It is possible to consider skaters as those characters of everyday life who have always hindered the public space, making inappropriate use of places such as parks and squares, where the monumental is housed and generates discussions around the historical heritage and conservation. Sites such as the Plaza del Concejo de Bogotá or the National Park, where a large number of practitioners hold their sessions, are examples of ideal places to skate for the quality of the floor and its geographical location that turn into frustration due to the rejection of the public force.
On the other hand, the idea of a monument has always been linked to contemplation, understood as a static issue, which promotes observation and represses interaction. For the pedestrian, living in these places varies between the static (sitting on a bench) and passing without hesitation as their concern lies in arriving at their destination and as far as possible in time, for the skater, unlike the pedestrian, the travel is the priority, the destiny only represents the end of the adventure, the experience itself of being in movement. On this places the skater seems to navigate among the passers-by, taking them out of their routine and inducing them into a small contemplative instant at the moment their trajectories intersect.
Through the photographic device it is sought to emphasize this specific event with a loop type video and to show a vision of the skater as an ephemeral monument, as a freezing agent of the urban space, which induces contemplation as a result of the clash between city dynamics. Accompanied in addition by a panoramic photograph that magnifies the presence of the skaters in these monumental spaces and show that fusion between static and movement.
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Technical Info: Video installation of 2 pieces, a TV and a panoramic photograph framed on acrylic.
Sound art: Oscar Diaz.
Rider: Daniel Espriella.