Es war Erde in ihnen is a series of suspended ‘traces’ that, based on a poem by Paul Celan, addresses the images of memory, those that are permanently reinterpreted, that cannot be fixed.
In his poems Celan uses language to reveal images that go beyond the visible, evoking the experience of what has been forcibly retained by violence. Those images that we perceive but that due to their violence cannot be evoked or reconstructed from the visible. The poem alludes to architecture as the symbol of the coercive and evokes the indomitable power of touch and desire between human beings. 
The drawing that is sealed on each of the surfaces comes from a geometric patter found on the base of a serialised plastic box that is commonly used to transport food. This structured pattern has been transferred by presure into the surfaces on view. Each of the pieces is presented in suspension in the space, forming a continuous line that could be infinite. They are located at 30 cm from the ground, enough so that could be observed from above. 
As if immerse in an aerial view, the image of human beings renders imperceptible, all that is left visible is a diluted image, a delirious reproduction of a territory delimited by borders - intervened by geometric hierarchies.

Había tierra en ellos

Había tierra en ellos y
cavaban.

Cavaban y cavaban y pasaba así
el día y pasaba la noche. No alababan a Dios
que, según les dijeron, quería todo esto,
que, según les dijeron, sabía todo esto.

Cavaban y nada más oían;
y no se hicieron sabios ni inventaron un canto
ni imaginaron un lenguaje nuevo.
Cavaban.

Vino una calma y vino una tormenta
y todos los océanos vinieron.
Yo cavo y tú cavas e igual cava el gusano
y aquel remoto canto dice: cavan.

Oh uno, oh nadie, oh ninguno, oh tú:
¿Adónde iba si hacia nada iba?
Oh, tú cavas y yo cavo, yo me cavo hacia ti,
y en el dedo se nos despierta el anillo.

`La rosa de nadie´ 1963, Paul Celan.
Versión de José Ángel Valente.

...

There was Earth

There was earth inside them, and
they dug.

They dug and dug, and so
their day went past, their night. And they did not praise God,
who, so they heard, wanted all this,
who, so they heard, witnessed all this.

They dug and heard nothing more;
they did not grow wise, invented no song,
devised for themselves no sort of language.
They dug.

There came a stillness then, came also storm,
all of the oceans came.
I dig, you dig, and it, the worm, digs too,
and the singing there says: They dig.

O one, O none, O no one, O you:
Where did it go, then, making for nowhere?
O you dig and I dig, and I dig through to you,
and the ring on our finger awakens.

'No One´s Rose´ 1963, Paul Celan.

... 

Es war Erde in ihnen, und
sie gruben.

Sie gruben und gruben, so ging
ihr Tag dahin, ihre Nacht. Und sie lobten nicht Gott,
der, so hörten sie, alles dies wollte,
der, so hörten sie, alles dies wusste.

Sie gruben und hörten nichts mehr;
sie wurden nicht weise, erfanden kein Lied,
erdachten sich keinerlei Sprache.

Sie gruben.

Es kam eine Stille, es kam auch ein Sturm,
es kamen die Meere alle.
Ich grabe, du gräbst, und es gräbt auch der Wurm,
und das Singende dort sagt: Sie graben.

O einer, o keiner, o niemand, o du:
Wohin gings, da's nirgendhin ging?
O du gräbst und ich grab, und ich grab mich dir zu,
und am Finger erwacht uns der Ring.

`Niemandsrose´ 1963, Paul Celan.




SIGNIFICANT CONTACT
2015
Performance and documentary film 08'37'' Participants: Actor and professional fighter Stuart Booth & Seyit Bozdag Duration of the performance: 02:00:00 {Rehearsal 01:56:00 - Show 00:04:00} Court Room, QHS Wellington (Victoria Embankment, London) 08 - 2015
Duress
2021
(Compulsió) Galeria Joan Prats, Barcelona July - September, 2021
12/2000
2016
series II folded Tv plasma screens La Casa Encendida, Madrid. ES Funded by Generaciones 20216 Fundación MonteMadrid, ES.
Bleed Hole
2017
video installation/digital work variable dimensions photographic documents 1/5 films series 2/50 2017
MEHR FANTASIE
2019
Installation serie I Variable dimensions Pulverised plasma TV Screens series 2017 - 2021
MEHR FANTASIE
2018
vitrine, serie II pulverize plasma TV screens, size varies, sample detail 26 kilos Exhibition Tangible Remains Hidden Matters, Gallery DECAD, Berlin 2018
ANONYMOUS
2018
Audio installation I - II 00:20:00. Stereo Ciudad Real, Castilla La-Mancha, Spain. April, 2018 - ongoing
¨el sol y la muerte no se pueden mirar fijamente¨
2021
serie I, 50 superficies sobre pared. 2020/21
CHEWING GUM
2014
wooden box, paint, speakers, sound coming form live stream youtube's videos. 24h. Summer Event, Royal College of Art Sculpture Building, London UK. Site specific installation. Edition I, 2014. Edition II, 2022.
X/5.000
2018
serie III folded plasma screens, 2017 - 18 ARS 17 Exhibitions KIASMA Museum of Contemporary Art, Helsinki. Finland. Photos / Kansallisgalleria | Finnish National Gallery / Pirje Mykkänen
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