Ana & Louise
2025 (under construction)
"The day I met my grandmother, I was 45, and she was 114. Her bones rested in a beautiful wooden box, along with an unidentified body. Each of them was properly isolated from the other by a sealed plastic bag.."
My grandmother died quite young. I don't have any memories of her as a child, I never established a relationship with her as a kid. We meet now, in a kind of camaraderie; both in our forties, in a world that has changed a great deal in several things. Our conversation unfolds more among friends than relatives. It becomes relevant when we realize that some of the issues that determined my grandmother's choices seem to be building up again.
ANA & LOUISE is a project that emerged from our grandmother's stories and the way that time and repetition started to show new reflections among their anecdotes.
Political and historical aspects, for instance, have become increasingly important, they seem to have gained even more relevance during the last decade.
The project is a call to recover and expand this practice and this archive, as far as possible; our frame relies on anecdotes of women who were born between 1900 and 1930 and who lived through the first half of the 20th century. We believe that their stories provide an appropriate lens through which to understand many of the issues that still haunt us today. They are written in the first person to preserve the intimacy within, even though their reflections seem to us universal.
It is an ongoing project developed in many languages, and is geographically located in places that are distant from one another.
Within the project, we allow each story to have its own space, to follow its own path. We believe that it is in the silences that separate one story from the next that the necessary void is created for relationships to manifest, and the possibility of drawing temporal meanings is created.
The stories within this project behave like independent geographies, whose furrows allow connections to be created. By not imposing a direct correspondence between them, we allow non-hierarchical relationships to evolve between the global north and south, for example
ANA. I have one single photo of my grandmother. From this portrait, I try to imagine how tall she was, her voice, her ways, her ideas.
My grandmother died in 1950, thirty years before I was born. Her absence had a profound effect on my father and his siblings. They hardly ever spoke of her.
My desire to know more about her led me to visit the city where she lived her entire life, Málaga.
Unlike the Spanish city of the same name, the Colombian city of Málaga is closer to the mountains than to the sea. It also stands closer to the Venezuelan border than to the Atlantic and Pacific Colombian coasts.
There are three access roads. The southern road wiggles over two "páramos" leading to Bogotá, Colombia's capital city. Through the north its connected with Pamplona and Cúcuta (the main border between Colombia and Venezuela). This is perhaps the road in the best condition at present. To the southwest stands Bucaramanga, the departmental capital. To travel from Málaga to Bucaramanga, you need to skirt the Chicamocha Canyon on a road that still today has a poor condition, usually so narrow that it barely fits one vehicle. It takes about 5 hours to travel 120 kms on this road. This does not prevent small trucks and mini-vans from passing through here every day, defying the abyss that stretches out on the other side of a steep wall.
04 de noviembre de 2025.
Image of a part of the road Málaga-los Curos that crashed recently because of the rain season.
Birds that Echo Their Way Through the Looking Glass
2019 Ittingen Kunstmuseum, CH
"My observational data indicates that there is no exclusive avian vulnerability to windows based on age or sex, season, time of day, weather, window type or setting.
The findings indicate that glass is an invisible and potentially lethal hazard for all birds, but especially for those in flight".
Pg.11DK, 1989.
DIRECTOR: Sylvia Jaimes
SOUNDSCAPE AND SOUND OBJECTS: Leonel Vásquez
VIDEO INSTALLATION: Bojan Mucko
COREOGRAPHY: Helena Reis and Sylvia Jaimes
PERFORMERS: Mirjam Wanner, Helena Reis, Bojan Mucko, Sylvia Jaimes
Special Collaboration: workers of the Ittingen Fundation
“Several authors have speculated that birds hit windows because of: (1) defective eyes (Willet 1945), (2) impaired vision due to smoke (Langridge 1960), blinding glare (), mist () alcohol (), or diverted attention (Dunbar 1949, Giller 1960, Bent, Raible, Valum, 1968)".
Even though it is an ancient curiosity, the interest in understanding the sound manifestations of birds remains latent. It is as if it were a place to which we end up returning/visiting out of sonic curiosity, sometimes in the hope of establishing communication and other times with the desire to exercise dominance.
This project has its starting point in a scientific article that proposed a cognitive parallel between songbirds and human primates, recognizing in both the possibility of learning and memorizing complex sound phrases to develop a generational auditory memory and communication through language. This process would involve the motor-visual-sound neurons; that is, our ability to communicate with each other would be subject to the interdisciplinary action of these neurons.
Special thanks to:
Mirjam Wanner
Goran Skofic
Miguel Braga
Empatía
2018 Festival de Danza en la Ciudad
2017 Festival de Pliegues y Despliegues
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DIRECTOR: Sylvia Jaimes
SOUNDSCAPE: Mateo Mejía
LIGHTING DESIGN: Luis David Cáceres and Juan Carlos Aldana
CHOREOGRAPHY/ performers: Sofía Mejía, Mateo Mejía, Juan Camilo Herrera
PUPPETER: César Duarte
3D MODELS and animation: Daniel Rodríguez
CUSTOME DESIGN: Rebeca Rocha
SCENOGRAPHY: Hilda Niño, César Duarte, Sylvia Jaimes
VIDEO FOOTAGE & Photo by: Felipe Camacho, Carlos Camacho, Jaimes Gómez
Special thanks to: Estefanía Gómez, Beto Urrea, Diego Sylva, Constance VN
“Several authors have speculated that birds hit windows because of: (1) defective eyes (Willet 1945), (2) impaired vision due to smoke (Langridge 1960), blinding glare (), mist () alcohol (), or diverted attention (Dunbar 1949, Giller 1960, Bent, Raible, Valum, 1968)".
Even though it is an ancient curiosity, the interest in understanding the sound manifestations of birds remains latent. It is as if it were a place to which we end up returning/visiting out of sonic curiosity, sometimes in the hope of establishing communication and other times with the desire to exercise dominance.
This project has its starting point in a scientific article that proposed a cognitive parallel between songbirds and human primates, recognizing in both the possibility of learning and memorizing complex sound phrases to develop a generational auditory memory and communication through language. This process would involve the motor-visual-sound neurons; that is, our ability to communicate with each other would be subject to the interdisciplinary action of these neurons.
Special thanks to:
Mirjam Wanner
Goran Skofic
Miguel Braga
Gallada del Toche
2015 Flora Ars Natura// Quinta de Bolívar //Festival Orgánico COL
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Investiduras
2011- 2012 Teatro Jorge eliécer Gaitán, Bogotá- COL
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Al Oído de un Detective Salvaje
2011 Festival de la Imagen, Manizales- COL
A sound cartography developed in reference to the book by Roberto Bolaño “Los Detectives Salvajes”.
Soundscapes captured in Bogotá and México DF. Language Spanish.
This Net Art proposes an alternative way of visualizing and narrating the prismatic story of two friends that disappear from a teenage intense social circle. The book from Bolaño is constructed among multiple voices that conform the body of investigation (interviews) done by the detectives, that assume the missing kids case.
We take advantage of this multiplicity and transform it into a constellation of overlapping places, accents and voices.
(This interactive is currently unavailable because of a compatibility with new browsers, a video demo may be previewed on the following link)
Based on the book by Roberto Bolaño:
"Los Detectives Salvajes".
Net Art by:
Sergio Caballero and Sylvia Jaimes
Soundcapes captured by: Sylvia Jaimes
Special thanks to
Developed thanks to the FONCA and
Invierno
2010 Ittingen Kunstmuseum, CH
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Vocal Bucal
2009 Ittingen Kunstmuseum, CH
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