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ADAPTACIÓN ORILLA

Florencia Rodríguez Giles

Escena robo

Escena robo

2006 / Fotografía digital / Ed. 3

Escena Absorvente

Escena Absorvente

2006 / Fotografía digital / Ed. 3

Escena Palo

Escena Palo

2006 / Fotografía digital / Ed. 3

Escena esfera

Escena esfera

2006 / Fotografía digital / Ed. 3

Escena cine

Escena cine

2006 / Fotografía digital / Ed. 3

Escena encuentro

Escena encuentro

2006 / Fotografía digital / Ed. 3

Escena galpon

Escena galpon

2006 / Fotografía digital / Ed. 3

Escena ritual

Escena ritual

2006 / Fotografía digital / Ed. 3

Escena tortugueo

Escena tortugueo

2006 / Fotografía digital / Ed. 3

Escena ahorque

Escena ahorque

2006 / Fotografía digital / Ed. 3

Escena decapitacion

Escena decapitacion

2006 / Fotografía digital / Ed. 3

Escena Retrato

Escena Retrato

2006 / Fotografía digital / Ed. 3

Escena hombre H

Escena hombre H

2006 / Fotografía digital / Ed. 3

Escena Retrato Sc

Escena Retrato Sc

2006 / Fotografía digital / Ed. 3

Escena LLegada

Escena LLegada

2006 / Fotografía digital / Ed. 3

“SHORE ADAPTATION” FLORENCIA RODRÍGUEZ GILES

 

Florencia Rodríguez Giles (Buenos Aires, 1978)  presents Adaptación Orilla for the first time in Spain, her latest work recently shown at the Ruth Benzacar gallery in Buenos Aires.
Adaptation Shore consists of fifteen photographs that present a fiction, a non-linear story with characters that only exist in their condition of representing.  Community uprooted from a supposed origin. Nature accompanies them.  They are wandering, repeating vestiges of a script that defines actions, roles, but in a state of estrangement.
The place where they appear is an abandoned building with a specific temporality, unlike the characters that lack this, they could be medieval, contemporary in disguise, ancient,  imaginary.
The photos show freezing of their actions and account for the disagreement between them and space. Fictional characters that inhabit a “real” space. In the work, a temporal superimposition becomes evident, given by the represented history and by the representation device, since the photos are digital files manipulated and re-photographed on the screen. The result is the photography of a screen, which produces a certain break in the image, a certain mediation in front of what is represented.

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