Zero Syllable
La palabra, la palabra corpórea, el trozo de palabra olvidado, la pausa, el aliento, el silencio. Dicho, oído, nada. Esta trabajo explora la materialidad del lenguaje, la taducción y la memoria en relación con las palabras como un intento de reconfigurar el espacio interior. El juego entre las palabras habladas (varias voces dentro de una voz) y la imagen (cuerpo) hace eco de la geografía de la supervivencia: momentos traducidos a palabras, habla traducida a cuerpo, a imagen, a vacío. La obra de Zero Syllable surge de experiencias concretas del habla, de mi inevitable mutismo de ser al tener que pronunciar y el inevitable decir de las palabras. Las palabras son la delgada línea entre ser y no ser, entre presencia y ausencia..
The word, the corporeal word, the forgotten piece of word, the pause, the breath, the silence_Having said, heard, not at all. This thesis explores the materiality of language, translation and memory in relationship to words as an attempt to reconfigure inner space. The play between the spoken words (multiple voices within one voice) and the image (body) echoes the geography of survival: moments translated to words, speech translated to body, to image, to void. The work of Zero Syllable comes from concrete experiences of speech, from my unavoidable muteness of being in having to utter and the unavoidable speaking of words. Words are the thin line between being and not being, between presence and absence. As long as I speak (I am many), I am a political being. This work is, because it speaks.empieza con una idea. Tal vez quieras comenzar un negocio o convertir un pasatiempo en algo más. O bien, es posible que tengas un proyecto creativo para compartir con el mundo. Sea lo que sea, la manera en la que cuentes tu historia online puede marcar la diferencia.
My interest in the relationships between spoken voice and written voice (human body and textual body) came about through a realization of the permeability of language, its erratic component, the instability of meaning. By facing having to speak a different language, there is a sort of rejection towards the mother tongue and in that awkwardness and confusion of speaking, a gap: a silence is encountered. The way I speak a language, informs the way I speak another. Language becomes economized, infantilized and measured by words we know, by words we do not know and words we would like to feel like knowing.
There is an associative and restrained use of words in my video work, which reinforce the suspended measurement of displacement. The performatic component, the fragmented sound of voices, the silence and the repetition evoke a sense of discomfort and rupture. The voice acts both as plural and singular. The “I” performing (speaking) in numerous videos at the time reinforce the sense of the multiplicity within one voice.
The spaces framing each word serve as voids to be filled by the reader: to be spoken and written by the viewer. Inside that pause/silence is where the changeability of meaning takes place. The viewer is somehow induced to play with words, making the text a whole. The space between each word means time, a time to take a breath, filling the blanks.
The contradiction between pleasure and despair and the push and pull in deconstructing subjectivity by performing speech resonate with the plurality of my own voice in relation to the formation of my own specific subject, a historical subject. The duality and the importance of not establishing a destination or an origin in the mapping of voices and images in the work of Zero Syllable is evoked by a sensation of evanescence and moments of silence, a dreamlike experience of a regressive state. Image and sound dissolve at times. The work discloses a sense of broken memory and collective unconscious by the use of fracture and destabilizing the relation between center and periphery, and between past and present: a nowhere and a here at the same time. The installation space works as a liminal space, a transition (something like the instance between falling asleep and being awake but prolonged).