Page 70 - Reader's House magazine

Andrés Janacua delves into the textures of 16mm film, the philosophical nature of moving images, empathy through animals the collaborative spirit that defines his unique approach to contemporary art. Andrés Janacua Andrés Janacua is a voice of profound introspection and subtle provocation in contemporary art, merging heritage with a unique, tactile approach to moving images. Known for his mastery of 16mm film, Janacua’s work exudes a layered depth, exploring memory, perception the elusive nature of visual narratives. His pieces engage the viewer with a haze of grain and warmth, fostering a space where images aren’t just seen but felt—hovering between familiarity and ambiguity. His work serves as an invita- tion to question the nature of knowledge, to embrace the unpredictability of perception to find meaning in the unresolved. This exclusive interview offers readers a glimpse into Janacua’s creative world. We discuss his inspirations, from the allure of analog film’s physicality to the complexity of 16mm Film as a Medium working with found images and ani- mal representations. Janacua’s reflec- tions on collaboration through Galería Perdida, his evolving artistic philosop- of Texture and Memory hy the impact of his varied residency experiences reveal the rich textures and There’s too much liquidity in digital formats… contradictions that animate his practice. As a teacher and artist, Janacua is a true innovator, transforming his multifaceted 16mm’s limits force contending with what background into a captivating, boundar- y-defying art form. What inspired you to focus on 16mm film and the exploration of moving images in your artistic practice? I understood that the use of 16mm as a means to create distance, that is, there’s enough gra- in, flare gossamer of colour to push the images back further from the viewer. Oftentimes, this haziness, this atmospheric perspective, lets the images float and lin- ger in the presence of the viewer. I took to the medium for its tactility, warmth familiarity. I appreciate how moving images are testimonial in nature and I aim to suggest that the presumption of knowledge is to be questioned, or second guessed. It’s an epistemological bent that points to gullibility, the nature of taxonomies the slipperiness of images. I am keen to have the moving images result in far more questions than a crisp narrative arc. The frames of film D R A F T to focus on questions driving my practice at the time. Most inte- restingly perhaps is the allowan- ce of being transposed into you’ve captured, for better or worse.” different geographies, histories demographics. Feeling out of water has its silver lining. rest of the images as In what ways do you believe that the medium some can be spectacular. All of the- of 16mm film allows for a unique expression of se images have an inherent currency. It is this agency narrative compared to digital formats? that draws me to images that I had no hand in crafting. You’re forced to deal with the tactile qualities of Why are you particularly interested in the repre- 16mm—its format forces a recognition of linearity sentation of quadrupeds in your work what do that will either be embraced or reconstituted. Regard- you hope to convey through this focus? less, time is conditional and images are made further concrete. There’s too much liquidity in digital formats. (great question) The desire to use animals, quadru- I value them for what they are but the advantage of peds in particular, holds packages of empathy that can 16mm are its limits and contending with what you’ve be a connective tissue for any given viewer. These cre- captured in its footage, for better or worse. atures, burdensome as they are charming, reflect per- haps the specificity of memory or referent. They are As the founder of Galería Perdida, how has your conduits for expressive means of concerns pointing involvement in collective spaces shaped your often to bits of humor, frailty, stubbornness, malaise perspective on collaboration and community in confusion—all naturally human tendencies. the arts? are paths to unravel what things we know and what In all honesty, my direct relationship to animals has Galería Perdida recognized collectivity as a persu- things we presumed to know. been at an arm’s distance. Growing up in rural Mexico asive argument against the character of the singular and Los Angeles, these beings were functional thin- Can you describe your approach to combining artist and the character of the exhibiting institution. gs, not repositories of love and care. In this manner original footage with appropriated materials from Collaboration was necessary for its success but not they’ve manifested differently in my response and ap- the 16mm archive and lantern slide collection? inherently the only manner of production. That is, the proach to them. In a way, they too have been anoma- name was driving force to foment context around a The majority of the time I shoot original footage that lous to me, figuring out a way to relate to something work of art. How does a gallery become responsib- may be culled from images I’ve seen or collected. Sce- I’ve long neglected. le for the production of the artwork and not only its nes that we reworked and reimagined for the context of the film. From time to time I will combine footage How has your experience at previous artist exhibition? It’s a conflict of interest surely, but a con- with found footage for its elasticity. I appreciate the residencies, such as at MFAH CORE and Queens founding and confusing enterprise. One that suggests tonal quality of this footage and in particular the found Museum, influenced your artistic development that collaboration is best steered under a homogenized identity and community a novelty of better times. images from various sources, including a lantern slide and current project? collection courtesy the Visual Studies Workshop in Ro- My privilege of having attended several residencies chester, NY where I spent a brief moment as an artist has afforded me not only the resources of such prog- in residence. Certain images are prosaic to counter the rams but the fundamental benefit of the time allowed 70 II Reader’s House