This video is the first part of a triptych
- created for the exhibition "Fremdgehen" at the Kunstmuseum Nidwalden in 2005.
1. The washer-woman is sitting naked by the river,
- squeezing a long piece of white fabric into a wooden basin.
- Her movements are slowed.
2. the beads of sweat on the brown skin of her brow;
3. a close-up of her hands as they kneed the fabric.
The 3 video sequences are projected onto strips of white cloth
- on display in the Salzmagazin in Stans.
- The entire room is replete with the washer-womans languorous movements:
--- her body as it sways in its labours;
--- the tracks of her sweat as it emerges from her pores;
--- the undulations of her white cloth.
These days, washing is hardly ever done by hand in Europe
- The archaic image of this occupation
- conveyed by Victor Escobar
- in his video installation Lavandera/Wäscherin (Washer-woman, 2005) is thus
- a sign of that cultural difference
- which appears as non-simultaneity in the globalised world.
The washer-womans occupation
- and her nakedness as she performs it,
- is the stuff of everyday life in her homeland,
- although the European eye can only receive it as a kind of staged performance.
- On the other hand, of course, this very difference provides an aesthetic leveraging effect
- when it is featured in the video.
- The slow motion made possible by the medium and
- the film's focus on individual details, such as:
--- her hands and
--- the beads of her sweat,
- render the washer-womans activity urgently present.
- And the artist has chosen to install his video work in a quasi-religious context:
- as a triptych on strips of fabric
Text extract from the catalogue written by Sibylle Omlin.