Desfasajes

According to the RAE, “desfasajes” is “the difference or mismatch between two actions, situations or processes”.

Marina Fernández Quiroga's work arises from the random finding in the street of a box of slides containing images of unknown families. From the gesture of appropriation, she began to project them in different outdoor spaces generating a discordance between image and space. In this way, the simultaneous action of temporo-spatial decoupling (re)signifies the work. Abandoned memories are the target to address the complexity of the concepts of time and space, displacing or transposing them. From this action, appropriation disappears; it takes the form of a mural and projection, where absence is personified in presence. Dichotomies of primary states known to all. On the other hand, through this action the image is recast in a less evident, more fragile and more stealthy state of relationship. Pascal Bonitzer in his book “Desencuadres, cine y pintura” argues that questions of relations between the camera and the ocular perception of the real follow one another; in order to investigate time, movement, space and even narrative. Desfasajes appeals to nostalgia constructed through modalities that no longer exist: mural photography or the drive-in movie. The need to return through extemporaneous manifestations of the image, to harbor a collective memory in the present.
Desfasajes appeals to nostalgia constructed through modalities that no longer exist: mural photography or the drive-in cinema. The need to return through extemporaneous manifestations of the image, to harbour a collective memory in the present.

Karina Acosta
April 2019