Due to circumstances I will not explain here, or which I’ll
explain later, I was born in Peru, on the banks of the Amazon
River. This was in 1982, in a place called Iquitos, where I
only lived for a few months. I have no memory of it and don’t
retain any link to that place. I left there when Werner Herzog
and his team came to film Fitzcarraldo. Not at exactly the
same time you understand, nor for that reason, but in the
same period, I mean.
So the first thing I use by way of introduction is really a little
deception that I happily accept.
What I find significant in this origin story is not so much
its possible rarity -either quantitative or qualitative- as its
aesthetic efficiency. That is to say their capacity to produce
value. I admit that one thing can be related to the other. Nor
is it a bizarre idea to say that distance and lack of first-hand
data make things available, say, for speculation. Like when
someone goes abroad, the first profit that this person gets is
the product of the distance itself in the eyes of others.
These images are
fragments from a
film shot during
the time I was
in the Amazon. I
have chosen those
that insist more
clearly on this
idea of exoticism
and remoteness
specifically.
I have also chosen
an image that
reminded me of
Fitzcarraldo, and
one that reminded
me of La Jetée.
LÚA CODERCH
Iquitos (Peru), 1982. She lives and works in Barcelona.
Her solo shows include Or (Fundació Suñol, Barcelona), La parte
que falta (Galería Bacelos, Madrid), La muntanya màgica (Espai
13, Fundació Joan Miró, Barcelona. Curated by Oriol Fontdevila),
Paràbola (Capella de Sant Roc, Valls. Curated by Joana Hurtado),
Recopilar les fotografies sense memòria de l’arxiu familiar
(EspaiDos, Terrassa. Curated by Alexandra Laudo) and Estratègies
per desaparèixer (La Capella, Espai Cub, Barcelona. BCN Producció
2011).
Her group shows include ¿Por qué no lo llamas entropía? (Edición
0 Encuentro de Cultura Contemporánea de Guadalajara, México.
Curated by Juan Canela and Ariadna Ramonetti), La apisonadora y
el violín, Una travesía por la Colección Meana Larrucea (Fundación
Valentín de Madariaga, Sevilla. Curated by Marta Mantecón),
Re-view (Espacio Combo-La Fragua, Córdoba. Curated by Jesús
Alcaide), A[p]partment (Espacio MAIO, Miquel CasablancasSant Andreu Contemporani. Curated by Andrea Rodríguez Novoa
and Veronica Valentini), A Selfless Self in The Nightless Night;
Disembodied Voices & Imaginary Friends (Espacio Práctico,
Barcelona. Event. Curated by Margit Säde Lehni), El futuro no
espera (La Capella. BCN Producció’14. Curated by Sonia Fernández
Pan), The World of Interiors (The Green Parrot, Barcelona. Curated
by Rosa Lleó and João Laia), Absence as a Pretext (Galeria Fran
Reus, Palma de Mallorca. Curated by Tolo Cañellas), El espacio
cósmico estaba ahí, en dos o tres centímetros (Galería Bacelos,
Madrid and Vigo. Curated by Juan Canela), Le Périmètre Interne
(Institut Français, Barcelona. Curated by Andrea Rodríguez Novoa
and Veronica Valentini), Critical Botox in Times of 2.0 Feudalism
(Pavilion, Bucharest. Curated by Álex Brahim), ClaResil 2012mg
(La Capella, Barcelona. Curated by Álex Brahim), Pogo (Arts Santa
Mònica, Barcelona) and Pas de deux (The Private Space, Barcelona.
Curated by Pedro Torres).
She was an artist-in-residence at Smart Project Space (Amsterdam)
through the HANGAR- AECID International Exchange Programme
and in recent years has won a PAIR scholarship from the Fundació
Suñol, a scholarship for artistic creation from the Fundació GuaschCoranty, a CoNCA scholarship for artistic research and creation in
the fields of art and thought, and a production scholarship from the
Catalan Government’s Sala d’Art Jove, among others.
She is represented by Galería Bacelos.
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