ISSP 2019 Publication - Photography and the World

For example, if we reenact the action of Argylito,
the ingestion of silver grains. The fact that it took
place in silver mines was essential, so maybe we
need to shoot the film in the silver mines. Maybe it
would be a kind of performance with actors, or just
miners working. Or it could be about the light inside
the mine, and the kind of fluctuation of light in
silver. We would also maybe need something about
the stomach and the cells absorbing the silver ingested
in the original action. And maybe the silver in the
reenactment is not being eaten by twelve persons at
a table, but rather being consumed as a ritual?
second project, the second
to the third and so on. Maybe
you have done just one project
in your life.
That would be so beautiful. I’ve never thought
about that before in this way. During the last year, I
have been thinking a lot about the fact that maybe
what I am doing is reenacting the archive. The real
project is the archive, and the action is just a product
of this archive.
Something I found out in an archive was an illness
from people eating silver. I don’t know what it was,
but through ingesting silver people become blue;
they become photosensitive because the silver goes
to their skin. The human body becomes photosensitive
itself. Then you are the picture, you are
the silver. A smurf! I think that all the knowledge
should be included in the reenactment: all those
materials and those characters that were not seen in
the action, they need to be seen in the film.
In a certain way, your work is
something continuous. Your
first project brought you to the
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How am I responsible?
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How do you question your
practice?