El cielo cayendo exposes us to journeys and interpretations about a world in trance. It is an exhibition by Sebastián Díaz Morales that forms part of a three-decade journey, whose beginning I associate with his formative stages: the University of Cinema in Buenos Aires, the Rijksacademie in Amsterdam, and Le Fresnoy-Studio National des Arts Contemporains in Tourcoing, France. This is the progression of an education that moved from cinema to video and then to the practice of installation.

Over the last three decades, Díaz Morales has combined short films with feature films, fiction with documentary, analog with digital media, to create multimedia productions exhibited on the white screen of a dark room and curated within the contemporary art space—a series of journeys in which El cielo cayendo marks a turning point.

This focus on contemporary art begins with recordings of models whose details are revealed by close-up lenses and slow camera movements. It is an art of capture where traces of objects and bodies become effects of time and space, distorting the interplay with reality. All are eloquent testimonies warning about human apathy towards the mistreatment of nature.

This series of six single-channel works, arranged in both rooms of Arthaus, is designed for visitors in motion, immersed in a soundscape specially created by composer Philip Miller. The speakers bear witness to a dystopian environment of scenographic objects that play with the idea of collapse. This is an eloquent staging of a world in transition, of which technological art is both simulator and witness—a story to be pieced together by the visitor’s eye, ear, and mind of a falling sky that cannot wait.

Jorge La Ferla
Curator

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