19 mins  | 2012 | HD | Stereo | DCP
Spanish | English and French Subtitles

Interested in the hidden corners of exoticism and a reinterpretation of history as an aesthetic challenge, Colombian resident in France, Laura Huertas Millán (Bogotá, 1983), presents in Aequador —in her own words— “a parallel present modified by virtual reality, an oneiric allegory, an uchronic dystopia.” With foundations on science fiction —uchronia as a source for an alternative history can actually be seen as a subgenre—, Aequador establishes parallelisms —in a complex and deliberately fragmented way— between the (virtual) relics and ruins of an ideal 3-D architecture embedded somewhere in the middle of the Colombian Amazonas and the everyday life of people inhabiting that area. This equatorial semi-paradise, this dystopia evoking the excesses of a progressive and modernist dream, takes us back to a time (“a history without a chronology”) when foreigners established settlements in Latin America (a “non-place”) based on conquering ideologies and impulses.

Laura Huertas Millán continues delving into themes already present in her earlier work: nature as a place where the otherness arises, the issue of what is foreign and strange, and the hybridization of myths from diverse origins. Mixing different documentary registers with science fiction and fantasy while appropriating stock footage, Huertas Millán manages her craft from an in-between position to visual arts and cinema.

Human presence —and its associated rituals— is put in contrast with the phantasmagoric presence of virtual architectures. The sound tends to deconstruct ethnographic and anthropologic landscapes while showing instead a presence of parallelisms. And so, we evoke the Amazonian “Civilization” questioning the relation between architecture (real or virtual) and humans in a place where nature should reign. Coexistence among diverse human and non-human elements —as well as an atmosphere of extreme political and natural violence— is beautifully suggested by Huertas Millán, touching with the tip of the fingers that ultimate utopia: the possibility of living together, the ideal of a community."

Maximiliano Cruz, Ficunam catalogue, 2013
excerpts - full preview on demand contact here

Bienal de la Imagen en Movimiento - Norberto Griffa Prize Special Jury Mention.

Museo de Arte Moderno de Buenos Aires (solo screening), 2015
Espacio de Arte contemporáneo, Montevideo, Uruguay, 2015
Museo MAR, Mar del Plata, Argentina, 2015
Bibliothèque Nationale de France (BnF), Paris, France, 2015
Bienal de la Imagen en Movimiento, Buenos Aires, Argentina, 2014
Lugar a Dudas (solo screening), Cali, Colombia, 2014
La Villa Arson (duo show), Nice, France, 2013
Curtas Vila do Conde, experimental competition, Portugal, 2013
Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany, 2013
FICUNAM, Mexico D.F, Mexico, 2013
LABORAL, Gijon, Espagne, 2013
L'Alternativa, Spain, 2013
Tampere Film Festival, Finland, 2013
Le Printemps de Septembre, Toulouse, France, 2012
Rencontres Internationales, Palais de Tokyo, Paris, France, 2012

Sound Design
Edwin van der Heide
François Bianco
Christian Cartier

Sound Mixing
Christian Cartier

3D modeling
Jean Michel Albert

Karim Touzène

Graphic design
Damien Dedreux

Executive production
Bertrand Scalabre

Written and directed by
Laura Huertas Millán

Produced by
Le Fresnoy, Studio national des arts contemporains

Artistic accompaniment
Edwin van der Heide

Cristóbal Gómez
San Sebastián de los Lagos community

Director of Photography
Alexandra Sabathé

Gustavo Vasco
Laura Huertas Millán

Sound editing
Geoffray Durcak
Laura Huertas Millán

All images © Laura Huertas Millán - Les Fresnoy, Studio national des arts contemporains