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People don't go together.

Lihuel González

Curator: Sebastián Vidal Mackinson

9.8.16  - 9.9.16

This exhibition brings together audiovisual pieces that diagram about the concept of translation. If this is an activity that involves the exegesis of the meaning of a text in one language to guide it to another, its objective is to create a relationship of equivalence between both the original and the final discourse. That is to say, to establish the blind confidence that both communicate the same message. The difference between this and interpretation is that in the latter, ideas are expressed orally or through gestures from one language to another.

People do not go together occupies the room with four videos and a small scene composed of a book of scores and a music stand, waiting to be activated by a musician. Diagram on the interpretive, figurative and appropriation capacity of this activity. This exhibition, then, reveals a consecutive narrative based on the fiction of being present in a simultaneous translation of a philosopher's speech on Nietzsche's wish for Zarathustra to be the continuation of Beethoven's novena. Thus, this proposal serves as a kick to construct a discourse on the possibility of the relationship of translation between words and music. In turn, this intellectual chain is appropriated and translated into the English language, and this first result of mixing, hybridization and resolution is subjected to the same process towards the German language. This sequential cycle of translations is completed, linguistically, by the passage from German to Spanish, the original language in which our first character built thought.

The original speech are the words of a philosopher constructing thought. A person standing framed in the foreground that is shown between the action of remembering, establishing relationships, knotting the relationships that are present in the spoken word in order to transmit concepts. It is a relationship between the power of the word, the thought and the gestures that occur in its construction. It is this knotting of possible meanings that is embodied in each instance of its translation and what we can see is the concentration of each agent trying to be as faithful as possible to the discourse they receive, a discourse that is appropriate by each of them and that is it becomes unfailingly porous. Sitting, facing the camera, the attention is focused on their concentrated faces, receiving information, processing it, gesturing. A catalog of gestures in tension, curiosity and attention.

In turn, the score book operates the transmission again. These scores are music taken from the four speeches, appropriated by a musician and activated at different times throughout the exhibition.

The word traductio, which can be defined as the action of guiding from one place to another, is made up of three different parts: the prefix trans-, which is synonymous with “from one place to another”; the verb ducere, which means "to guide"; and the suffix –cion, which is equivalent to “action”. Guiding action from one side to another, from one language to another, from one language to another. People do not go together gives to see a choral performance of a visual nature taking a set of words as a basis. This position taken by each agent (philosopher, translators, musician) is presented as audiovisual portraits of each one. Portraits that demand the physical approach to each one in order to perceive and capture the particular features of each one in the modulations of their voices, in the embodied intonations, in the present gestures.

Thought construction that is made visual through gestures, gestures, tics. Almost like a catalog.

Sebastian Vidal Mackinson

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