June 14th | 5 pm. 
At “Quinta Magnolia” - Cultural Center. 
About the exhibition: 
Silent Frames takes as its essential starting point the Samuel Fuller film The Naked Kiss (1964). In addition, two other references to authors/artists are evident: Douglas Gordon and Gerhard Richter. For this project, we used the capture of a series of frames from Fuller's neo-noir film for later appropriation and manipulation. These frames, enlarged to a significant scale, were later blurred, in order to reinforce their Richterian vagueness. It is an aesthetic allusion to a certain period of the work of this German artist – the so-called Photo Paintings, in which he resorted to the technical use of the so-called softening blur. The fingerprints shown here are a selection of highly expressive images, loaded with intense emotional drama.
It could be said that they are a more or less clear allusion to the classical Greek concept of Pathos. In parallel, a subverted excerpt of a shots and shots sequence from The Naked Kiss is projected in ultra-slow motion. The influence of Douglas Gordon's work, especially on 24 Hours Psycho, is undoubtedly evident. Gordon presents in this work a silent version, with a duration of 24 hours, of the famous film Psycho (1960) by Alfred Hicthcock. In both cases there is a common change: time. The mechanisms of the perception of reality, such as memory and time, are subjects of in-depth research by this British artist. This projected excerpt from The Naked Kiss, in addition to the temporal subversion to which it was subjected through the use of slow motion, is subject to an increase in disturbance. And this addition is designed to further affect and test the viewer's cognitive abilities. It is, then, the deconstruction of the original and logical sequence of the film's montage. An additive and repetitive alteration of the shots is used, altering and subverting its original narrative logic, in a more or less random way, making it disturbingly deprived of its primitive meaning, removing the foundations, destabilizing normality, in a perception challenge to the spectator.