Photographs by Denis Gorishev



180 x 198 x 136 CM

…Day after day, throughout the winter, we hardened ourselves to live only with the mind, in a world of wind and frost…]
                                                                                                                                                             Wallace Stevens


1. The act of resisting, or the capacity to resist.

At the beginning of 2020, a microscopic virus stopped the world in its tracks, generating the greatest global health crisis that no one alive had experienced, and in which we still find ourselves.
We were all thrown into the distance of global confinement and the stillness of global shutdown. Many fears and anxie-ties surfaced, at the same time that we reacted with shock and dismay to the critical situation of the hospitals and the scandalous irresponsibility and political management of the situation in different countries. Undoubtedly, this crisis has put us in the same boat, but it placed us in different cabins.
One year later, we continue in that confusing and uncertain scenario, where we have to continue making vital, mental and emotional efforts as individuals and as a collective. Many of us have turned our home into a refuge, where we have all adapted our consciences and inertias, our habits and obsessions in the daily life, while at the same time a set of de-ficiencies of sensory and emotional aspects shared with the social experience have been emanating.

In this way and from an intimate perspective, within a reality and circumstances, The Resistance was born as a maneuver of thought, documentation, exploration and representation of the confinement into which we were thrown. The piece explores the loneliness of the individual, the physical distance and the anxiety of contact with others, the stillness of movements, the unity of space and its oppression. It reflects on its own time, which has lost its intentionality and analyses that liminal space in which we constantly wander, waiting for everything to resume, without knowing when or in what way. A suspended time, extended, as if it never advanced, despite the whirlwind of events. But it also analyses the perfection of calm, the perception and satisfaction of being present in both time and space. 

Through an exercise of deconstruction and reconstruction of the time unit of the year 2020, The Resistance is presented as a sound art installation configured within the space as a sculpture of slightly more than half a circumference, formed in turn by another 53 circular sculptures of polished stainless steel forming 13 towers. 

The piece interacts intimately with its surroundings establishing an intense dialogue with space and light, and delimits the public-private space through its form, generating different approaches. From inside the semicircle, the landscape is homogeneous and static and only we and our reflections activate the movement. The 53 mirrored patina steel belts, use the repetition of their reflections and their cumulative disposition to offer us a confuse landscape, full of small fragments of our self, multiplied and distorted in infinite spaces. In this way, the refractory game of voyeurism in the active gaze, presents the viewer as an integral element of the work, strengthening the relationship between the object and the subject and symbolically exploring presence and absence.
The sound material is a documentation of my own space inhabited in silence, (where I was shielded for a year) through a total of 366 field recordings from the end of March to the end of 2020 and arranged on a 12-minute timeline. Through the accumulation and superposition of the real sound material, I generate a new perverted phonography, which is situated in a border territory between fiction and reality. It aims to take the viewer into a new field of exploration and aims to establish a message and tell a story. The resulting soundscape uses accumulation and superposition to offer us an amalgam of sounds set with a palette of different frequencies and voltages, depths and temperatures. It is projected in a loop, without fulfilling an opening or closing function, but is an intermediate, contained and extended state. The soundscape is not directed exclusively at the ears, but involves the whole body through the tour of the piece. The sound waves bounce off the metal walls and their subsequent resonances act in such a way that the entire piece emerges as an expansion of three-dimensionality, in which the axes on which the materials are organized are no longer exclusively internal to the work itself, but also external to it.


THE RESISTANCE_circular-3d.jpg
THE RESISTANCE_circular-3d side1.jpg
THE RESISTANCE_circular-3d front.jpg
THE RESISTANCE_circular-top view with nu
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