ESTEBAN SÁNCHEZ

Half Glass of Salt Water

Half Glass of Salt Water

“That which is hidden behind the horizon.

The wind that dries my tears.

The look of my eyes, and you,

I am looking at you.”

The use of poetry as a channel to communicate the human condition, the experiences which we visualize in front of us each day, this collective, constant reality in which we all are immersed.

 

My work is built with small gestures, which linked to the presence of the spectator, articulates its significance. It is a portrait of the waiting, the hope, the nostalgia, the melancholia, the poetry in between us, in order to reduce the gap between the viewer and the piece; between the still, the emptiness, the silence and the whole.

 

An exercise of contemplation, the ocean, the other side and the words which come from there, the unknown, a study of the horizon.

The wind that dries my tears.

ALEMÁN (tut mir leid)

A LED display is installed in the side of a room, a showcase or any other space, perhaps close to a corner, or in the middle; just somewhere. The device projects a quite simple question: Hast du Kleingeld?, a question which transforms the undercover gesture of the unsuccessful, the failed, the rejected to the territory of the visible, of the sensible. Somehow in this occasion the interrogation does not allow us to close our eyes or drive them away, just ignoring the apocalyptic scenario of a pyramidal economy and its abysmal gap through modern subsistence.

 

The LED display and its unusual question intents to emulate the rhythm of the unsuccessful economy and installs it in front of our eyes, the blinking media device is used as a focus of attraction or desire, evoking the usual tendency of using it to promote the shopping culture with other kinds of texts and the thousand ups and downs of a stock market somewhere. But in this occasion, the message projected using this accessory shows another side, a hidden and ignored side of the capitalistic global machinery.

 

What inspired me to develop the multiple series of objects and announces in flyers, posters and shop-screens to which these pieces belongs, comes from my numerous trips through different cities around Europe, North and South America. Meeting and observing the characters that inhabit the nightlife of many cities, looking at the hundreds of persons living homeless and sleeping, for example, in front of Coco Chanel’s showcase outside’s window of Galeries Lafayette in Paris, while they try to catch the warmness spilled by the hundreds of light bulbs as faith for its believers. I wrote on my logbook through the walk of that night “The Coco Chanel's homeless and the city that builds careless”. It become clear for me a way of appropriating the strategy, media and language normally used by these corporations but in order to project the subtle of the side we mostly ignored.

 

In this way the series of screens uncover part of a contemporary crisis of the human condition, turning the interest to see in order to help build another form of consciousness, a thought at least, asking and projecting different sentences which catch the spectator´s eyes with its bright and blinking red lights.

It is a piece made to call and catch the attention of any possible spectator or walker and to use the difficulty of avoiding the message made by the growing tendency of the capitalist culture of shop all, which we daily have learned and adopted as much as we have created the masks to ignore most of the persons at the exit of the stores, restaurants, subways, streets or our own doors; sometimes just to ignore the others, taking exile from society, denying all interaction or consciousness of our roll in the collective.

Hast du Kleingeld?

Mediale - Skulptur

LED Laufschrift, Kabel und Batterie.

2013

ALEMÁN (tut mir leid)

Plakat und Postkarten

Digitaler Laserdruck auf Papier.

2012

Du, zwischen all den Dingen:

Die Seele, mein Leben.

To capture the gesture of life by holding a sheet of paper in the air: white, wrinkled and with the word "VIDA" printed on it, as a symbol of another skin; a documented path of time which persists still in the emptiness and is given away to the wind, into the anonymity of what now might be any landscape, with anyone of us there, present.

This is how this landscape, now more anyone's than everyone's landscape, in some other day, in some other time, was a field, disturbed and fractured by the second world war, and now reforested into nature by its inhabitants with apparently no law, apparently no history. A landscape that now is bandaged in places where once craters were. A gesture that today works as source of inspiration, partnership and brotherhood.

 

This gesture, captured on a photograph, builds one part of the installation “Du, zwischen all den Dingen: Die Seele, mein Leben.”, while the photograph was hanged on the wall of an old roman arch of one of the representative buildings of the city of Cologne (KHM library). In front of this piece are over the ground three columns with the same amount of sheets of white paper but in different state of care as a sculpture and second element of the piece. As the third part of this exhibition, a Thermo-Hygrograph was installed at the other side of the room in the composition of the old roman arch - a mechanism to use the natural architectonical forms to amplify its sound and its presence. A Thermo-Hygrograph is used in almost every exhibition room in museums to measure the temperature and humidity inside the room while it documents the changes by drawing them on paper, in order to maintain the integrity of that which is being exhibited. Also its labor is most of the time only for technical circumstances and this is why this particular machine has been hidden, forgotten, shown without notice. When most of the time it has been also an acting part of any installation and any room where one of them has been placed, remaining as a beating clock, measuring and timing, tuning the act of contemplation. It exists in some kind of way as the beating heart of the room, like our own heart inside all of us.

 

The mechanism works as a site specific sound sculpture at the same time, it measures the life inside of the room, while it has been installed in such way that we can perceive it, using the sound and the architectonical structure to improve, to promote, to amplify itself, its natural condition in the room. It is brought proposed as a living part of a place in the instant, giving back some of its importance, and elucidating space to realize that it's part of us when we go into the room, a Systole/Diastole that also creates its own dialogue in silence, quiet presence which by its bounding waves comes back to us in order to recognize our surrounding environment.

Du, zwischen all den Dingen: Die Seele, mein Leben.

Installation

Durst LAMBDA C-print photograph -72cm x 52cm.

Digitaler Laserdruck auf Papier -42cm x 32cm.

Gestapeltes Papier Zusammengeknautschtes Papier / 30. Nasses Papier / 70.

Einfaches Papier / 100.

-je 42cm x 30cm.

Thermo-Hygrograph. (Systole/Diastole)

2012

A Few Dialogues Silently

Wenn ich an Stille denke, kann ich nicht aufhören Bilder in meiner Vorstellung zu malen, schon immer war Stille das wichtigste Element für mich, zwischen allen anderen Merkmalen, aus denen sich der Ton zusammensetzt. Stille war schon immer viel stärker, als das heftigste Geheule, das leiseste Flüstern, der tiefste Atemzug. Stille hat mir immer alles erzählt, ohne dabei ein einziges Wort zu benutzen. Vier Minuten und dreiunddreißig Sekunden an sie zu denken, ist eine Hommage an jeden einzelnen, der an unserer Vergangenheit festhielt, an jene, die noch immer in der Gegenwart sind und andere, die in die Zukunft blicken. Diese Performance wird durch jeden Einzelnen von uns gebildet, die wir in Stille warten, die wir über das Leben nachdenken und die wir uns selbst sein lassen, wie dieser Wind, der uns im vorüberziehen sanft berührt.

-

Cuando pienso en el silencio no puedo dejar de dibujar imágenes en mi mente. El silencio siempre ha sido el elemento más importante para mi entre las características que componen el sonido; siempre ha sido más fuerte que el aullido más agudo, que el suspiro más bajo, que el aliento más profundo; el silencio siempre me ha hablado de todo sin decir nada. El pensar en cuatro minutos y treinta y tres segundos de él, es un homenaje a cada uno que se remonta al pasado, que persiste en el presente y se proyecta hacia el futuro. Este performance se hace de todos, se construye de cada uno de los que aguardamos en el silencio, de todos aquellos que contemplamos la vida y la dejamos ser como ese viento que nos acaricia al pasar.

http://www.media-scenography.org/john-cage/

4‘33‘‘ (side A oder B)

„Ein Stück für den Himmel“

Performance

a) mit Megaphon. 2012

4’33‘‘ (side B oder A)

„Ein Stück mit und für einen Pilz“

Performance

b) mit und für einen Mushroom. 2012

IMPERATIV (Modus)

This performance and installation intends to establish our own reflections around words and thoughts, an auscultation of the image, its relations and semiotics. We embrace the quest to find new forms and structures, definitions and meanings, which conclude in a different relationship to the usual with the surroundings. A landscape that is completed at the instant in which we meet the different angles collected from the appropriation of clusters that generate the entire experience of language as well as reality; the grammar of the world.

 

With the intention of understanding the landscape, we named everything around us, a way in which we appropriate it all, and so, intuitively we build relationships between ideas and things. Everything we imagine, at the same time we make it into reality, named as physical, a continuous discourse between concept and symbol. And so language as the inner index becomes a presence that works in us as the tool we use to capture the world, as well as the way we use to contain it and transport it, an interconnection of worlds and realities.

ANYONE & SOMEONE

Performance - Installation

Digitaler Laserdruck auf Papier und Einfaches Papier 42cm x 30cm.

2011

Síntomas de melancolía

Lo intangible, invisible, inmaterial.

La distancia y el abismo.

La inmanencia y lo inefable.

La levedad, el silencio, lo sutil.

La emergencia.

La crisis.

Lo sensible.

Lo torpe, lo frágil y la duda.

Lo fugaz, pasajero y efímero.

Todo aquello y lo otro.

La nada.

Lo humano -

y sus gestos.

Fragile

Fragile discuss about a memory, about the nostalgia that comes with it. From the experiences in which we submerge to see and understand who we are today rises the awareness of how we chose to build what reality means, about our path through what we call “the world”.

 

The installations are made from found images and reconstructed fragments from our collective memory. Spaces and reconstructed landscapes, geographies of self auscultation, introspection and reflection, somehow make us go inside ourselves deep enough to find pieces of a puzzle forgotten in time in order to discover the things that surround us still, contemplating.

 

This project stems from the recovery of broken pieces that fall down as dust in the bottom of the memory, from the ways in which we share experiences and the images of the world that we build together, from our own realities and common inner places. This journey for the inner becomes a quest in the conscious of the body as a device, a prostheses working together with others kinds of peripheral which also give us different ways of presenting ourselves in different sites, at different instants.

 

Today we are closer to each other in alternate realities, our horizon starts in front of others' windows and screens, making our landscape full of endless possibilities, reassessing the proximity to others' interiors and letting us sail in other seas in a more aseptic, clear and synthetic way. This art piece is there as an attempt to create a landscape itself, by appropriating and intervening the other, a sky based in another latitude of the existing reality, another time zone, which is digitally painted in an intense bright blue and delicately worked in order to create an infinite sky which passes without ending through the sound of a whisper on the wind that has beaten the microphone of the camera which also was intervened to create a certain sound or noise which is replicated to build a phenomenon which allows the spectator to be immersed in the contemplation of the deconstructed landscape.

 

The fragment is the starting point of this work; archaeology is its prime instrument. The time axis is the distance of this composition, in order to make it the collection of intangible and collective memory of audio and video fragments. This piece reconstructs the inner experience of each individual, making this record a mirror that moves into the past and into the future taking computer language as its structure.

Sueños al viento

entre nuevos cielos a contemplar

Video Installation

Video CRT screen and endless white light paper planes.

2011

El Dorado

Video Installation

Video CRT screen, DVD player and endless golden paper planes.

2008

Design by