My Guardian Angel Went On Holiday When I Started School
Film: 10:57 min
sound & color
The audio-video work My Guardian Angel Went on Holiday When I started School settles on a principle of uncertainty, arguing for ever-changing and connective approaches to the definition of reality and human experience.
Through the character of fiction and performance, the work points to the fallacies of sensory perception by conceding the possibility that iterative and improvisation practices may create a shift in perspectives.
History tends to repeat itself, but our species revitalizes each time we extend our creative potential beyond the constructs we accept in day-to-day life. The body speaking and receiving is the interface that dictates our trajectories or by which we abide. Living systems adapt by transforming themselves, suggesting that real learning is not something added but a rearrangement of the system. New associations transpire, and alternative pathways develop. The perceiver transforms, so the perceived world.
The narrative proposed in the film settles on a metaphoric journey of the human soul on earth. Dante's Divina Commedia and St. Lucy's story informed some of the imageries evoked in the film.
The sounds employed in the film are part of a sustained exploration of R. Sheldrake's concept of Morphic resonance, described as the process whereby self-organizing systems inherit a memory from a previous similar system. With this in mind, the sound composed for the video is a combination of an iterative field-recording process of audio source material's response to the acoustic and resonances of the spaces I performed (such as the forest and the basement of the house I grew up) and became a sustained study in free association.
I recorded audio material played simultaneously from different audio players and mobile devices; I repeated this process. Each time recording a new version of the previous flied-recording played from the same devices so that the final audio would contain all the earlier versions of the source audio material.
Due to the inherent fallacy of the recording method and space's acoustic property, the final field-recording results in a different auditory experience than the first version while maintaining a character of familiarity.
I think about the illusory subjective and collective character of sensorial perceptions by juxtaposing mental stimuli. Think of the color magenta's experience that although it has no wavelength of light that corresponds to it, it's still experienced collectively as a construct of our brain of a color compound of blue and red.
I think of precarious realities that gain force and value in intersection and, therefore, solidarity.
The idea of mixed realities and perspectives crossing is fascinating and political to me. When things cross each other, they become synchronic, serendipitous, and relational.
Being relational or embracing a filial type of relation feels progressive in an individualistic society that emphasizes stringent ideological arrangements.
Any ideology that doesn't create the conditions to live peacefully with each other on this planet is fatuous. To me, interactivity provides a space where forms of communications across living systems are stripped down to their fundamental core: the direct encounter with an experience.
The title of the work is untied from religious connotations. It is proximal to the concept of higher-self or imaginary friend.
The title is also an encouragement to revitalize the education system, emphasizing imagination as the most valuable asset humanity disposes.
The opening track in the video is titled "You Cxnt Evil Lol" and was kindly provided by Estonian artist and experimental musician Artjom Astrov.
Special thanks to
Monica Basso, Colin Tobelem