{"id":1354,"date":"2015-05-23T20:49:54","date_gmt":"2015-05-23T20:49:54","guid":{"rendered":"http:\/\/gabrieldiazamunarriz.com\/?p=1354"},"modified":"2025-04-21T06:08:44","modified_gmt":"2025-04-21T06:08:44","slug":"making-off-tres-caminos-once-pasos","status":"publish","type":"post","link":"https:\/\/gabrieldiazamunarriz.com\/index.php\/2015\/05\/23\/making-off-tres-caminos-once-pasos\/","title":{"rendered":"MAKING OFF \u00abTRES CAMINOS, ONCE PASOS\u00bb"},"content":{"rendered":"

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La b\u00fasqueda de lo espiritual al margen de lo religioso es una constante en el arte que se manifiesta bajo muy diferentes aspectos: ya sea desde esta b\u00fasqueda de lo invisible, desde la obtenci\u00f3n de\u00a0 lo abstracto, desde lo po\u00e9tico entendido como ambiente, o ese intento conceptual\u2026 creo que es en la peregrinaci\u00f3n donde este fen\u00f3meno a\u00fana por fin lo f\u00edsico y lo espiritual.<\/p>\n

La peregrinaci\u00f3n budista se caracteriza \u00a0en cuanto a su estructura por ser una circunvalaci\u00f3n a un lugar siempre presente. En el caso de la peregrinaci\u00f3n a Santiago, llegar al lugar, a Santiago, significa sin embargo haber finalizado la peregrinaci\u00f3n, su linealidad \u00a0hace que dicho lugar sea ausente hasta su culminaci\u00f3n. \u00a0La forma de caminar en\u00a0 c\u00edrculo o en l\u00ednea representa \u00a0y distingue dos mentalidades, dos estructuras y dos \u00a0modos de vida.<\/p>\n

El intento de comparar y contrastar estas dos formas de ver tan diferentes y poder extraer algo en claro de todo ello, es lo que me hizo considerar un posible trabajo sobre el Camino de Santiago<\/strong>.\u00a0Dado que el tema del Camino franc\u00e9s estaba ya muy trillado y que ven\u00eda de paisajes totalmente v\u00edrgenes en T\u00edbet, me interes\u00f3 en un principio todo \u00a0aquello que nunca se hab\u00eda mostrado: su camino.<\/p>\n

Desde esta perspectiva del lugar,\u00a0 el Camino de Santiago al ser entendido como una entidad \u00a0propia, como algo que \u00a0existe\u00a0 al margen o separado de Santiago hizo de \u00e9l que lo considerase un lugar de la mente. Un lugar que deviene de otro y que contrario al lugar f\u00edsico, se caracteriza \u00a0por \u00a0todos los opuestos a lo que entendemos normalmente por lugar. Frente a lo concreto y lo estable, es un continuo cambio. Esta noci\u00f3n de lugar inasible, de transito perpetuo y sin embargo concreto, como \u00a0lapsus, es la que me llev\u00f3 a la necesidad de desdoble en una trilog\u00eda que llam\u00e9 \u201cTres caminos, 11 pasos\u201d.<\/p>\n

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\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino-retrato-2\"\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino-retrato-4\"\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino-retrato-6\"<\/p>\n

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La duraci\u00f3n de estos v\u00eddeos, \u00a0entre 4 y 7 horas y media, no s\u00f3lo hablan de caminos que son trayectos de largo recorrido. Para m\u00ed, sobre todo, \u00a0habla de una forma de abordar el tema de lo invisible. No creo que vaya a haber nadie que vea esta obra completamente, sin embargo ah\u00ed est\u00e1.\u00a0Tambi\u00e9n la ausencia de sonido\u00a0 me parec\u00eda interesante en contraposici\u00f3n a la saturaci\u00f3n de la imagen.<\/p>\n

Han sido en total \u00a06 a\u00f1os de \u00a0trabajo intenso en los que andar y fotografiar es\u00a0 lo m\u00e1s f\u00e1cil de todo el trabajo y de todo\u00a0 el \u00a0proceso. Hay que pensar que luego todas esas cientos de\u00a0 miles de fotos hay que ir mont\u00e1ndolas una a una, encuadr\u00e1ndolas para que la imagen en el espectador sea lo m\u00e1s fluida posible. Hay que ir cambiando los \u00e1ngulos, hay que ir cambiando las horizontales, las verticales, es un trabajo bastante arduo y minucioso en el que no se llega a editar m\u00e1s de cuatro minutos al d\u00eda.<\/p>\n

Respecto a la obra en s\u00ed, a su emoci\u00f3n est\u00e9tica, creo que estos peque\u00f1os hachazos que consisten en\u00a0 las fotograf\u00edas y las transiciones que utilizo en las que las im\u00e1genes van surgiendo y disolvi\u00e9ndose al mismo tiempo a un ritmo que es r\u00e1pido pero constante hace de ello algo hipn\u00f3tico, que te atrapa si te dejas llevar.<\/p>\n

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\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Frances\"<\/a>\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Mozarabe\"<\/a>\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Norte\"<\/a><\/p>\n

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\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Mosana\"<\/a>\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Le_Puy\"<\/a>\u00a0 \u00a0\"Gabriel_Diaz-video-2009-Tre_caminos_once_pasos-Camino_Nuremberg_Ginebra\"<\/a><\/p>\n

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The choice of documentary form is in fact a product of the respect imposed by these special, holy places in which everything already exists and there is no need to add or manipulate anything.<\/p>\n

It all started with the journey round Mount Kailash. I was looking for a special place and Mount Kailash could be regarded as the most sacred of all the planet\u2019s natural sites.\u00a0The mountain indeed stands as one of those places whose body or essence is consubstantial with its appearance.\u00a0This journey was also my initiation in the \u201cstop motion\u201d technique of photographic animation, which I have retained here to give the series a sense of unity, a solid entity albeit with differing characteristics.<\/p>\n

The quest for spirituality free of religious connotations is a constant in art that is expressed today under diverse guises, be it the pursuit of the invisible, the achievement of abstraction, the life poetic, conceptual striving\u2026 and I believe that the pilgrimage is where the physical and spiritual sides of this phenomenon finally come together.<\/p>\n

The Buddhist pilgrimage has the structural peculiarity of being a journey round an ever present place. But in the case of the pilgrimage to Santiago, arriving there, in Santiago, means the pilgrimage is over, the route\u2019s linear nature means the place is absent until its culmination. Walking in a circle or in a line represents and distinguishes two different mentalities, two structures and ways of life.<\/p>\n

The attempt to compare and contrast these two very different ways of seeing and extract some kind of message is what made me consider undertaking a project around St James\u2019s Way<\/strong>.\u00a0Since the theme of the French Way was already overworked, and I was arriving fresh from unspoilt regions in Tibet, what first caught my interest was what had never been shown: the actual way.<\/p>\n

From this standpoint, St James\u2019s Way, seen as a thing in itself, separate from the town of Santiago, became transformed into a place of the mind. A place that derives from another and is characterised, unlike the physical place, by the opposites of what we normally understand as a place. A constantly unfolding change as opposed to something concrete and stable. This idea of an ungraspable place of perpetual yet tangible movement, like a lapse in time, is what led me to the vehicle of the trilogy, the result being \u201cThree ways, eleven steps\u201d<\/strong>.<\/p>\n

The duration of the videos, between four and seven-and-a-half hours, refers not only to the fact that these are long-distance routes. For me, it is also about approaching the subject of invisibility. I don\u2019t think anyone will watch the whole of this piece, yet there it is. I also liked the idea of the absence of sound contrasting with the saturation of images.<\/p>\n

Enlarging the routes to Europe was a commission from Fundaci\u00f3n Arq Art which proposed the videos\u2019 simultaneous projection as a discrete artistic event. I decided to fulfil the commission by creating a new trilogy along the lines of the first, in view of Europe\u2019s importance in the history of St James\u2019s Way.<\/p>\n

In all, it has taken three years of intense work in which the actual walking and taking photographs was the easiest part of the process. Remember that these hundreds of thousands of photos then have to be assembled one by one, framed in such a way that what the spectator sees is as fluid as possible. This means changing the angles, the horizontals and verticals in a painstaking process where it is impossible to edit more than four minutes\u2019 worth a day.<\/p>\n

As to the work in itself and its aesthetic emotion, I believe the subtle cleavings that are the photographs themselves and the transitions I employ, with the images appearing and dissolving in a fast but constant rhythm, create something hypnotic that will pull you in if you surrender to it.<\/p>\n

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VIDEOS \u00abTRES CAMINOS, ONCE PASOS\u00bb<\/a><\/span><\/h6>\n
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    La b\u00fasqueda de lo espiritual al margen de lo religioso es una constante en el arte que se manifiesta bajo muy diferentes aspectos: ya sea desde esta b\u00fasqueda de lo invisible, desde la obtenci\u00f3n de\u00a0 lo abstracto, desde lo po\u00e9tico entendido como ambiente, o ese intento conceptual\u2026 creo que es en la peregrinaci\u00f3n […]<\/p>\n","protected":false},"author":1,"featured_media":2459,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,22],"tags":[],"class_list":["post-1354","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-procesos","category-tres-caminos-once-pasos"],"_links":{"self":[{"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/posts\/1354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/comments?post=1354"}],"version-history":[{"count":66,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/posts\/1354\/revisions"}],"predecessor-version":[{"id":1357,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/posts\/1354\/revisions\/1357"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/media\/2459"}],"wp:attachment":[{"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/media?parent=1354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/categories?post=1354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gabrieldiazamunarriz.com\/index.php\/wp-json\/wp\/v2\/tags?post=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}