, esprimendo la complessità dei legami familiari e la varietà dei paesaggi emotivi interiori che sfumano l’uno nell’altro.

WE ARE ONE BODYStudio Trisorio, Napoli 2012

In the shaded scene of the work entitled Mother & Father, a man and a woman perform a sequence of love and hate rituals. The interi-orized roles of mother and father make up our emotional and rational apparatus. The images, projected from a single source, are captured by a multitude of mirrors reflecting fragments of light and shade on everyday objects in a bathroom which has been precisely reconstructed in the gallery. The light and shade ricochet from one object to another and capture the spectator in a play of multiple reflections. In the We Are One Body installation, Internet footage of the recent Athens revolt is projected onto the surface of an old terracotta urn, while the sounds of guerrilla warfare are alternated with the prophetic, metaphysical declarations of the American hypnotist, Dolores Cannon, which emerge from inside another urn, and the vertical projection of abstract, geometric images lead the spectator towards transcendence. The dislocated images and audio, in sharp contrast with the customary television language to which modern society is so inured, disorient the spectator. The protagonists of the urban warfare, the protestors and the police, are reminiscent of the archetypal Greek warrior who defends his land at the cost of his very life and remind us of the social drama which is taking place on a global level. The urns, similar to those once used to ferment wine, allude to the current social ferment.

In the photographs of the Family Ties series, the artist delves into the subjects of familial and sentimental relationships. The images de-pict members of two divergent types of families, the first, conventionally structured and the second corresponding to a wide-spread contempo-rary model which might be defined as very fluid. The artist asked each of the subjects to interpret his or her usual role in real life and, in stark contrast of light and shade, overlaps the bodies which interact and merge expressing the complexity of family ties and the innermost emo-tions which all blend together.

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installation view installation view

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Mother and Father, 2012light installation with domestic products and single channel video projection

We Are One Body, 2012installation with two ceramic vessels and double channel video projection with sound

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Family Ties, 2012print on barite paper, 6mm forex, aluminum framecm 111 × 163,2


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Amor, 2014 vessel, rose, and single channel video animation on wood shelfvariable dimensions

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EL PODER DE MIS MANOSSerie fotográfica en progreso de Eulalia Valldosera

La recuperación del placer y la sensualidad del tacto en la manualidad que las artes visuales parecen haber olvidado, pasa por la comprensión de nuestras capa-cidades sensitivas como extensiones de nuestro poder mental y proyectual a su vez basados en una capacidad intrínseca en el ser humano: el poder de la intención.

Dando otra vuelta de tuerca al proceso de simulación que supone la mecánica fo-tográfica y su posterior manipulación digital, estas imágenes ponen de relieve que aquello que está ahí fuera, nuestro paisaje, es también un velo, una pantalla hacia la que proyectamos nuestra ilusión de realidad y con la que podríamos interactuar si quisiéramos.

Sabemos que somos capaces de captar otros mundos, otras dimensiones que se nos aparecen intuitivamente como en un parpadeo de ojos. Contenidos sumlimi-nales que nos afectan y a los que podemos acceder mediante estados alterados de conciencia. En meditación profunda los podemos llegar a ver o sentir, incluso comprender,pero…. ¿interactuamos intencionalmente con ellos? Quizás, aunque evitamos creer que en realidad podamos intervenir físicamente en ellos, actuando desde un cuerpo que produce y sostiene los hilos invisibles que nos unen a otras dimensiones.

La poética de este trabajo propone ir más allá del juego de ilusiones y sugiere una visión etérica de las cosas y de nosotros, sugiere unas capacidades perceptivas que van más allá de la gravedad de los elementos. La famosa frase del conocido tratado hermético del Kybalión que dice que ‘lo que está arriba está abajo’, aquí se convierte en ´lo que está fuera está dentro’.

Abocada al trabajo con la luz desde los inicios de mi trayectoria, abandono aquí las sombras y las luces artificales por la luz diurna, insprada por los efectos de los rayos solares en la misma lente fotográfica. Imágenes que recuerdan el metalen-guaje de los medios digitales que en continua expansión invaden nuestra cotidia-neidad, generando virtualidad donde en realidad hay una muy pobre interacción humana. El poder de las manos puede devolver al cuerpo sintiente los recursos que hemos otorgado a la máquina, al corpus digital que pretende embellecer pero tergiversa nuestra relación con el espacio social dejándonos sin posibilidad de interactuar y crear, verdaderamente, un espacio propio y libre.

THE POWER OF MY HANDS Photo series in progressby Eulalia Valldosera

TThe recovery of pleasure and sensuality of touch in manual skills that the craft of thr visual arts seem to have forgotten, go through the understanding of our sensory capabilities as extensions of our mental and projectual power in turn based on an inherent capacity in man power: the power of intention.

Giving another touch to the simulation process involving the photographic me-chanic and subsequent digital manipulation, these images show that what is out there, our landscape, it is also a veil, a screen into which we project our illusion of reality and with wich we could interact, if we wanted to.

We know we are capable of capturing other worlds, other dimensions that intuitively appear to us as in a blink of an eye. Subliminal content that concern us and which we can access through altered states of consciousness. In deep meditation we can all get to see or feel, even understand, but ... we can intentionally interact with them? Perhaps, although we avoid to believe that in (the) reality we could intervene physically in them, acting as a body that produces and supports the invisible threads that bind us to other dimensions.

The poetics of this work aims to go beyond the game of illusions and suggests an ethereal vision of things and of us, suggests some perceptual skills that go beyond the gravity of the elements. The famous phrase of the well-known hermetic treatise Kybalion says that “what happens at the top is down,” which here becomes “what is outside is inside” ?

Doomed to work with light from the beginning of my career , I abandon here the shadows and artificial light for that of the day, inspired by the sunlight effects on the (same) camera lens. Images reminiscent of the meta-language of digital media that keep invading our everyday life, creating a virtual reality in which there is little human interaction. The power of the hands can return to the sentient body the re-sources that we have given to the machine, the digital corpus which aims to beautify but sometimes distorts our relationship with the social space, leaving us no chance to interact and really create one truly ours and free space..

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The power of my hands #1, 2016 print on barite paper, 6mm forex, ..27 x 39 cm


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NEPTUNO EN PISCIS #2Instalación audiovisual con contenedores usados de Eulalia Valldosera

Esta obra se inscribe en una serie de instalaciones con vocación contemplativa que al mismo tiempo ofrece herramientas críticas sobre nuestro medio ambiente. Ofrece dos visiones contrapuestas que conviven en nuestra realidad e invita a establecer puentes entre ellas y a preguntarnos por el dominio sobre nuestros pro-pios mecanismos de percepción.

Una video proyección en la pared queda reflejada en los contenedores llenos de aguas oscuras. Son bidones metálicos reciclados que usualmente sirven para al-macenar desechos de los motores, los gasóleos, las grasas, el alquitrán, e incluso pinturas, e definitiva son restos de suciedad líquida de los combustibles fósiles que intervienen en el acondicionamiento de las maquinarias que cruzan nuestros mares y lo contaminan. El video nos muestra, en diversos fragmentos que se multi-plican en la pared, la danza del reflejo del sol que a su vez es capaz de reflejarse, dependiendo de nuestra posición en la sala, en la superficie de cada contenedor, para introducirnos así en su hipnótica coreografía. El reflejo se balancea y a veces se fragmenta y multiplica en varios soles que periódicamente retornan a un único reflejo. Nos invita a la observación pausada, a redescubrir la presencia de la ma-gia en la sencillez de una circunstancia cotidiana.

En claro y violento contraste entre las aguas cristalinas del mar y las aguas oscuras y contaminadas, nos habla de nuestra dualidad tan presente en el obra de esta artista que ha trabajado desde siempre con la luz proyecada y su sombra. En esta serie inaugura una nueva temática: la luz solar y su relación causal con los elemen-tos de la Naturaleza. Desde sus inicios donde elabora nuestra mirada interior de-sde nuestro propio cuerpo, pasando después a la proyección de nuestras sombras psicológicas en los entornos cotidiano de nuestros espacios y objetos domésticos, y siguiendo con la problemática de nuestra relación con el otro, con las figuras de poder, y con el colectivo, Valldosera da otra vuelta de tuerca a su investigación lumínica y escenográfica ampliando su campo de reflexión hacia una esfera más amplia, la de nuestra relación con el medioambiente, entendiendo que lo que está fuera está dentro, y no es otra cosa que el reflejo de nuestras luces y oscuridades.

NEPTUNE IN PISCES #2 audiovisual installation with used containersby Eulalia Valldosera

This work is part of a series of installations with a contemplative vocation, providing critical tools on our environment. It offers two opposing views that coexist in our reality, and calls to build bridges between them and to ask for dominion over our perceptual mechanisms.

A video projection on the wall is reflected in containers filled with dark water. These are usually recycled metal cans used to accumulate the waste of engines, gas oils, fats, tar and even painting, and in the last analysis, are the dirty liquid remains of fossil fuels involved in restructuring of machinery crossing our seas and polluting them. The video shows, in several fragments that multiply on the wall, the dance of the reflection of the sun, which in turn can be reflected, depending on our posi-tion in the room, on the surface of each container, in order thus to introduce us in this hypnotic choreography. The oscillations of the reflections sometimes fragment, sometimes multiply in different suns that periodically return a single reflection. They invite to a pleasant observation, to rediscover the presence of magic in the simplic-ity of a daily circumstance.

The clear and sharp contrast between the blue sea and the dark and polluted wa-ters, speaks to us of our duality so present in the work of this’ artist who has always worked with light and casted shadow. In this series the artist opens a new theme: the sunlight and its causal relationship to the elements of nature. From the beginning, where the artist elaborates our gaze on the interiority of our bodies, then move on to the projection of our psychological shadows in the everyday environments of our spaces and on household objects, and later with the question of our relationship with the other, with the figures of power and the collective, Valldosera continues her investigation on light and the scenic research expanding its field of reflection to a wider sphere, our relationship with the environment, understanding that what is outside is inside, it is nothing more than a reflection of our lights and shadows.

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Neptune in Pisces #2, 2016 movie file HD colour, stereo, 2’:30’’

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VERA ICONdi Eulalia Valldosera

Le Vera Icon (vere immagini) sono reliquie cristiane considerate reali immagini di Cristo, presumibilmente prodotte per miracolo non sono quindi opere d’arte eseguite dalla mano dell’uomo. Secondo la tradi-zione cristiana, durante la Passione di Cristo una donna si tolse il velo e lo usò per pulire il sangue e il sudore dal volto del Messia. Dovette combattere la paura e la violenza per raggiungerlo e toccarlo, in un’at-to d’amore che richiese coraggio e compassione. L’immagine del volto di Cristo si impresse sul panno. È il mito cristiano posto a fondamento di ogni rappresentazione.

Le mani di un uomo infetto puliscono e si prendono cura di un’imma-gine della Veronica. Come un portatore di HIV, anch’essa è portatri-ce di un’immagine immaginaria. Sentiamo la sua voce raccontare la convivenza con l’HIV, ma non vediamo il suo volto perché ha scelto di restare anonimo. Ci trasmette la sua esperienza, ma non ci offre la sua immagine. Molti portatori del virus indossano un velo, nascondono un segreto. Allo stesso modo, sono costretti ad usare un altro tipo di velo fisico per evitare il contagio.

VERA ICONby Eulalia Valldosera

The Vera Icon (Latin for ‘true images’) are Christian relics that are be-lieved to be true depictions of Jesus, supposedly produced by miracu-lous means, and are thus not works of art executed by the hand of man. According to Catholic tradition, during the Passion of Christ, a woman took off her veil and used it to wipe the blood and sweat off the face of the Messiah. She had to struggle against fear and violence in order to physically go up to him and touch him, in a loving action that required courage and compassion. The image of the face of Christ was imprint-ed on the cloth. It is the Christian founding myth for all representation, for the genesis of the image by magical means.

The hands of an infected man clean and look after an image of Saint Veronica. Like the HIV carrier, she is also a carrier of an imaginary im-age. We hear his voice recounting the experience of being HIV positive but we do not see his face because he chooses to remain anonymous. He transmits his experience to us, but he does not offer us his image. Many carriers of the virus wear a veil, hide a secret. Likewise, they are obliged to use other types of physical veils to prevent contamination.

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Vera Icon, 2014 video, 11’

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design Donato Faruolofinito di stampare nel mese di febbraio 2016 – Napoli

STUDIO TRISORIONapoli · Riviera di Chiaia, 215+39 081 414306www.studiostrisorio.com [email protected]

Documents

Booklet Eulalia Valldosera #4, 2016