The first sequence of images in Paz Errázuriz's El sacrificio shows robust pigs busily eating heavenly entrails and hyacinths next to whitish chunchules, as if they were elaborate noodles. This beginning, which we later realize in its diachrony is the end, emphasizes a poetics of eternal return, a circular, infinite image where the boundaries of beginning and end merge and slip, typical of the apocalyptic genre that the author had already used in the montage of Los nómades del mar (Museo Nacional de bellas Artes, September 1996). Through this figure, Errázuriz emphasizes the vital cycle: death/fecundity; individual sacrifice/collective benefit, to which the various human communities have paid tribute since time immemorial, when the gods still lived in them.
Plano Americano, Rita Ferrer. Catalog El Sacrificio, Galería Animal, Santiago 2001.
Sepur Zarco
SeeRing Fighters
SeePróceres
SeeAdam's apple
SeeTango
SeeThe nomads
of the sea
Children
SeeOld
SeeAnteroom
to a nude
Boxers
SeeThe Infarct
of the Soul
Circus
SeeBodies
SeeMemento Mori
SeeAsleep
SeeThe light
that blinds me
Women
SeeExéresis
SeeChileans I. Calbuco
SeeSecond hand
clothes
Eyes that
cannot see
Dolls
SeeThe Sacrifice
See(From lat. contactus). Action and effect of touching two or more things. Connection between two parts of an electrical circuit. Artifice to establish this connection. Liaison (person who has a relationship with others, especially within an organization). Relationship or dealings established between two or more persons or entities.
Photogr. positive impression, obtained by contact, of a photographic negative. U. m. in pl.