La otra hora (The Other Hour), 2020
heliographs, video and sound
Courtesy of the artist
Agustina Triquell researches the relations between photographic and moving images and the production of knowledge, its mechanisms, devices, imaginaries, and experiences. As part of this ongoing project, Triquell has developed a series of works that investigate the classic militant film La hora de los hornos (The Hour of the Furnaces; 1968), the first project of the collective Grupo Cine Liberación (Liberation Cinema Group), founded by Fernando Pino Solanas and Octavio Getino. The three-part movie was inscribed within leftist and Peronist efforts and strategies aimed toward social equality, and in order to further its reach to a much broader audience, a parallel screening circuit was devised for it—formed mainly of universities, unions, and factories. In her project, Triquell focuses on images that carry a specific worldview, ideologies, and political positions around notions of colonialism and revolution. By manipulating screenshots extracted from the film that combine texts and images and overlapping these as heliographs that will fade over time, the artist tests the current potency of the film’s discourse and aesthetics—inscribing it within today’s politics and urgencies. The prints carry the creases imprinted in them by the need to travel long distances via post—just as León Ferrari’s own heliographs did, sent from his exile in São Paulo during the Argentinian dictatorship. As part of the same project, Triquell also explores the movie’s current potency and reach: by screening it for young students and capturing their reactions when confronted with the militant narratives of the 1960s and 1970s, the experimental pace and aesthetics of the film, and its uncanny resemblance to our present.
Agustina Triquell (b. 1983, Argentina) is an artist and she holds a PhD in Social Sciences. As a result of this combination, her work engages with the relations between history, memory and politics: articulating poetic research and photographic, editorial and audiovisual production. Between 2013 and 2017, together with Estrella Herrera, she coordinated the project Nido Errante and since 2015 she directs, together with Alejandra González, the publishing house Asunción Casa Editora, specialized in poetic research, with a strong, although not exclusive, focus on photography. Since 2011 she is part of the program Citizenship and Human Rights of the Institute for Economic and Social Development. Her work has been exhibited in different places in Argentina, as well as in Berlin, Dublin, Mexico City, Montevideo, Santiago de Chile and Asunción de Paraguay.