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Strict Standards: mktime(): You should be using the time() function instead in /home2/ibelev/public_html/inc/_err.inc on line 78

Strict Standards: mktime(): You should be using the time() function instead in /home2/ibelev/public_html/inc/_err.inc on line 78

Strict Standards: mktime(): You should be using the time() function instead in /home2/ibelev/public_html/inc/_err.inc on line 78
Société Imaginaire
 
         
 
   

I call all my multinational projects "no más fronteras", dealing with the problems of the border in its broadest meaning, helping to overcome situations of conflicts, wherever they are.
excerpt from Batuz: no más fronteras catalogs

    In 2003 Batuz paid a visit to the Uruguayan Rear Admiral Hugo Viglietti in order to thank him for his support to the ongoing project, no más fronteras en la sociedad. Sometime before, the later had been named as president of the Instituto Antártico Uruguayo which initiated him to mention the upcoming publication of a book commemorating the 20th anniversary of the base. He then gave Batuz an open invitation for an all arranged visit to theBase Científica Antártica Artigas to which Batuz replied that he would only go if he did something for the Société Imaginaire.

    Immediately Batuz proposed to reproduce the forms in tension of his work that is collected in the Guggenheim Museum, only this time with people and in the snow. He began to introduce this idea to various individuals and together with Julio Maria Sanguinetti, who immediately stated that the Société Imaginaire, no más fronteras, and the Antarctic (which has no official borders) were made for each other, included a few texts in the aforementioned publication which initially publicly presented the project.

    Near the Artigas base, the direct line causing the forms in tensions from the Guggenheim painting was to be marked out in the snow, where then individuals would stand in their assigned positions, holding hands to create the formation desired, while from above it would be documented on film. From the distance the image of the painting would then be realized with people. This creates not only another work of art, but furthermore stands for the idea of no más fronteras. Via radio transmission the order then would be communicated that the participants should shroud themselves with the white bed sheets donated by public hospitals from around the country, symbolizing thus the overcoming of the border as the line then blends in with the snow.

    For the realization of this project in the Antarctic, specific preparations were required as well as a preliminary rehearsal to be acted out. For this purpose the military section of the national airport in Carrasco, Montevideo was made accessible under the command of General Dobrich. A surveyor from the municipality of Carmelo measured and outlined exactly the form represented in the painting from Batuz. Along that line markers were placed where the individuals would stand at arms length from one another. A helicopter was then used to gain the desired perspective and the various commands were then given to be acted out. This trial was essential due to the fact that the Antarctic climate is not suitable for long sojourns in the open, which was needed to define the formation and the definitive decisions for the procedure of the act.

    Soon after Batuz, General Bonilla (who was instrumental in the realization of the entire project), together with a team of individuals, artists, soldiers, film crew and even the ambassador of Germany flew with the military plane Hercules to the Artigas base in the Antarctic. Upon arrival they discovered that the few stationed at the Uruguayan base would not suffice in order to create such a large artwork and so conveniently, to further portray the underlying principle of no más fronteras, the surrounding bases from various countries were contacted in order to participate. They gladly volunteered to participate and so individuals from the Russian, Chinese, and Chilean stations united at the Artigas base.

    Preparations for the formation were made, but due to harsh weather, Batuz himself had to spend a few hours out in the open under extreme conditions, finalizing the exact positions. Once definite, the participants were each given their assigned positions, each was given a bed sheet with which they would then cover themselves, and creating a line, emerged into the open in single file until they reached their mark.

    For the aerial documentation, Chile offered the service of their helicopter. Batuz and the film crew then from up above, began to give the few orders to be followed as done in Carrasco, through which the imagery then was filmed. The harsh winds made it difficult for some to proceed in the last phase of covering themselves with the white sheets in order to eliminate the form, but all in all the act was a success as can be here in this section viewed.