Pablo Uribe


Atardecer / Dusk

Video installation – 2008-2009

Diptych. 16′. High definition. Dimensions variable

Landscape 3 – from a starting point of recurrent pictorial genres, Pablo Uribe produces a false documentary with a symphonic air. In so doing, he reflects upon the play between reality and fiction, on representations within representations. The repetition of the portrait refers to the figure of the double, a sign of conflict in matters of identity. A man in a white shirt gazes upon the spectator. With deliberation, he imitates the diurnal sounds of indigenous animals. On another screen, in a light blue shirt and in an almost identical pose, he emits the nocturnal sounds of other animals. The binary conflict of distinct opposites is thus conceived in this polyphony of sound and sight.

PU_hombre izquierda



The backstage:


Photos: Valentina Ordoqui

Photos: Valentina Ordoqui

Actor: Carlos Prigioni

Sound: Fabián Oliver

Camera: Álvaro Zinno

Lightning: Rafael Lejtreger

Edition: Marcos Montaño

Assistants: Virginia Farías y Valentina Ordoqui

Location: Solís Theatre – Montevideo

Pablo Uribe’s work can be understood as a performance, a sonorous presentation and also as an etological study. Atardecer (“Dusk”) is, within all the possible nuances of classification, a sonorous piece, experimental, unsettling and extremely sophisticated in its conception and process. It also proposes an intelligent temporal relationship.

In order to approach the ‘result’ of this project it is interesting to review Uribe’s earlier work and to bear in mind his emphasis on an immaterial heritage. His work is determined by his analysis of “behaviour”. In his projects, Uribe studies the work of Uruguayan artists of the nineteenth century. In most cases his analysis consists of a critical observation of facts presented as real and absolute.

For example, in his work Proyecto Vestidor (“Dressing Room Project”) Uribe presents an account of the customs, culture and atavisms of those who lived a hundred years ago in a Uruguay which was “barbaric” and different. In a silent scene, people remove their clothes and dress in the clothes of the gauchos and chinas portrayed – in this case – in Juan Manuel Blanes’ paintings.

But Uribe’s work is, above all, a revision of painting and its representative function, as well as being a proposal of psychological analysis. He takes a position which enables him to amplify the original purpose of painting, which was to “perpetuate” beings and landscapes in order to present environment as the path to understanding and “control”. Uribe’s work dwells on the reading of the two grand themes of traditional painting: portrait and landscape.

Uribe understands landscape to be an inhabited space, a sensory sphere in which the image is complemented by its sensitive connotations: the notion of sound, temperature, the scents which stir the memory. This space is also constituted by multiple variations, combinations and psychological effects: fear, peace, dreams, love, pain. In this manner,we can attempt an essay about the sensory nuances conveyed by the images which are represented.

This new work of Uribe’s deepens and elaborates on previous works, such as Entre Dos Luces (“Between Two Lights”) in which the artist questions cultural concepts such as ownership or authorship. He also blurs the borders between curators andists, by appropriating existing works in order to promote, with “minimum” interventions, arevision of the “original”.

Atardecer is a work which deepens and strengthens the main objective of Uribe’s work; it is a performance within a performance, a loop which turns upon the representation and makes it more complex. An attempt at reality which starts with the impossibility of verification, from the moment when the spectator realises that it is a representation which, Uribe sustains, is almost operatic. It is possibly for this reason, that although this is a sonorous work, the inclusion of an image reveals the mechanics of the invention, or reproduction, and in this manner opens up a space for reflection regarding the idea of duality in the search for identity.”

Commissioner Patricia Bentancur

Extract from the “Critical landscapes” catalogue, 2009



  1. Sherry Killam said

    I thought Pablo Uribe’s “Atardecar” was one of the most simple yet profound pieces at the Venice Biennale.

  2. Many thanks for spending time to publish
    “Pablo Uribe Venice Art Biennale: Uruguayan pavilion”.
    Many thanks for a second time -Aaron

  3. Danial said

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  4. madonna said

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