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Hac Vinent
Spain, b. 1988

Hac Vinent Spain, b. 1988

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Open a larger version of the following image in a popup: Hac Vinent, My voice touches you, 2024

Hac Vinent Spain, b. 1988

My voice touches you, 2024
Video installation.
100 x 95 x 180 cm.
Edition of 5 plus 1 AP
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This piece experiments with subtitles and, above all, with didascalias. Didascalias are those subtitles that transcribe non-verbal sound, and are indispensable accessibility tools for me as a deaf person. From...
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This piece experiments with subtitles and, above all, with didascalias. Didascalias are those subtitles that transcribe non-verbal sound, and are indispensable accessibility tools for me as a deaf person. From an artistic point of view, I empower this tool as more than a simple transcription of sound, creating different layers of meaning and a narrative that works as silent sounds. There are always going to be mistakes in this media translation, though, and the interesting thing is to explore what happens with these mistakes. Any translation from a listening context to a non-listening context is incomplete and implies the presence of misunderstandings. For example, taking the didascalia ‘(Panting)’, we can ask: Who is panting? What is this panting like? Is it intense? Is it sexual? Does it denote tiredness? This wide margin of interpretation allows us to break with the idea of a single reading and absolute truth and to leave room for imagination and confusion, which I link to my experience as a deaf person in the audiocentric reality in which we live.

En esta pieza se experimenta con los subtítulos y, sobretodo, con las didascalias. Las didascalias son aquellos subtítulos que transcriben el sonido no verbal, y son herramientas de accesibilidad indispensables para mí como sorda. Desde un punto de vista artístico potencio esta herramienta como algo más que una simple transcripción del sonido, creando distintas capas de significado y un relato que funciona a modo de sonidos silenciosos. Aunque siempre va a haber errores en esta traducción de medios y, lo interesante, es explorar lo que ocurre con estos errores. Cualquier traducción desde un contexto oyente a un contexto no-oyente es incompleta e implica la presencia de malentendidos. Por ejemplo, tomando la didascalia “(Jadea)”, podemos preguntarnos: ¿Quién jadea? ¿Cómo es este jadeo? ¿Es intenso? ¿Es sexual? ¿Denota cansancio? Este gran margen de interpretación permite romper con la idea de lectura única y de verdad absoluta y dejar espacio a la imaginación y a la confusión, que vinculo con mi experiencia como sorda en la realidad audiocentrista en la que vivimos.
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