Tania RUIZ GUTIERREZ

La Plaza series

Public squares series
Projections, diverse digital techniques, variable dimensions.
2002-2007

La Plaza II
Software. Real time generated film. Theoretically perpetual duration.
2004

Pla Plaza II artwork - Tania

At first glance, it appears as a realistic representation of an overexposed public square. Meticulous observation will progressively reveal the artificial nature of the represented space with its own features and internal logic. In “La Plaza 2”, the video material is not used to restore the past, but to confer it a fictive new actuality. Due to its high level of abstraction, this piece can be considered as an experiment of visualization of mental imagery.
Technically, La Plaza 2 is the projection of a real time render . A program calculates the interplay of several pre-registered video loops with an automated independent behaviour. Initially , exterior shots of actual pedestrians were taken with extreme highlight conditions and tele-zoom (therefore flattening) optics. Afterwards, the characters were isolated from the background, together with their original shadow. The motion loops are calculated to preserve a naturalistic gait and to keep their original relative tempo.

People watching multi-proyection outside

The shots are “reanimated” over a theoretically infinite straight path conceived as drawn over a torus. The torus surface is unfolded and mapped in the rectangular screen, the bottom row of cells is assumed to be neighboring the top row, and the left cell column is treated as if it were adjacent to the right side. The pedestrians appear walking forever without reaching the boundary of the model-space, since the space wraps back on itself. The hors-cadre (the space out of the frame) is annihilated. There is such a huge amount of possible configurations between the individual cycles and paths that the exact moment of the plaza will not ever be repeated.

La plaza II

The shots are “reanimated” over a theoretically infinite straight path conceived as drawn over a torus. The torus surface is unfolded and mapped in the rectangular screen, the bottom row of cells is assumed to be neighboring the top row, and the left cell column is treated as if it were adjacent to the right side. The pedestrians appear walking forever without reaching the boundary of the model-space, since the space wraps back on itself. The hors-cadre (the space out of the frame) is annihilated. There is such a huge amount of possible configurations between the individual cycles and paths that the exact moment of the plaza will not ever be repeated.

Urbi et orbi I
Hi-definition single channel video projection.
Variable size. 26 minutes loop.
2015

People watching multi-proyection outside

Many modern cities can be defined as brutally ugly, utilitarian places. Urban landscapes of the mega-cities often appear as collages where the cuts underline cruel social and economic gaps. But the fall of the night totally hide the gaps.
Urbi et orbi is the first of a series of video collages that, at first sight, resemble a panoramic night cityscape. Urbi et orbi I is actually composed of 35 video shots from several different cities around the globe.
From its very beginning film has been considered as a creator of illusion. Here collage techniques are used to create a dynamic oscillation between the illusion of a unified ‘city of the world’ and the disillution of the impossibility of such vision.