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Opus 2012 Vídeo HD | 34 min | 2012


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Opus 2012 - Special Edition

Video HD    
30 m    
2012    

Opus04Juanli Carrion

How this incredible transformation will end remains uncertain.

Chromogenic Print on Crane Museum Paper    
14x11 inch    
2012    

Opus03 Juanli Carrion

Un-titled #12

C-PRINT on Dibond    
60x40 inch    
2012    

Opus02 Juanli Carrion

Un-titled #02

C-PRINT on Dibond    
60x40 inch    
2012    

Opus05 Juanli Carrion

Opus 2012

Partial view of the exhibition at Center ADM    
Intervened score    
2012    

Opus06 Juanli Carrion

Opus 2012

Partial view of the exhibition at Center ADM    
2012    

2012

Opus 2012

Opus 2012 is a multimedia art project that brings together video, music composition, performance, photography and site specific intervention in the landscape to stage the current situation of Western society on a political and existential level via the union of the universe (as macrocosm) and the theatre of politics (as microcosm).

Opus 2012 uses Mozart’s opera Don Giovanni as a basis for its development. The legend of Don Juan is one of the fundamental myths of Western man. It is the story of the ever-dissatisfied man within a vacuum—a seducer trying to fill the emptiness with amorous conquests—adapted here as the politician engrossed in the expansion of his empire. There will always be, however, more women to conquer, and more power to win, thus the quests of these men are doomed to failure.

The project presents, as an opera, The State of the Union Address that Barack Obama delivered in 2012 to inform the population about the “state” of their country. The discourse has been translated into Italian, adapted and harmonized to the music of the second act of Don Giovanni.

The performance took place live in the desert Real de Catorce, (Mexico) performed by four singers located on four podiums arranged in a straight line in front of the camera.

Opus 2012 emphasizes, first, the tremendous dependence that current democratic regimes have on the industry of mass communication. On the other hand, the melodramatic characterization which has been acquired by the figure of the president for the strategies of quantifying “public opinion” is clear: the pulse of his acceptance by a captive audience—the citizens who elected him in the polling booths—qualifies the tone of his speech, but essentially does not change the development of the plot. Representation has ceased to be the fuel of our lives as citizens.

The dramatization of political discourse and its insertion into the poetics of opera establishes a direct relationship between the public performance of the politician and of the character Don Juan, now becoming a lover unsatisfied in his relationship with Power, seeking new conquests, new proof of his capacity for territorial expansion.

Opus 2012 questions this dramatization by contrasting this political discourse with the universe in movement in the background; Opus 2012 confronts the anthropocentric microcosm of society with the macrocosm of the sublime universe. It is a reflection on the superficiality of society and at the same time an analysis of the figures of power.

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© 2012