1 ola Majestic en mi balconee is a work that ponders on the resistance of late-capitalist forms of leisure in the context of climatic disasters. The landscapes produced by the Mediterranean real-estate bubble, when mixed with the sand and seawater that blur its urbanism, serve as a setting from which one can reflect on the deficiencies and numbing that neoliberal processes of subjectivation manifest in the face of the emergence of critical situations at a global or collective level. A sound piece in which 'vocality' is decomposed into a digital and fragmentary use of speech, shaping perception but not messages, 1 ola Majestic en mi balconee is also a textual-visual work in which this fictional and hallucinated distance, reconfigured into a tour through these dystopian landscapes, seeks to avoid the position of the critical privileged observer. It imagines the possibility of a reflexivity that may affirm its inevitable belonging to the trip: the camera moves with us, and the majestic and tremendous journey does not belong exclusively to an alien and irresponsible other, but also to ourselves. The dystopia that comes with the climate disaster will not appear, does no longer appear, with any sort of epic distance, emotional mystery or with a possibility of blaming someone else. The dystopia of climate disaster, in a similar way to the contemporary health crisis, will not, no longer, present itself with epic distance, emotional mystery or the possibility of signalling to the other.
Through the generation of a series of speculative events in which certain (un)natural disasters converge with the scenarios of consumerist pleasure generated in spas, hotels, beach clubs, free buffets and guided tours, 1 ola Majestic en mi balconee aims to pause before the contradictions of the historical and subjective simultaneity of the desire for strong emotions, obtainable at the touch of a contactless credit card, with the discourses and data on global warming, the rising sea levels and the effects of human intervention on the earth.
Video-editing: j g oteíza
English translation: George Hutton
Special thanks to: Adrián Aldihni