You Make Me Move (2016)
Colour, video and sound.
3’44”
BA Collection
Inventory No. 2016. 334.1
What we understand as graphics, sounds, and movements on our screens is merely a thin skin beneath which multiple latitudes of language pulse.
During her residency at Bilbao Arte in 2016, Irati Inoriza worked around processes of recontextualization, reproduction, appropriation, and displacement of digital language. The project explored how the most everyday actions—copying, pasting, transcribing, editing—can be transformed into expressive gestures that reveal the presence of the body within the technological environment.
The artist developed a practice of observing and dismantling the flow of information, creating a digital archive in which the operations of selecting, cutting, reordering, and relocating became strategies for reading and creation. In this practice, what appears “non-creative” acquired poetic power: each decision, each displaced fragment, generated new forms of meaning and relation.
Within this process emerges You make me move, part of the Bilbao Arte collection, which takes as its starting point a fragment from the broadcast of an athletic exercise in countries where the body could not be shown. The geometry that traverses and conceals the bodily figures becomes here a visual choreography—a movement of censorship and rhythm that transforms concealment into a new form of presence.
What happens when working with a digital archive?
How do some images affect others, some bodies affect others, in the unfolding of our screens?
What happens when an image is displaced from its place of origin?
Working with an archive implies entering a landscape of vestiges: fragments of times, contexts, and discourses that have been frozen or silenced. By displacing these images from their original environment, not only is their initial meaning altered, but new possibilities for reading and conflict emerge. Recontextualization destabilizes the authority of origin; the image ceases to be a neutral document and becomes a point of tension between what was and what it may become.
Her research addressed the tension between action and image, between body and code, proposing a circular [on/off] space in which each gesture entailed a positioning: a way of being in the world through what is repeated, transformed, and begins again.
Irati Inoriza (Balmaseda, 1992). Graduated in Art from the University of the Basque Country (2015), she furthered her training at the Performance Studio directed by Tomáš Ruller in Brno (2013-2014). Her work lies in a field between visual essay and the construction of artistic ecosystems. She draws on contextual relationships and taking a position to explore settled notions of the construction of the individual and identity – both individual and collective – in a changing society. The collaborative relationships she establishes over space result not in a narrative, but a body of images and text that reveal two fundamental aspects of contemporary culture: the complexity and irreducibility of a concrete situation to a single reading, and the capacity of an image not to represent a situation but to help us analyse our own construction. To this end, she employs strategies of fragmentation, repetition, and play to create pieces – especially video-performances – that arise on the edge of reality in poetic form.
