2009 | Video, 9’12”
The work was inspired by a scene from the film Butch Cassidy and the Sundance Kid, reproducing in a single, slow panoramic shot the moment in which the American bandits are surrounded by the Bolivian police. The near‐inert scene creates an effect of anxiety that underscores the holes in the narrative and reinvents its dynamics. As in earlier works, Joskowicz addresses the basic elements of classical cinematographic language.
bolívia – EUA, 1968
Sacatar Residency Prize
Holder of a master’s degree in the visual arts from the New York University, USA, Joskowicz has exhibited at the biennials of São Paulo, Havana (Cuba), and Sharjah (United Arab Emirates), and in solo and group exhibitions that include Thierry Goldberg Projects (New York), Museo Nacional de Arte (La Paz, Bolivia), Galería Kiosko (Santa Cruz de la Sierra, Bolivia), Momenta Art Gallery (New York), and McDonough Museum of Art (Ohio, USA), among other. She has received the Guggenheim Fellowship (2011), Fulbright (2009) and Vermont Studio Center (2008) scholarships, among others. She lectures at New York University’s Steinhardt Art Department.
“This piece is not a response to the film Butch Cassidy and the Sundance Kid. It takes the film as a starting point to address other issues that move me. It’s a readymade of sorts that mediates the actual event and our knowledge of it as a moment in popular culture. The title is actually a reference to situationist movie In girum imus nocte et consumimur igni: a Film, the title of which was translated from Latin as We Go Round and Round in the Night and Are Consumed by Fire. In fact, my main point of interest here is films and cinema.”
“Based around subtle changes in meaning and sensibility, all my videos attempt to break out from the regular experience of watching movies or TV, and they do so by altering both spatial and narrative elements. As it focuses on the narrative lapses that occur when events are removed from their original contexts and are mediated by technology, the viewer’s gaze is directed away from the events on the screen and towards the physical motion of camera through space, and in a more abstract sense, towards motion in an imaginary cinematic space. In a broader sense, my work is about how technology mediates and redefines notions such as truth, history, memory, and reality.”
“There’s no irony to my work. I use existing works of art that are known to our collective consciousness—be them printed media photographs (Vallegrande, 1967), film (Round and Round, 2009), dioramas (Drawn and Quartered, 2007), or photography books (Every Building, 2011)—as founding elements, launching pads for what the work is intended to become. Yes, there are political concerns to my work, as well as formal ones. But it seems to me like a very haphazard reading to claim that my work is a critique of globalization, Third World versus First World, etc. Yes, these issues are there, but I hope the viewer is able to go a bit deeper than that.”