Suspensión I (Suspension I)
In his work, these struggles are underlined by implementing mythological narratives that refer to the extraction of natural resources, and traditional notions of progress and development in capitalist culture. The research process behind each project ultimately reveals hidden histories in the folds of Latin American politics, dismantling colonial constructs. His analysis of specific social-environmental agendas within extractivist economies of modern history has led to a series of projects in a wide range of formats such as film, site-specific installation, sculptural objects, and photography, bringing to life ironic allegories on late capitalism. This production relies on a process of rigorous investigation and dynamic association, provoking unexpected references that include elements of popular culture, art history, and social history. Balseca’s projects synthesize complex contemporary landscapes while navigating the contradictions found within modernity’s promises.
Balseca’s work engages with the colonial imagery of a seemingly abundant land—reminiscent of the medieval notion of “Cockaigne,” a mythical realm of abundance where labour is not required. Simultaneously, the work delves into the exploitative framework of economic extraction, which continues to deplete and pollute Ecuador’s abundant landscape.
Suspensión I is a video still from a series inspired by everyday games. For this work, Balseca filmed the last human settlement located on the outskirts of Sangay National Park in the province of Morona Santiago, Ecuador. The video depicts a girl struggling to climb a denuded tree trunk festooned with symbolic items. These serve as “trophies of progress,” including jerrycans and metal containers for holding gasoline and diesel, a plastic bottle, and a crude siphon. Like a makeshift monument to plastic and petroleum, this imagery also references Francisco Goya's painting La cucaña (1786), in which children are depicted scaling a pole to access gifts suspended above. Balseca’s intervention recreates the games of “cucaña” (climbing pole) or “palo ensebado” (greasy stick) as a representation of colonialism and resource extraction in the Amazon.
The Blackwood
University of Toronto Mississauga
3359 Mississauga Road
Mississauga, ON L5L 1C6
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(905) 828-3789
The galleries are currently open. Hours of operation: Monday–Saturday, 12–5pm, Wednesdays until 8pm.
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The Blackwood is situated on the Territory of the Mississaugas of the Credit, Seneca, and Huron-Wendat.