Mar Invadido & Mar Caribe, Toni Capellan

Dominican Artist, most of his work uses beache’s found objects.

tonycapellan2010quintapatabtony_capellan_mar_invadido_oriol_tarridas_2Mar invadido (detail), 2015 Installation view Pérez Art Museum Miami.

Found objects from the Caribbean Sea. 360 x 228 inches.

tony_cappellan_mar_caribe_oriol_tarridas_2 índice Mar Caribe, 1996. Plastic and rubber sandals with barbed wire, dimensions variable.


And the Sea Will Talk To You (Coco Fusco, 2012)

“I have learned to swim on dry land. It turns out to be better than doing it in the water. There is no fear of sinking because you are already at the bottom, and by the same logic, you are already drowned beforehand.”

3.-And-the-Sea-Will-Talk-to-You And the Sea Will Talk to You is a film set in a dark space where the audience is invited to sit on inner tubes to have the experience of being in the rafts used by Cubans in their attempt to emigrate to the United States. In the film, Coco Fusco weaves sombre yet hopeful accounts of journeys, intermittently juxtaposed with a woman’s description of her attempt to bring her mother’s ashes back to Cuba from the United States. The mise en scène, the vertiginous images of the Caribbean Sea and sky, and the pace and tension of the accounts in the film provide a metonymic experience for the viewers who are unexpectedly transposed to the journeys themselves.


Politically, the subject of the film is particularly relevant in the United Kingdom as the country deals with the growing numbers of illegal immigration in Calais and the escalation of the European emigration crisis in the South of the continent, as well as the domestic debate on potential restrictions to free movement within the European Union. From a much more personal perspective, And the Sea Will Talk to You presents the viewer with as close an experience as is possible of both the motivations behind the decision to leave one’s own country as well as the actual life-threatening ordeal of emigration.

Review 1, Review 2

Araya (1959), Margot Benacerraf

Araya (4) Benacerraf_07

Araya is a 1959 Venezuelan-French documentary film directed by Margot Benacerraf and co-written by Benacerraf and Pierre Seghers. It depicts the lives of laborers who extract salt from the sea off the Araya peninsula in Venezuela. Their method for extracting salt, virtually unchanged for centuries, depends on grueling physical labor, but provides a dependable, if meager, living for the men and their families. The film ends with a recently built plant for mechanized salt extraction that could eliminate the community’s traditional source of income.

The film was entered into the 1959 Cannes Film Festival, where it shared the Cannes International Critics Prize with Alain Resnais’s Hiroshima mon amour.

In 2009, Milestone Films released Araya in North American theaters for the first time as well as rereleasing it internationally. Milestone also distributes a restored DVD version of the film.

Concerto in Black and Blue, David Hammons

índfdvsgiceíndice¨Consists entirely of pitch-dark rooms that visitors are invited to explore with tiny flashlights in the company of other visitors whose presence is registered only by whisperings, footsteps, and firefly points of blue light¨

¨Black and blue are highly charged colors in the cosmology of African American culture and historical experience. Night’s blackness holds a unique suggestion of terror in black American history. One is also reminded that the ancestors of many families escaped slavery under the cover of darkness, in the blue-black night. There is a sense, then, in which the entire history of Africans in North America can be told through reference to these two colors. In addition, there is the sense in which these two colors can be seen as metaphors for the impact the peoples of African ancestry who reside in North America have had on the world at large¨


Mitologia del pueblo kogui

“Primero estaba el mar. Todo estaba oscuro. No había sol, ni luna, ni gente, ni animales, ni plantas. Solo el mar estaba en todas partes. El mar era la madre. Ella era agua, era río, laguna, quebrada y mar. Así, primero sólo estaba la madre. La madre no era gente, ni nada, ni cosa alguna. Ella era Aluna. Ella era espíritu de lo que iba a venir y ella era pensamiento y memoria. Así la madre existió sólo en Aluna, en el mundo más abajo, sola.”

Aluna es un término que utilizan los indios koguis de la Sierra Nevada de Santa Marta en Colombia, para referirse al mundo de lo no visible o espiritual, del puro pensamiento, de la pura idea. En un nivel significa pensamiento y en otro océano. Hablamos del pensamiento como un océano, como algo primordial que precede a la creación misma. Todo el cosmos, para ellos, fue creado en Aluna, un espacio trascendental.

Los líderes espirituales de los Kogui, los “mamas” son puentes entre Aluna y el mundo material y son entrenados especialmente para ello en la oscuridad durante 9 o hasta 18 años. Según los mamas, todo lo que existe en el mundo fue primero creado en Aluna. Es decir, en palabras simples, que la realidad es creada por las personas ya sea de manera consciente o inconsciente. Si por ejemplo una persona quiere tener un hijo, debe poner ese deseo en Aluna, de esta manera y dependiendo de que tan fuerte ponga su deseo en Aluna, ese deseo se hará realidad y un nuevo hijo vendrá al mundo. De otra manera uno puede, inconsientemente, entrar a Aluna con sus pensamientos reiterativos por ejemplo, e ir creando realidades en la vida diaria de cada uno.