Visiting La Isabela 01/30/2016
A few days ago, the other artists-in-residence and I had the opportunity to visit La Isabela. It was one of the first European settlements established in the Americas by Columbus. A few years after its establishment, La Isabela was abandoned in favor of a new settlement and left deserted for centuries.
At some point of the 20th century, according to some accounts, a group of archaeologists requested approval from the Dominican government in order to study the site. Dictator Rafael Trujillo, who ruled the Dominican Republic at the time, authorized their request and ordered that the deteriorated site be “cleaned up” in preparation for this visit.
Unfortunately, the word “cleaning” was misinterpreted by local administrators, who complied to Trujillo’s command by using a bulldozer to demolish the ruins, which were thrown into the ocean. History had literally been cast out to sea.
Encountering these kinds of stories is my drive as an artist; following the wake of everything that disappears around us, how the visible world becomes invisible.
Inspired by the accounts of pirates and sea travelers documented in Travelers and Travel Liars 1660-1800 by Percy G. Adams, as well as in other sources, I am currently developing work that focuses on phantom islands that sailors historically disguised as real places in their writings.
In collaboration with scientists, writers and historians, I am attempting to give a physical body to a phantom island. A significant part of this new work will be completed while during my stay at the Davidoff Residency. The finished work will be exhibited in late April at the Witte de With Center for Contemporary Art, in Rotterdam.
Solo project in ARCO, Madrid
During the residency period, my installation Afterword, which arose from research I conducted at the Kolleg Friedrich Nietzsche in Weimar, will be exhibited in the Solo Projects section of ARCO Madrid, represented by NoMÍNIMO (Ecuador).
This piece explores the relationship between a philosopher and his faulty typewriter. The work reveals connections between a family of spiritualists − also the inventors of the philosopher’s typewriter− and dance as practiced by the philosopher as well as a tiny piece of paper that the artist has stolen from a text by Nietzsche.