:MAPA DE UN LUGAR DESAPARECIDO:



:POLÍPTICO GRÁFICO:
:MAPA DE UN LUGAR DESAPARECIDO: 2011: 

:Mapa sonográfico y fotografía impresos con tintas pigmentadas 
 sobre papel Hahnemühle Photo Rag satin de 310 grm. Políptico compuesto de 19 piezas.
:Medidas totales: 200x440 cm. aprox.:
:Producido gracias al Museo de Arte Moderno y Contemporáneo de Santander y Cantabria (MAS)



Esta obra es fruto de una investigación sobre los pueblos sumergidos por pantanos, llevada a cabo para la realización de la videoinstalación Paisaje cultural sumergido I y II. Se trata de un gran políptico compuesto por 19 piezas,  que representa en distintas capas fotográficas distintos momentos de la historia de Argusino, un pueblo situado hoy bajo las aguas del Embalse de La Almendra, Zamora. Mediante la superposición fotográfica podemos ver fusionados el pueblo tal y como fue captado por el vuelo americano en 1957 antes de su inundación, las ruinas sumergidas del mismo pueblo captadas hoy digitalmente por un Sonar ecoacústico, y el exterior del Embalse de La Almendra tal y como se encontraba en diciembre de 2010 al 98% de su capacidad de agua embalsada. Se trata por tanto una cartografía simbólica en la que lo temporal distorsiona la realidad objetiva.

*Ver texto Javier Hontoria perteneciente a la exposición Nada es lo que parece. MAS Museo de arte contemporaneo de Santander. 2001. (pincha)

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:PRINT POLYPTYCH:
:MAP OF A MISSING PLACE: 2011: 
:Map (sound sonographic sistem) and photographic professional art print on Hahnemühle Photo Rag satin de 310 grm. paper. 
:Polyptych: 19 pieces.
:Measures: 200x440 cm. aprox.:
:Produced thanks to: Museo de Arte Moderno y Contemporáneo de Santander y Cantabria (MAS)

These images belong to a multidisciplinary art project called ‘Submerged cultural landscape’
which was carried out in Zamora (Castille, Central Spain) during 2011. The work intends to
examine our illusions about the construction of the past as a way of finding our identity in the
present, questioning the modern obsession with recovering memory as the result of an ancestral
fear of oblivion. For this, I start from a conception of time that is not just phenomenological or
historical, but related to recent work on space, maps, geographies, frontiers, commercial routes
and migrations. The creation of new cultural landscapes through the modification of the environment
is, and has always been, a socially conflictual issue, despite the evident anthropization
of nature from the beginnings of humankind.
The reservoir of La Almendra is a good example of these problems: behind its powerful and
ambiguous appearance as a natural landscape, since 1967 the reservoir has concealed under its
waters the village of Argusino and with it a history of social, political, economic and cultural
conflict, today still unresolved. With this work, I intend to make evident the difficult task of
re-codifying the images of these villages, which are loaded with traumatic memories. Pitted
against them and their little stories stand progress and technological advance, which force us to
prioritize those projects that satisfy the growing demand for energy resources, supply water for
agriculture and people, and produce new landscapes for tourist consumption.
The images of the submerged village shown in these pages have been captured through
techniques of echoacoustic engineering (bathymetry and sonography), commonly used in
underwater archaeological survey. Thanks to these methods I have been able to record from
the surface of the reservoir and with great fidelity the present appearance of Argusino under the
waters of the ‘Sea of Castille’, as the reservoir has been popularly known for the last forty-five
years. 
(traslated by G. Ruibal)