Installation Views Copyright © 2019 Jorge Brantmayer. Copyright © 2019 Patricio Aguilar Diaz. Copyright © 2019 Denise Lira-Ratinoff. All Rights Reserved
To contain, to transfer, to care for, to feed...choking, vertigo,
precipice, anguish, fear, silence, life, death, reflection, wait, time,
vibration, odor, feel, half-light, breath...experience, consciousness...
Some of the sensations that come to mind upon experiencing CHRONOMETER,
an installation composed of solid residue bails installed from floor to
ceiling, delimiting a space in which only a narrow corridor is left,
where the viewer circulates, feeling the choking from the residues that
Maintaining the walk, within this labyrinth of residues, he meets glass
that closes his way through, where a photograph of a glacier can be seen
attached to a black wall. Under the photograph of the glacier, there is
a digital chronometer that indicates the passage of time. The pulse, the
palpitation of the constant threat.
All of this listening to the stunning environment and marvelous sound of
the sound of the chant of the whales.
This installation, site-specific, has to be felt, experienced, looked
at, with just one person entering at the time, in order to isolate
oneself in the silence of the architecture, composed by the bails of
residue as a deterrent of any noise, in order for the sound of the
whales to dialogue with the inner-self of each human being.
This installation provides awareness and educates with information
regarding the oceans, their contamination due to plastic residues and
the growing threat that this means.
I hope that this project will be a small contribution to encourage
awareness regarding damage that human activity can do to our planet - or
habitat - and create a consciousness regarding the need to avoid it and
look for solutions...now !!!
The big industry is filling our planet with plastic, material of very
low degradation, that mostly ends up in the ocean, which contaminates
the water and affects in the life of that environment, from microscopic
beings to large mammals such as whales and with that our whole
ecosystem, mea- ning the planet that we inhabit, apart from being
threate- ning due to climate change and deforestation, also origi-
nating from industrial activity.
Chronometer is an installation that intends to contribute making the
danger that threatens us visible, helping cons- ciousness about the need
to decrease the production and use of disposable plastic and caring for
our oceans, so im- portant to bio-diversity and ecological balance.
An important factor is time, since the industrial production os plastic
has rapidly grown, along with the daily use of containers, bags and
For this reason, it is essential to raise awareness to pro- ducers and
consumers of the damage that we do to our planet and the need to reverse
this process looking for solutions that will protect our flora and
fauna, our natural resources and the environment in which we live.
The time is now !
And, do you know how plastic affects the planet?
Everywhere in the world there are voices that are extinguished daily.
When a person dies, their departure rapidly becomes news that has
emotional repercussions to those who were close, other times the
departure has dimensions that measure the level of importance the person
When hundreds of cetaceans die aground in the harbor , it just becomes
news disguised as a natural enigma, as if human beings were not
responsible for their lifestyle, with the cult towards what is
disposable and for the unmeasurable ambition of becoming rich.
Listening attentively to the beautiful and upsetting voices having a
dialogue among the large cetaceans, I feel a manifestation of the magic
of that immense creation, of the creation exempt of religions or
philosophical beliefs, yet at the same time I can not stop thinking of
the cruel legacy of the human race.
Standing next to the ocean I think of how we, as humanity, are dumping
into it a totally uncertain destiny close to making it barren and
condemned for ever to the silence of its magnificent inhabitants.
We get ready to represent the ocean for its painful complaint.
We decide to cry out for justice for the horrible damage that the noi-
ses of industrial activities provoke in their highly sensitive audition.
We want for this artistic exhibit to make visible the departure of these
animals drowned in plastic who disoriented keep running, leaving blood
steles that come out of their ears, bursting due to the explo- sions
searching for oil.
If we keep thinking that this is a future problem and that someone is
going to come and fix it for us, we simply do not realize that it will
be us the ones that will be running away.
Patricio Aguilar Díaz
Production Designer and Director/ Special Effects Supervisor for Cinema
EXPLORING THE EXTREMES
The artist’s work adapts itself in regards to what each one of us knows
but somehow avoids the distressing destruction of nature that man
generates and specifically of the oceans.
By means of a vigorous and dramatic production, Lira immerses us into an
asphyxiating laby-rinth that feigns the lack of oxygen and locks us into
the ocean of plastic.
Built with obsessive precision, the project recreates the artist’s
force, who is able to convey her unease and her anxiety stemming from
the evidence of the environmental disaster only through her photography
and her installation.
The sounds of the whales resembling even human moans enforce the
upsetting content and sometimes ambiguousness of the exhibit.
There is a combination between accusation and critical provocation where
the artist conveys the intensity with which she has traveled through
ice, sand and waters exploring the subjects of the cycles of life, in
the staging of her grief in such a way, that she finally grants an
aesthetic value both, to waste and to the revealed natural disaster.
This double interpretation expresses the ambiguity, where life’s impulse
is shown in order to give us an unforeseen beauty within the suffocating
climate of the environmental disaster.
The polarity between the silent beauty of the untouched landscapes and
the relentless bom-bardment of man towards nature are impeccably shown
in this forceful installation.
This avid hunter, has recorded natural landscapes, going deep into
inhospitable sites where survival becomes fraught with difficulties for
the human being, exploring its own extremes.
Maybe this is what we can explore as a subtext in each one of her works,
that present them-selves as a grand work in progress. Lira, as a great
survivor, again and again, chooses life to have a dramatic turn, without
any concessions for her or the public.
Behind her tireless work there seems to be an urgency for not waiting a
minute of her life in this planet.
María Irene Alcalde