I Dreamt the Landscape Was Looking at Me is a new work conceived for this exhibition. The visitor passes through a threshold of fique*  to enter the space, which is made following the traditional indigenous technique. This visual device emphasizes entering into a new dimension while acknowledging that MAMBO is built on a Muisca territory.

 

Projected are three videos on a triangular structure resting on soil, which partially covers the screens. The earth comes from Mitrani’s parents’ house in Chia, where she spent most of her quarantine last year. It also serves as a projection surface of a continuous formation, deformation and reformation of fungus.

 

The video work is developed as a unique hallucinogenic loop divided into three chapters, each introduced by some text. Mitrani deftly twists a kaleidoscope with images filmed in Chía, including her singing to the horses; detaching her hair with her hands while burying them near a crystal; parts of Jan Cornelis Mol’s From the Realm of Crystals (1927), a scientific Dutch film that shows the crystallization processes of various chemicals. She alternated these post-produced images with new animations, like walking palm trees on the beach and breathing rocks.

 

I Dreamt the Landscape Was Looking at Me is an optical device that invites the viewer on a hypnotic journey suspended between reality and fiction, personal and public, resulting in a spontaneous and non-linear narrative.

 

Over the years, Mitrani has developed a unique video-graphic approach that employs narrative, humour, and psychoanalytic tropes expressed in a range of emotions. Her work recontextualizes quotidian gestures, scenes, and objects in an oneiric realm from the excessive to the absurd or melodramatic.

 

 

Eugenio Viola

Chief curator

MAMBO


___________
*  Fique is a natural fibre that grows in the leaves of plants in the genus Furcraea. The Indigenous people of the Americas extracted and used the fique fibers to make garments, ropes, hammocks, among others.

BIOGRAPHY

 

Jessica Mitrani is a Colombian artist that lives in New York and her pieces feature performance and video art. Her work has been exhibited, screened and broadcasted internationally. The videos she has written and directed include: Rita Goes to the Supermarket (International Competition at the Oberhausen Film Festival); Mary Jane (Hors Pistes Festival at the Center Pompidou, Paris); Headdresses for Peace (Grand Prize at the ASVOFF5 Festival, PASADO TIEMPO FUTURO, Art in Colombia in the XXI century (Museum of Modern Art, Medellín); La Divanée (Nowness, Marfa Film Festival) and the television series A Crucigramista (with Paula Parisot for ARTE1, Brazil). Her collaboration with The Civilian’s theaters group, and the The Undertaking, premiered at the Brooklyn Academy of Music's New Wave Festival.

 

Mitrani received a grant from the Hermès Foundation in order to make the immersive film Traveling Lady starring the iconic Spanish actress Rossy de Palma, which premiered at the Crossing the Line festival, in New York, and was presented also in New Settings, Paris; Soluna International Music and Arts Festival, Dallas; and the Museo Universitario del Chopo, Mexico City. In 2021 it will be presented at Los Teatros del Canal in Madrid.

 

In 2019, the video I would like to reincarnate in a palm tree was commissioned as part of the 45th Salón Nacional de Artistas in Bogotá, Colombia. Mitrani will be invited to participate in the Princeton Atelier (2022) to develop the multimedia piece Sexual Variants.

THE PLANET IS A PERPETUAL CONTAGION

 

All is in everything.

           To be is to

               breathe

           the same air.

 

Inhale

To inspire the lives of others

                      is to co-exist immersed

                         in the body of the atmosphere.

 

Exhale

Every action is interaction

             and reciprocal influence.

 

We all transform worlds.

 

 

 

NATURE

 

I – Socratea exorrhiza

      A Stroll With the Walking Palm Trees

 

What lives thinks— the living planet is enchanted.

 

The plant world contains intentions and functions

that arise spring up from living thoughts ... beyond the human.

 

I seek to understand, with all my senses

what the meaning of life

of all beings is.

 

If I assume I’ll never be able to understand the thoughts of palm trees,

I would doubt the possibility of ever knowing another being.

 

By trying to feel how the other feels

                           I Love

 

 

II – The Metaphysics of the Iguana

 

It looks at me and I care about its point of view.

My eye in its eye its eye in my eye.

I look back at it.

I become someone new, without gender, species, or kingdom.

I feel that it feels we’re interacting as beings.

Not so similar—Not so different.

 

I caress it through the solid transparency of this Window

but if everything (and also the glass) is atoms

... then...

I’m really brushing against the living skin of the iguana

            and in turn penetrating the whole world

                              (which is also inside it)

 

 

III – Breathing Romanian Rocks

 

They Breathe, grow and reproduce:

Romania's strange phenomenon of living stones

 

We create life by breathing what circulates from body to body,

 

from place to place,

from time to time.

 

Feeding on the gaseous excretions of vegetables.

 

We hear the rumor of mineral consciousness.

 

Life is what surrounds it.

 

 

 

TERRITORY

 

Act I – CONQUEST – "The Other Cortés"

 

The beauty of the gifts that the Aztec emperor sends to the Spaniards encourages them to further advance.

 

When Moctezuma II—at the height of his anguish—sends a delegation to Cortés to try stop him, he chooses as ambassador a prince named Quintalbor, who resembled captain Cortés in face, features, and body, almost as if he was his double.

 

A mirror that reflects and gives back the enemy his own image.

 

But the conquerors are not moved by magic.

 

 

Act II – APOLOGIES – “Equine Opera. Or apologies to the horses”

 

Even if I’m just one.

 

And you are a few.

 

I apologize for abusing your four legs:

 

When mounted, they believed us gods.

 

I apologize for the races, wagons, and carriages.

 

For the plow in agriculture.

 

And the war.

 

I apologize on behalf of the riders, the cowboys, and the so-called gentlemen.

 

 

 

ACT III – MOVEMENT

Body territory territory body

 

Implicated in the delusional idea that the whole world is an open territory to be possessed and exploited.

 

Nature to be acquired and dominated.

Mines: trespassed.

Waters:  appropriated.

Females: oppressed.

XX to XY, in the beginning we are all

women.

 

The places we inhabit violated,

our bodies affected.

 

We walk for the missing:  Women and Forests.

We marched together in the streets.

Walking organisms— keeping up with the lunar phases.

Oscillating.

Building futures with ancestral memories,

medicinal plants. Without separating the cosmic from the political.

Going out on the street and encountering the pleasure of solidarity and resistance.

Earth- bodies — no one’s territory.

Walking.

We See each other.

 

 

 

I DREAMED THAT THE LANDSCAPE LOOKED AT ME

 

Thought is the crystallization of forms.

 

The crystal represents

the making of what is new

into the same.

To (un)fit Who or What we are into a mold.

 

I get rid of one part of me, that part that’s still alive (without me).

Containing data that precedes me.

 

Unrooted but grounded (in me).

Sitting in the middle,

between a double orientation,

towards light and towards darkness.

 

I transform from loss,

              Coming undone…

 

Vegetable thought begins with the explosion of identity.

 

I long for the freedom plants have to assimilate the other into themselves,

the strategy of incorporating and feeding on difference

 

I attempt to be different from who I am.

 

The Imagination stored in curls of hair seeps into the crystalline structure

                       (through the undersoil)

 

Spirals.

 

The undulating, exuberant, and undomesticated infects rigid thought.

 

From the mixture of Curls and Quartz,

emerges a hairy flower that offers

the how to

of consuming.

 

 

 

 

 

 

VIDEO

© 2021 Museo de Arte Moderno de Bogotá