Abstract
This article focuses on the video pieces from the project The act of seeing with no eyes (2020). The project consists of two videos that explore the concept of visuality as an instrument of power and a legitimising tool for the politics of domination and inequality. By the use of appropriated archive images, and using collage as the main montage technique, as well as a deconstructive strategy of appropriated material - the images are cut, superimposed and juxtaposed in a plastic way -, relations and contrasts are established between images captured by control and surveillance devices, together with different tests of visual perception. Through the formal and thematic analysis of the video pieces proposed in the project, as well as the study and comparison with other artistic references, the intention is to rethink the dialectic of the montage used, and how it allows us to re-signify the appropriated images, questioning visuality as a discourse of progress and emancipation.
Highlights
By the use of appropriated archive images, and using collage as the main montage technique, as well as a deconstructive strategy of appropriated material - the images are cut, superimposed and juxtaposed in a plastic way, relations and contrasts are established between images captured by control and surveillance devices, together with different tests of visual perception
This article focuses on the video pieces from the project The act
The project consists of two videos that explore the concept of visuality
Summary
The act of seeing with no eyes es un proyecto expositivo presentado en la Galería Punto de Valencia (España), del 17 de diciembre del 2020, al 5 de marzo del 2021. En ellas vemos también registros aéreos, aunque en este caso se trataría de imágenes captadas por drones del FBI en las manifestaciones del Black Live Matters del 2015 en EEUU, que se yuxtaponen con vídeos de diferentes test de psicología de la visión e ilusiones ópticas, un reportaje televisivo de los años sesenta que relaciona la percepción visual y las dificultades en el aprendizaje en niños, así como un vídeo experimental de 1939 sobre una neurosis a un perro. En el segundo video, también con título homónimo, y cuya duración es de 2’30’’, vemos imágenes similares de los drones en las manifestaciones, junto a un vídeo de ilusiones ópticas, en el que se intercalan diferentes tests de percepción visual como puntos moviéndose hacia otras posiciones del plano a diferentes velocidades, o líneas con la misma longitud pero que aparentan medidas distintas, con la neurosis a un perro, y la imagen de unos ojos de mujer que parece estar atenta a todo lo que ocurre “delante” de ella. Un niño puede tener una vista perfecta y una inteligencia excelente y, sin embargo, su percepción de las formas y los objetos y sus posiciones puede estar distorsionada (...) Los niños que fracasan en aprender, que se retiran, hacen payasadas o pelean tienen discapacidades en la percepción visual. (Churchill Films, 1966)
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