Three-channel video projection mapped on fabric, 300 × 150 cm each, 11 min (loop).
This work acts as a paradox in the spacetime continuum. It’s an apparent overlapping of different time periods and an odd connection to other localities. It’s both a channeling and a reinterpretation. It is both an indignation and a gratification. It can both curse and comfort.
A temporal rift [re] revealing Inanna’s altar in the year 3XXX BC in the region now known as Iraq, consisting of a constellation of video imagery. The videos are showcasing interpretations of Inanna, goddess of war and love, and her priests. This altar is envisioned through an audio-visual-sculptural space which submerges viewers in poetic projections. This space is a speculative and transformative stream of significant gestures enacted by Inanna, who is performing a ritualistic dance tackling prayer, remembrance and grievance while surrounded by her spiraling followers.
Inspired by Saidiya Hartman’s Critical Fabulation. “Fabula” signifies a potentiality that can lead one towards a type of historical speculation, or “critical fabulation,” as she puts it, in which one could be able to “present an impossible tale” while simultaneously emphasizing the “impossibility of its telling.” It can both affirm and criticize.
This work is a gateway that speculates upon an encounter of a parallel reality, in which these priests and their rites were not colonized, marginalized or forcefully erased. A reality where these ancient spiritual practices had their fair chance of developing, transforming and transcending heights beyond the confinement of our current collective comprehension.
A temporal rift [re] revealing Inanna’s altar in the year 3XXX BC in the region now known as Iraq, consisting of a constellation of video imagery. The videos are showcasing interpretations of Inanna, goddess of war and love, and her priests. This altar is envisioned through an audio-visual-sculptural space which submerges viewers in poetic projections. This space is a speculative and transformative stream of significant gestures enacted by Inanna, who is performing a ritualistic dance tackling prayer, remembrance and grievance while surrounded by her spiraling followers.
Inspired by Saidiya Hartman’s Critical Fabulation. “Fabula” signifies a potentiality that can lead one towards a type of historical speculation, or “critical fabulation,” as she puts it, in which one could be able to “present an impossible tale” while simultaneously emphasizing the “impossibility of its telling.” It can both affirm and criticize.
This work is a gateway that speculates upon an encounter of a parallel reality, in which these priests and their rites were not colonized, marginalized or forcefully erased. A reality where these ancient spiritual practices had their fair chance of developing, transforming and transcending heights beyond the confinement of our current collective comprehension.