TERRE DI NESSUNO. ARENAS MOVEDIZAS Instalación interactiva 2002 - 2008


En esta instalación interactiva se confrontan las incertidumbres, tensiones y conflictos consustanciales a los movedizos territorios de las redes globales de la información. El acceso a Internet se establece sobre un tablero de parchís convertido en interfaz, en el que un dado electrónico pauta aleatoriamente los pasos a seguir. Algunas casillas conducen a páginas web, mientras otras llevan a noticias verdaderas que parecen falsas y, viceversa, a información manipulada que consideramos cierta.

En esta obra, los artistas transforman la territorialidad estable del parchís original en un juego de acceso a un mapa incierto de información deslocalizada. El usuario se expone a un recorrido minado y atravesado por un flujo de datos que incitan a la duda y escenifican la incertidumbre, considerada el primer paso para avanzar en la construcción del pensamiento crítico.

In the interactive installation, Terre di Nessuno. Arenas Movedizas, [No-Man’s Land: Quicksands] (2002-2008), the user is confronted by the uncertainties, the tensions and the conflicts inherent in the shifting territories of the global information, television and Internet networks. Two large-scale trapezoidal projections envelop the spectator in an incessant flow of images, only interrupted by the sudden appearances of the flags of Terre di Nessuno. Superimposed onto these flowing images, one can glimpse rapid footsteps crossing wet streets; a sign with the word wait and another pointing to the way out. In the meantime, there are hesitant voices and nervous intermittent laughter; the fragmented and deconstructed anthems of the member states of the European Union; and once more, hurried steps superimposed on waters polluted by industrial waste and oil spills. In the distance one can make out rusty, half-sunken barges. Someone follows their own shadow with a camera on their shoulder.

Endless, impenetrable walls in a lawless territory unhampered by regulations of co-existence. Silhouettes of cites destroyed and abandoned, and once again, rapid footsteps that advance across images of the prisons of the world. Once again, kids on rubbish dumps. Women from different cultures showing the portraits of their disappeared relatives. Other women carrying dead children in their arms. More walls and rapid footsteps through the contemporary underworld. Among the ruins, glimpses of the shell of the Twin Towers. More steps. Armed men and women. Oil wells in flames. Night-time bombardments on infra-red recordings broadcast in real time by the televisions and newspapers of East and West.