HAY MUERTOS QUE NO HACEN RUIDO 2015
Claudia Joskowicz’s work looks at history and its repercussions on landscape. In her videos and installations, historic events and personal stories with a historic dimension are revisited and anchored in her native Latin American landscape. On the whole, her work addresses the way technology mediates and redefines concepts like history and memory.
Hay muertos que no hacen ruido / Some Dead Don’t Make a Sound, uses the Mexican legend of the Weeping Woman, ‘La Llorona’, as a metaphor for a nation in mourning.
The Weeping Woman is a broken symbol, a melange of pre-Hispanic myths and various representations of mother goddesses. In its different versions, the legend preserves elements of its indigenous essence and represents time, the road to the underworld, death in the supernatural, and hopelessness in the everyday. Therefore, she is emblematic of the despair of a nation. In the last scene, the voices emerging from the radio deliver the harsh reality of collective mourning as we hear an interview with the parents of the 43 disappeared students of Ayotzinapa.
Registering shots of everyday life of the city of Oaxaca and juxtaposing the mundane with the mystical, this video captures the messy reality of urban life reflected in the media, which used to trivialize it.
Production: LARA 2014, an ASIACITI TRUST Project
Cast: Rosario Ordóñez Fuentes and Christian Rasgado
Cinematography: Antonio Turok
Camera: Benjamín Cabral
Photography Assistant: Ángel Jara Taboada
Editor: Claudia Joskowicz
Director’s Assistant: Alejandro Reynaud
Production Assistant: Bruno Varela
Grip and Dolly: Gustavo Mora and Fredy Rubio
Music: Stefano Scodanibbio, Canzoniere messicano – Canzone popolare: La llorona, Quartetto Prometeo, EMC NEW 2013
Los Sleepers, Al ritmo de la lluvia, Peerless, 2008
Radio: Radio Plantón, Oaxaca, México, 2006;
Ventana Pública: Entervista a padres y estudiantes de Ayotzinapa, www.eskucharadio.com.mx , November 4, 2014
Claudia Joskowicz (b. 1968, Santa Cruz de la Siera, Bolivia) makes poignant and unsettling video works that form a palimpsest of public and private histories. Blending documentary with fictional narrative, Joskowicz recreates episodes of violence—both latent and eruptive—excavated from Bolivia’s past to reveal hidden traumas and tentatively offer the possibility of catharsis. On the whole, her work addresses the way technology mediates and redefines concepts like history and memory.
Thursday, 3 November, 2016