Time Theft Agent E2262 // Selected at BCNproduccio/10 La Capella Barcelona

"To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept. Of every concept, beginning with the concepts of being and time. That is what we would be calling here a hauntology. Ontology opposes it only in a movement of exorcism. Ontology is a conjuration"

Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning & the New International, pg.202

Time Theft Agent E2162 from esther planas on Vimeo.

Time Theft was a expanded piece presented as an installation, a publication, an unfinished novel, a silent film, a soundtrack on a tape and a live performance.

The film is an hauntological exercise that unveiled and sensed the ghost of our civil war, the hatred floating in the air, the revengeful and murderous feelings between the civil population of the days.

It collects a mass of research images and also canibalises co-opts images by other film makers, which is one ongoing characteristic of my work.

My feelings have been for very long time, that nothing was resolved, that Fascism was creeping back and in many peoples souls.

The film was also a Situationist methodologies and was a journey around a whole area in Barcelona called El Xino Distric V that has been part of narratives that involved the times of our imminent civil war as Jean Genet, Le Journal du Voleur and Bataille's Blue of Noon, both including places like La Criolla's queer, artist, Marines, spy and bourgeois slumbers site in Barcelona.

The Agent, E2162 which I perform, is a double agent. She is a spy for a queer handler, called M. In the unfinished novel situations melt and collage between memories and moments almost as in Genet's Novel or Bataille's with Africa de las Heras (a real spy) and Caridad Mercader, an Stalinist Agent.

The film was part of an installation and part of a multidimensional narration that staged a dismantled barricade with traces of red blood/pain suggesting at some point the Four Bars of Catalan's suffering for being Republicans and the suggestion to its blood shed on the red traces and flag.

The project is still to be understood so far. It was part of BCNProducció/10 La Capella. The Film was updated for the edition on May 2017 at Revissions during Loop Festival and at La Capella, Barcelona

The aim of the expanded work was to display various ways and media all used for the construction of narratives to produce "History" for the means of manipulation and control as in J.Goebbels.

Roland Barthes's definition of the Third Meaning is intended to be a sensorial key about a Film composed on its entirety by film stills and the idea of lists and visual dialectics borrowed from the Surrealist ( as in W. Benjamin ) is used as basic structure for montage.

The artist as a psychic medium, but also as a researcher and collector of stories or histories.

The Installation around a film screening and the display of elements inside the space as a Simulated Political Stage to question how the Politics of the Theatricality of distribution on a space and its use can affect a whole artistic discourse.

In this case using the church architecture of the site as it was used for real by Anarchist during the Civil War generating the feeling of an Historical reenactment exercise .

The film reveals Barcelona's dark heart and memory of its Civil War ruins, mixing far past and immediate past reflecting on how History repeats itself and -re-appears.

Containing images documented during a whole "derive" around the Raval area plus many just taken from youtube film finds on net derives. Delivered as if a stream of conscience by the film it self, as a neutral apparatus filled with all sort of images, detritus, ruins and ghost.

Civil War, Districte 5, Death, Dance Apache, L'Age D'or, CN, Addiction, Revolution, Spies, Thieves, Aliens, Danger, La Criolla, Anarquist, Sci-fi, Torture, Industry, Fascists, Ghosts, Barcelona, MACBA, Bombs, Cocaine, Bullets, Ocaña, Jean Genet, Orwell, ........... The revolutionary feeling manifested

Here is a Blog started at the same time and that has keep growing and included in shows too:https://kv53139.blogspot.co.uk/search?updated-max=2012-04-05T05:43:00-07:00&max-results=7&reverse-paginate=true

Spanish:

Agente E2162 robando al tiempo (ejercicios de hauntología alrededor del Raval/Barcelona y el espectro Rojo contra el fascismo 2010/17)


"Aparecerse no significa estar presente, y es necesario introducir “el atormentar” en la misma construcción de un concepto, de cada concepto, comenzando con los conceptos de “ser y tiempo." La ontología es un conjuro " Jacques Derrida, Espectros de Marx: El estado de la deuda, el trabajo del duelo y la nueva Internacional, p.202

Time Theft: Agent 2262 fue una pieza específica de formato expandido, cuyo centro era una investigación presentada como un ensayo visual (en formato de stills en film) fantasmático.

El ensayo se expandía en una serie de elementos (bloques de prensa de diario y propaganda, objetos residuales encontrados como maderas y paneles varios representando una barricada desmantelada y marcada de rojo dentro del espacio) que incorporados en el espacio, cuestionaban las tácticas de lo teatral/escenográfico, de la distribución del plano expositivo y de cómo este afectaba al discurso político o artístico de forma similar en cuanto a ficción y a la construcción de ficciones como realidades históricas.

Se re-utilizaba la localización de la exposición: una ex iglesia que fue antiguo hospital en su biografía arquitectónica y social. Porque la historia conoce el uso subversivo que se le dio a esos espacios sagrados, habitados por anarquistas, comunistas o socialistas. Los temidos Rojos en la ficción de las mentes de la gente que sin saberlo apoyaba a los fascistas, los Azules asesinos que tenían como misión perpetuar el control del país tanto de USA como de UK y Europa.

El efecto perceptivo que el símil espacial conjuraba sobre los espacios e iglesias que fueron utilizados para reuniones, sesiones de adiestramiento, almacenamiento y protección de herramientas o armas, durante el verano del 36 al estallar la Guerra Civil Española, generaba una acción intrínsecamente hauntologica/fantasmática, al ser una ficción.

El título de la pieza indica hacia un robar el tiempo, y usa el denominador "agente" en el que se cuestiona el rol del artista: el artista como historiador? y/o como agente doble? el artista como medium, como Casandra? Después de la desaparición del concepto de autor, el autor de un crimen, el autor de una traición?

El film revela el oscuro corazón de Barcelona, la guerra civil latente, que nunca se aplaca, que desde la paz supuesta impuesta por la fuerza fascista no deja de dar señales entre los odios las envidias, la rivalidad inexplicable, el desdén y el ostracismo aplicado como arma de muerte suprema en tiempos de paz civil.

En la memoria de sus heridas y ruinas de la Guerra Civil y el advenimiento del fascismo (que entonces en 2009/10) tanto como hoy, todavía están presentes como fantasmas que se realizan, se aparecen.

Mezclando simultáneas referencias culturales y temporales de un pasado lejano e inmediato pasado, una caótica serie de “apariciones” que generan una réplica de la dialéctica squizo que nos envuelve del capitalismo estructural.

Reflexionando sobre cómo la historia se repite y se nos -re-aparece. Re-torna como un momento de destello y sigue enviándonos mensajes.

Para ésta próxima proyección de la película, Planas ha trabajado en proceso, el trabajo del contenido y re-adaptado una serie de momentos. El Rojo, se materializa y se vuelve intenso, mientras muchas imágenes que en el 2010 parecían distantes, se nos muestran hoy cercanas y preocupantes, a la vez que nos recuerdan que podemos y debemos resistir convocando ante todo a los fantasmas y la memoria.

A review of the film by my friend the late Isabel Nuñez at her blog:

Coments on the works by Isabel Nuñez her self here: El otro día vi una película sobre una exposición e instalación de Esther Planas que me perdí, hélàs, en la muestra BCN Producció '10 en noviembre pasado en la Capella. Me gusta esa definición de su trabajo como "pop oscuro y situacionista". En cualquier caso, parece describir bien ese mundo suyo que prefiguraba también las movilizaciones y acampadas de los indignados, además de mostrar otras muchas cosas, con su mirada crítica y talentosa. La película está llena de una melancolía de lo urbano que une la vieja nostalgia irónica de Betty Boop con las heridas de la historia y sus luces, la destrucción de la ciudad, nuestro Angst, y ese "desde mí" empático que la muestra a ella andando por las calles con su aire algo rockero, esas calles de la ciudad ambivalente donde todo late, duele, recuerda, pero donde no falta el humor ni la indignación vital y crítica. La película es preciosa, tiene esa poética del todo, que parece reunir el universo en una secuencia de imágenes, incluso la música refleja ese todo pynchoniano, melancólico, sutil y salvaje al mismo tiempo. Furiosa conmigo misma por haberme quedado abstraída en mi dolorido invierno y habérmela perdido allí, ver esas imágenes (y escuchar la película) me llenó de la felicidad de las afinidades y los encuentros.

http://isabelnunez-zbelnu.blogspot.com/2011/06/ya-me-iba-al-cine.html


Extract of the unfinished Novel :

Love , called Eros, the God, is so attracted unavoidably to Death ,the Thanatos, a huge black hole of nothingness like the most warm embrace ...

It is never the person we give the privilege of causing disturbance on our hearts the real culprit , it is us.. we know this by now, after the likes of Freud or Lacan , its our transference , our projections, on the blank screens of appearances we see things, symbols, signs and we eventually find lost parts of our selves , of our forgotten past and dreams.

And this is exactly what happened to her when she meet him, and after the meeting.. that trail he left.. that scent that for some reason seemed to take her, to guide her, in to the deep nights of secret meetings for debriefings about the real exact Revolution, as was so much needed at that times.

So, please , don't even think that due to some weird auto destructive tendencies or some extra powers about this man she did love, she decided to put her self on a list to go and jump in to death , to disappear , because he had also gone long ago...

As it was irrelevant where he was now, because it was what happened then, the essence of that times and the subdued influence he exerted over her with out his will .
It was more to do with how he smelled and tasted, his sun kissed skin , his deep black eyes, his hair and how he move, how he spoke, how he loved..

This is what was mysterious, thrilling, fascinating about the fate of agent E2262

Here starts my journal , that text that is printed as a memory of a journey ,
a journey to a territoire which I discovered and that travels with me for ever.
El Barrio Chino , in Barcelona is a place where my heart lives , my whole body is el Xino.

The place where I went so low and where I found my redemption.
The place where I betray and was betrayed, where I found the ghosts
who talked to me and trough out me.....
What time is now?
I don't know, it feels like there is no more time out there, now or yesterday
are melting with each other.

Long ago predates today and never wake up to a new morning but just
a looping old new day again.
The souls that posses me are taking me with them to precise stages and
situations they guide me and show me so that my eyes became yours
El barrio Xino is a whole world and even if the whole time pass by it
never a place had more of the same, repeating its geographic speciality
A labyrinth, a container of lives and experiences bordering the lowest,
the outcast, the free for all , the villains , the whores, the addicts ...
One day of spring 2222, I gravitated towards El Xino, and I will just drift
getting lost and found on its dark humid streets.

Old, very old buildings, intense smells of acid urine residuals ,putrified rubbish,
fried oil and some scent of flowers that I could not really place or see but where
floating like next to the sea salt humid air beaten up by the flying doves.

How was her involved on this could have not been ever explained
if he will not had crossed her path at a very special moment of her life...
As simple as this may sound, him, out of the bluest blue, him the unexpected been,
him, influencing her trough out his hands and kisses and his deep bright beetle eyes ....
They did not enjoy such long times together , most was, as she pointed out after his proposal .
like love in war times, love in a short time timing and context and then a long distance a long time passing by, as she had also had said then, like love before we just die...
She agreed, even knowing she would regret it both ways, if rejecting it, the whole nothingness up on her for ever.
And if agreeing as she did, having almost for sure ( will she had not already knew -??) having to live with that passion, that memories, that burning desire for "that" which had gone like a lone sailor at that harbour..the harbour where maybe as sailors fate could always be: never ever come back to again.

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