In the early days of 2014, Atelier Calder received a Cuban artist for the third time since the beginning of the residencies in 1989.
(…) In Atelier Calder, Duvier could make three projects that were presented to the audience on March 21st, at the end of his stay.
(…) In a Parisian café, one day before returning to Cuba, Duvier del Dago left a statement of his experience in Saché and the exhibition held, in parallel, in QL Gallery of the Afro-Asian Institute (AAI) in Graz, Austria.
(…) Has having been in France, in Atelier Calder, influenced your future work and gave rise to new projects?
Of course! I am in a transition moment in my work. I have been researching for ten years with one and the same work methodology and I am looking for new formulae for new projects. I follow the same concepts. I am interested in virtuality; I am interested in what is ephemeral. I am still interested in materials or media that, in a given way, are inconsistent: fire, water, light, or video itself. Being in Atelier Calder makes you have a daily conversation with yourself, you have to become very much engrossed, that is, you must concentrate, to focalize yourself very much. The fact of having been by myself, because it is a very isolated place, a very quiet place, with much calm, with much nature, helped me to hold all those soliloquies. I think that when I begin to leave this place behind I will be very much more ready to make new things. From now on, it will be an entirely reviving experience for me.
(…)I began the drawings for Graz while being in Atelier Calder and made a project for a metaphysical bridge that could communicate two idiosyncrasies, two ideologies, two dimensions, two states. The bridge for Cubans is a sort of symbol, a communication metaphor with the outside. Since we are surrounded by water, the bridge may be a link. This was an unfinished project I had in mind for a long time and the very characteristics of the space contributed to it. Entering the building was similar to entering a church. It is divided in two and my bridge communicated “the altar,” where the religious icons supposedly would be, with what was mundane.
(…)After the project in Graz I concentrated on everything I had already advanced in Sache. I had left all the installations begun.
When I came back, I set myself the goal of finishing everything for the Open Studio, which was held on March 21st (…). I made three installations and a series of drawings that had to do with the projects and with the entire work process to be able to make the installation. As to the installations, there was one with ropes representing a new object I am now involving in the pieces: a picnic table from which all the threads came out and created a sort of dialogue, a conversation in the air as if a given group of people would be talking about a given topic.
The other piece was in the open, with dummies in nature that were like archeological explorers. They were dressed like divers, as if the entire space were underwater, and beams of fluorescent light came from their fingers. They were sounding the area. During the Middle Ages and in a rather distant time there had been many combats in that area, many deaths. And meeting with all these realities was very attractive for me.
(…)The third was an itinerant piece, a sort of trailer moving through various nearby towns. A trailer with a box and, inside it, a video projection trapping a sun beam: the same phenomenon of photography, a camera obscura which, when light enters, transports the outer reality to its inside. I recorded all that and put it inside the box. A rather utopian project. I wanted to trap the entire surrounding world in a box, as if I could pack the entire reality and the most symbolic thing I found was the sun beam. (…)