Abstract

This article focuses on the video pieces from the project The act of seeing with no eyes (2020). The project consists of two videos that explore the concept of visuality as an instrument of power and a legitimising tool for the politics of domination and inequality.
By the use of appropriated archive images, and using collage as the main montage technique, as well as a deconstructive strategy of appropriated material - the images are cut, superimposed and juxtaposed in a plastic way -, relations and contrasts are established between images captured by control and surveillance devices, together with different tests of visual perception.
Through the formal and thematic analysis of the video pieces proposed in the project, as well as the study and comparison with other artistic references, the intention is to rethink the dialectic of the montage used, and how it allows us to re-signify the appropriated images, questioning visuality as a discourse of progress and emancipation.