THE TEARS (...to be premiered)
How can tears be presented before others when they summon that which is hidden, when they project that which is uncontrollable?
Tears iconographically have been suspected of excess, and the history of art often justifies their perception – style, faith, propaganda… – when tears make an appearance, do they mobilize taboos?
The present project will consist of a video installation in which ten actors and actresses -in the invoking ecstasy of tears- will reveal the subjective reason of their tears in a present and intangible dimension.
FICTIONS is a virtual theater piece that is organized as a synthesis of the work of interdisciplinary artist Matías Umpierrez, who, for over a decade, has crossed borders among video installations, site-specific, performative and audiovisual interventions. A craft that expands the dialectics of fiction-reality, physicality-virtuality, memory- oblivion.
Umpierrez returns to the stage to defy the boundaries of dramatic action, space, temporality and body.
In FICTIONS, stories, images, echoes, tales, distorsions, hyperlinks, reverberations, musicalities will play out, in a project which navigates disciplinary interstices in order to reflect on those obsolete bodies (Stelarc) that turn into shapes with vague limits between the mechanic and the organic. They create an engraved with events surface that gives density to what will inevitably become disintegrated (Butler).
DRAMATURGY_FOR A CONFERENCE
In this project Matías Umpierrez asks himself, as a curator and artist, whether there is a prior narrative preceding the creation of any political speech and he invites a contemporary thinker to design an instruction manual on how to hold a conference. These instructions draw up a sort of dramaturgy which suggests differents steps to follow in order to approach any matter. Invited conference speakers, specialists with different backgrounds, carry out their talks by following the rules of this singular manual.
Museum of Fiction proposes a dialogue regarding the shift that dramatic action can provoke in a museum-collection-conservation-exhibition-time system. By challenging fiction’s temporal-spatial limits, it tries to find a possible “museumification”, or a unique way to keep the dramatic construction for the present and future collective memory. Umpierrez considers this Museum of Fiction as a space of resistance, since it tries to preserve fiction, preserve it for posterity and thus preserve its dramaturgy, its conflicts, its actors and disrupt its ephemeral existence in perpetual dramatic action.
EMPIRE, first piece of Museum of Fiction series,is an adaptation of “Macbeth” by William Shakespeare that will immerse the audience in a nightmare dream that will inhabit an eternal loop wherever it is presented. This version, submerged in the post-dictatorship Spain of the 90s, highlights fiction as a tool for social and political mediation, producing a “mix” between the entertainment industry, the mechanisms of power today and the fury that awakens the confrontation between tradition and globalization.
After a first entry where we find the actors, fiction workers who are preparing for the scene, portrayed virtually on 9 screens, we enter in a screen quadrilateral. In each screen there are projected different synchronized perspectives of the work, to build different looks in the same frame of time. The spectators will be immersed in a fiction where they have a fundamental role: to make their own montage and shape their own dramaturgy from what they want to see or omit.
The history of dreams –those fictions recovered in our sleep- is also the account of the restlessness they provoke in different cultures. The act of dreaming, which is an involuntary mental process, has been the object of several meanings and interpretations: dreams might represent the communication between a superior being and its believers, or they could be the result of interdimensional trips to parallel universes, or even premonitions from the future.
The fact is that we dream about those objects, feelings, people, or characters that frequent our everyday experience. And we proceed to their dreamlike metamorphosis. Thus, dreams have the esthetic value of an experience that keeps amazing us. As Borgeswould say, “Dreams are tiny plays, the first type of drama with several characters.”
It is in the dramatic density of the dreamlike metamorphoses that we will try to discover eight sacred and alien territories, by going deep into eight people who dream and who, in their waking life, are constituted as eight diverse figures of the society they belong to. In short, eight people who, along with the poet Walter von der Vegelweide, might ask themselves, “Have I dreamt my life, or was it real?”
In a world of violent, vertiginous metamorphoses, where reality fades into dreams and dreams become real, the new technological ritual created by Matías Umpierrez will offer spectators the access to a unique forest of sleepers with countless figures that reveal the subconscious of their protagonists. Figures that, through the figure of the artist himself, will take dramatic shapes, allowing the dream to become independent of the dreamer’s private territory in order to look into the puzzling exercise of our own subconscious fictions.
How is a myth formed in these contemporary times? The project Constructions starts off with this question and trusts in the orality and the artistic intervention to desecrate the anonymous entity of the myth and the illusion of truth of the documentary. So… individuals whose journey takes more than 75 years, who have lived one or several lives, they will be creators and characters of their own narration on the prodigious or terrible events of the history of the country they live in. Following the ethnological thesis that claims that “every version of the myth is true” there will be a first experiential narration-portrait in the voice of its protagonist, which will be stored in the project’s website (www.proyectoconstrucciones.com), and a second version done by Matías Umpierrez, that will be shown as a video installation. Constructions creates an orality unfolded by an accumulation of voices. The third version of the myth will be the spectators’. Their personal vision and listening will become collective once they start spreading around, inevitably carrying out the will of the word which is the quintessence of the myth.