mirarnos a los ojos

(volver a)

About the project

mirarnos a los ojos (volver a)

mirarnos a los ojos (volver a) is a collective audiovisual project, a universe of videos created during the time of pandemic by artists from different corners of the world. The project displays a broad diversity of poetic approaches; pieces that are simple, sensitive and reflective put together in dialogue with each other through a platform especially designed for this project.

mirarnos a los ojos (volver a) is the main event within BIM 2020, produced by CONTINENTE from the Universidad Nacional de Tres de Febrero and with the collaboration of Untref Media.

mirarnos a los ojos (volver a) is a historical landscape, an artistic document that tells how the inertia of the future was dramatically interrupted. It is a testimony of a year in which humanity went on pause and had the space to think and feel different, to change the order of its priorities, to deploy a critical gaze upon its present and imagine alternatives for the future. Perhaps, in a few years this analytical and affective deployment might make visible the beginning of a deep change or, conversely, the failure of having lost a great opportunity.



looking each other in the eyes to meet together (Gabriela Golder)

We are trying to look each other in the eyes, we are trying once again to look each other in the eyes. We invent machines, create strategies and design manifestos. But no, we were not able to look at each other again.

mirarnos a los ojos (volver a) is born as a meeting space. If we cannot look each other in the eyes, if we still cannot once again look each other in the eyes, we can at least meet in some place, let ourselves be traversed by the same light, by a gust of wind, to vibrate before the same sound, to feel ourselves near each other. We are there, we are here, and it is here that we meet.

We look at the sky, we look at the screen, we look inward or out the window, and we imagine we see each other.
In the turbulent streets, in the turbulence in the streets, in the resistance, together with other bodies, looking at the sky, invaded by infinite preformatted images, insensitive images, cold gazeless. In the place of pain, and in the place of knowing we are alive, in one’s own place, in the collective place, almost without any certainties or only knowing that we are ourselves, that we are others.

BIM was born in 2012. BIM was born of the desire to meet with up friends, to recognize ourselves, to think about the image and its construction, to deconstruct the given image, to make, to say, to weave, to weave ourselves into bodies and images. That is how our Biennial is: desiring and living.

And that is how we are in times of pandemic, of isolation, of so many questions, of new constructions, of collective ways out, of sadness, of impotence, of fears, between hatred and false dilemmas, from within. That is what the current edition of the Biennial intends to be. Born from within and searching to create a plot that emerges through an immense network of invisible tapestries. It is the plot of gazes and affectations. It is the possibility of once again looking each other in the eyes, together and in that way. Together then. Of finding each other and being moved by each other by knowing each other there.



like an embrace from a distance (Andrés Denegri)

We Argentines kiss. A hand on the back, on the shoulder, an embrace, helooooo and the kiss. We arrive somewhere and hello (kiss), hello (kiss), hello (kiss); and also: Hello, I’m Andres (kiss), because when we say hello, we kiss, even with people we don’t know. When we travel to another country we forget where we are and we kiss. Awkwardness ensues and we must declare: I am Argentine. At home we say hello with a kiss. It has happened to me in different corners of the planet. We Argentines kiss others and that identifies who we are. Every two years, the BIM is our revenge. It takes place in Buenos Aires and here there is no reason for us to repress our custom. However, this time we will not be able to meet. Even amongst ourselves. What we do so spontaneously has become lethal. Perhaps that is why at BIM we have felt such urgency to find an alternative way for us to get closer to each other.

The real experience of the BIM is in the overflowing of its catalogue, in the afterwards of a projection, in the conversation before an inauguration, during the montage of work, in the café, in the bar, in the discussion in the middle of a room in a museum, in the reuniting with – or the discovery of – a friend that lives in another part of the world. But this year, everything is prohibited. We will have activities online that will allow us to rehearse a coming together in time, but will lack sharing the same space. It will be the body, the spontaneous plan, the kiss. It is for this reason that we have decided to give this unexpected form to BIM 2020, to roll out a meeting space through personal works that have been tempered by the climate of this moment that has touched us. A universe of quality, intimate pieces – that to varying degrees could be drafts, notes, sketches – in which we navigate along sensitive, aesthetetic and affective guidelines. Soon we will be able once again to look ourselves in the eyes, while our videos will be there, to build fraternity, to confess to things, to tie together complicitness, to articulate an endless myriad of senses.