2017 – 2019
16mm film transferred to HD, 5:20 min
“The focus on reason has shrouded the wild in ourselves,
pushed it down into the darkness under the skin,
but under the skin is where the processes that maintain life
take place. ” *
Outline for a 16mm film installation that will present the documentation of a 2,5-year bonding with a farmed salmon, in collaboration with the Institute of Marine Research, in Norway.
The Bonding is the central part of the ongoing project Transpose, which explores cross-hemispherical relations, with regard to different tensions: the insertion, aquaculture and impact of salmon; the anthropocentric management and manipulation of living marine resources, and the coexistence and disappearance of ancestral knowledge, from origin to destination in the contemporary context.
This is a 16mm film documentation of a working process with fishermen and scientists of the University of Bergen (UiB), in which the aim was to research the history of salmon aquaculture and current technologies, as well as to understand ethical and political contexts. One of the tasks was the extraction of otoliths pairs from farmed salmons; unique crystals or bio-minerals that serve as a chemical diary of a fish. This seeded a reflection on how the microscopic crystals of the film material arrange themselves under a photochemical process.
This outline aims to translate the techno-antiseptic Cartesian environment constructed for a captive salmon through a grainy, imperfect 16mm film aesthetic. It is accompanied by an extract from a conversation with Sámi artist Ánde Somby in Tromsø, 2019.
The Bonding is being produced thanks to the support from KORO – Public Art Norway
Concept: Michelle-Marie Letelier
Director of Photography: Carlos Vasquez
Production and Editing: Carlos Vasquez & Michelle-Marie Letelier
Post-production: Muscle Temple Lab
- Screened at: Futurium, Berlin; Kunst.TV – Screen City Biennial, Stavanger and INTERFACE, Osaka
* Solveig Bøe, Wild Living Life, The Wild Living Marine Resources Belong to Society as a Whole, 2017.