Member of Nijensohn dinasty from Argentina. In the video productions and installations made by Charly Nijensohn, the influence of the romantic tradition can be observed. In them, sequences are usually developed where the human being is ex- posed to the forces of nature, thus manifesting a contrast between images of the resis- tanceo f the human body and those ofthe sublimity of the landscape. A nineteenth-century concern is expressed in the finding of inhospitable and imposing territories as natural scenery for filming. Among them, certain sites in Greenland, La Puna, the Salar de Uyuni, the Amazon or Patagonia. In these almost unexplored landscapes, the human being is situated in a character of solitude and fragility, passing through the times of natural cycles. He works with native communities that are in danger of cultural extinction. Acts of intensity and re- sistance are proposed there. Nijensohn works on the idea of a confrontation between human beings and the natural forces of the universe. The relationship between the human figure and the sur- rounding space establishes a conflict that is both real and existential at the same time. In general, the starting point of video installations is usually a performative action in which the human being persists in sustaining himself in the face of a natural environ- ment that far surpasses him in its power and unpredictability.