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One of the virtues of the video, undoubtedly inherited from the
cinema, is to succeed in making the audience immerse in a space
governed by its own space-time laws. That is way when defining the
construction of her self-portrait, Gabriela Golder, cannot but violate
the rules of the genre. We are not here in the presence of a story
the artist tells about herself, not even before a physiognomic construction.
Rather, we are present, as voyeurs, at the free flow of a series
of water images that seem to tell of inner perceptions or moods.
Reflexes, transparencies and crystals that move at different rhythms
on a screen presented to us like a surface incapable of stopping
the time. Because this is how the video works. But curiously, portraits,
in the tradition of the painting and the photography, have always
been introduced as a way of freezing the time in one instant. But,
it is known, in video that interruption is impossible because the
flow of time is its essence. Thus, it is very interesting the way
Gabriela Golder joins that characteristic with an evanescent way
of describing herself. A welcoming image that becomes slightly disturbing
tells certain basic irresolution attributed and it acquires dynamics
of kaleidoscope. If the mirror is the symbolic surface where the
world has been represented, and also the being, the screen in this
case will work as the specular space that helps in the construction
of the identity from a point of view that is ungraspable and at
the same time plural.
Ana Maria Battistozzi. (for the catalogue of AUTORRETRATO. Centro
Cultural Borges. March 2001) |