Fin y principio: Versión de los acontecimientos
Mar Dyer Pérez
Fin y principio: Versión de los acontecimientos

Fin y principio: Versión de los acontecimientos (The End and The Beginning: Version of Events) is an installation project that compiles a series of objects and miscellaneous items presented in the form of an archive. Immersed within the installation the public hears voices–often in unison but without time or context– become a chorus of readers narrating images of the future projected onto casted curtains before us. The narration is in part created through the words of the deceased poet Wisława Szymborska writing her own epitaph. Through various analog and digital devices and tools, the structure of an irrational archive unfolds live before the public, blurring the lines between past and present.

The free fall of a rock, a body working the casting of a steel chain, the image as a witness of a strange nature, a version of events narrated from the ruins, the fragments, pieces of writings and notes left in the present time.

Mar Dyer Pérez
Mar Dyer Pérez

Mar Dyer Pérez (Tepoztlán, Morelos, 1997) studied Visual Arts at La Esmeralda (ENPEG) in Mexico City while also attending seminars on anthropology of religion and linguistics at the Universidad Autónoma de México (UNAM) and at the Seminario de Intersecciones de lo Religioso (SEMIR). Her artistic practice is rooted in sound art, leading the radio program Ruido Negro since 2017, which is an archive of interventions based on sound collecting. She also employs mediums such as moving image, collage and analog photography, developing research methodologies with archives from various media sources. She uses collage as a language of assembly and methodology to address themes situated between the poetic, esoteric and sociopolitical. She manages the photography workshop Fotografía Solar at the Centro Cultural Agroecológico in Tepoztlán, Morelos and is part of C.A.M. (Cooperativa de Artistas Menstruantes), an artistic project and collective.

In her work, Dyer seeks to generate tensions between fiction and truth, historical narratives and dreamlike imaginaries. She creates visual compendiums, sound archives, and graphics through what she calls “collage compositions” and “radio poems.” She plays with the plasticity of technology as a tool to manipulate, assemble, and edit our understanding of reality.

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