You Make Me Move (2016)
Colour video and sound. 3’44”
BilbaoArte Collection
Registration No. 2016. 334.1
You Make Me Move takes as its starting point a fragment of the broadcast of an athletic exercise in countries where the body cannot be shown. The geometry that traverses and conceals the bodily figures here becomes a visual choreography—a movement of censorship and rhythm that transforms concealment into a new form of presence. For Inoriza, working with an archive involves delving into a landscape of vestiges: fragments of times, contexts, and discourses that have been frozen or silenced. By displacing these images from their original environment, not only is their initial meaning altered, but new possibilities for interpretation and conflict emerge. Recontextualization destabilizes the authority of origin; the image ceases to be a neutral document and becomes a point of tension between what was and what may become. Her research thus addresses the tension between action and image, between body and code, proposing a circular [on/off] space where each gesture accompanies a stance: a way of being in the world through what is repeated, transformed, and begun again.
Irati Inoriza (Balmaseda-Bizkaia, 1992). Graduated in Art from the University of the Basque Country (2015), she complemented her training at the Performance Studio directed by Tomáš Ruller in Brno (2013-2014). Her work lies in a field between visual essay and the construction of artistic ecosystems. Through contextual relationships and taking a position, she debates settled notions of the construction of the individual and identity, both individual and collective, in a changing society. The collaborative relationships she establishes over space result not in a narrative, but a body of images and text that reveal two fundamental aspects of contemporary culture: the complexity and irreducibility of a concrete situation to a single reading, and the capacity of an image not to represent a situation but to help us analyze our own construction. To this end, she employs strategies of fragmentation, repetition, and play to create pieces—especially video-performances—that arise on the edge of reality in poetic form.
