A solo exhibition of new work by Sofía Córdova
October 11, 2014 – November 9, 2014
Opening Reception: Saturday, October 11, 7 – 10 pm
Performance: I Do it Clean, Friday, October 31, 8 - 10 pm
Sofía Córdova (with Matthew Kirkland) will play a live show consisting of the ‘pop’ versions of songs featured in Córdova’s various videos and performances in the exhibition.
Every Night I Tell Myself I Am The Cosmos, a solo exhibition of new work by Sofía Córdova, describes a future located specifically around the Caribbean, where an unidentified series of events have led to the decline of current civilization--radically challenging human existence on Earth. Expanding from more personal, autobiographical investigations into the creation of self, identity and the influence of cultural constructions, this exhibition presents a darker, more global space, where she has, in her own words, “collected the relics of our past, gleaned from our current future.”
Telling this story through a collective and eschatological voice, the installation incorporates multi-channel video, photographs, painting, collage, music, performance, and works on fabric. The Kingdom is Me, a large series of redaction paintings, where black paint obscures the majority of various found magazine and photographic images, serve as incomplete traces of past civilization. In They Held Dances on The Graves of Those Who Died In The Terror 1,2,3,4,5,6 + 7, the fading natural world is depicted in a six-channel digitized and distorted 8mm film work, set to a sound piece, Fantasia, made by Matt Kirkland. Fantasia is a composition borrowing from Mariah Carey’s Fantasy and Tom Tom Club’s Genius of Love. The videos are digital re-recordings of the projections of 8mm black and white films shot in Miami, Los Angeles and Puerto Rico. The cover describes (in Spanish) a world where dances are held on concrete slabs under a dying sun and human survivors are in constant peril, not just from hostile conditions, but from each other. The track is split into six channels on individual screens which, along with the video, fall out of sync over time rendering different combinations of the visual and audio material.
For the video work, Echoes of A Tumbling Throne (Odas Al Fin De Los Tiempos) #1, Córdova’s alter ego finds herself as a nameless, traveling griot. Through a series of songs and performances, she describes the world before and after an unspecified event which ends culture as we know it. Creating original music per her role as a griot, Córdova along with other performers, string together a quasi-narrative video performance, detailing this world and its denizens. The characters recite lines given to them by Córdova, which she later overdubs and distorts to highlight what starts to become a shifting new language. These characters also step out of the screen and into various photographic works pointing to Córdova’s interest in working with these characters as they might be in a video game.
Drawing from a variety of sources including sci-fi authors (such as Philip K. Dick, Gene Wolfe and Ursula K. LeGuin), pop music (from Yoko Ono to Mariah Carey), and Japanese role-playing games, among others, these multimedia works serve as prophetic windows into a latent future for our planet and species.