¡Correlé, correlé, correlá, Por aquí, por aquí, por allá, Correlé, correlé, correlá, Correlé que te van a matar![Run, run, run, Over here, over here, over there, Run, run, run, Run, 'cause they are going to kill you!]
Multichannel Video Installation / Multiscreen Video
¡Correlé, correlé, correlá!... displays journeys in graphic, black-and-white triptychs — the simultaneous telling of the beginning, middle, and end in side-by-side multiscreen video. Some sequences lack the ending frame, suggesting either a journey yet to end or ended in transit. The travelers appear naked yet masked. They are trapped in the stultifying form of cover; the vulnerable form of display.
These images live in a soundscape that rises and falls with the breath, marking the physical and psychological state of the characters in each section of the story. These conflicting states and fractured timelines create a sense of never ending passage, of ongoing effects of previous struggles. And while these people can be watched, they always watch the viewer with the unblinking eyes of their masks. Their gaze breaks through the frame and into the world, seeing the reactions to their plight.
The title refers to the Chilean protest song “El Aparecido” by Victor Jara, executed during Augusto Pinochet’s coup against the Allende government. The song bloomed out of the chaos of disappearances and suppression that overcame Chile and much of South America in the 1970’s. The insistence of the title creates a tension with the speed of the movement, and the song’s particular origins are then expanded on, being used to comment on many different contemporary routes of escape: Mexico to the US, the Middle East and Africa to Europe, and so on. We begin to see, appearing from these many tales, one central story of escape in our time.
This multiscreen video installation was first shown in 2016 at the 27th Annual University Exhibition, Atlantic Center for the Arts in New Smyrna Beach, Florida, and the 2019 Miami Art Week Kick-off at Doral Contemporary Art Museum, FL.
Exhibition Essay: James Hyde Juror’s Statment