Aníbal Y. Jozami
Martín Kaufmann
Carlos Mundt
Pablo Jacovkis
Gabriel Asprella
Diana B. Wechsler
Curated by Andrés Denegri, Gabriela Golder, Cristina Voto.
Open Project
mirarnos a los ojos (volver a) is a collective audiovisual project, a universe of videos created during the time of pandemic by artists from different corners of the world. The project displays a broad diversity of poetic approaches; pieces that are simple, sensitive and reflective put together in dialogue with each other through a platform especially designed for this project.
mirarnos a los ojos (volver a) is the main event within BIM 2020, produced by CONTINENTE from the Universidad Nacional de Tres de Febrero and with the collaboration of Untref Media.
mirarnos a los ojos (volver a) is a historical landscape, an artistic document that tells how the inertia of the future was dramatically interrupted. It is a testimony of a year in which humanity went on pause and had the space to think and feel different, to change the order of its priorities, to deploy a critical gaze upon its present and imagine alternatives for the future. Perhaps, in a few years this analytical and affective deployment might make visible the beginning of a deep change or, conversely, the failure of having lost a great opportunity.
PERFORMANCE
Inicio: 10/22/2020 20:00
| 60'
A networked audiovisual narrative experience. More than ten artists from different origins and backgrounds. A week of immersion to compose an interactive artistic intervention harassed by the theme: Mirarnos a los ojos (back to).
ENVIRONMENT CORPUS is a narrative journey that takes place through the confluence of several simultaneous audiovisual actions that interact with each other and with the audience in a virtual room. Body performers, videos, sounds and texts fill the neo-panoptic visuality typical of environments for digital network meetings. An environment that is hacked here through the researches about "aesthetics and the limits of artistic occurrences in digital media" that Demétrio Portugal has developed since the beginning of social isolation.
The "body" was chosen as the central perspective point for this experiment. However, it is a body that expands to occur in multiple dimensions, political, technological, informational, historical, territorial discussing, thus, the complexity of contemporary existence that, more and more, is represented in an audiovisual way having as medium environments as those used by this intervention.
Direction: Demétrio Portugal (AVXLab) // Coordination: Raquel Diógines and Celso Lembi // Art Interventions: Bianca Turner, Roberta Carvalho // Sound Art: Dudu Tsuda (ALEA) // Performers Interatores: Giane Laurentino, Isabel Miranda, Lamartine, Noemi, Roddy Leite, Titi Rivotril // Technical Coordinator: Rodrigo Rezende // Collaboration: BIM Team.
ARTIST TALK
Inicio: 10/23/2020 16:00
| 120'
Studio Azzurro will dialogue with Cristina Voto, curator of the BIM, and Donatella Cannova, Director of the Italian Instituto Italiano de Cultura, about their long and important artistic career, about their participation in the BIM 2020 and the project mirarnos a los ojos (volver a). The artist talk will be in Italian with simultaneous translation into Spanish and there will be a moment dedicated to interaction with the audience through questions during the streaming.
PERFORMANCE
Inicio: 10/23/2020 18:30
| 150'
Towards a collective image is an experience of exploration in real time, a meeting space to share files, readings, body actions, urban drifts. An activity in which we invite everyone to participate in an exercise of deprogramming our present made of zoom, meet, jitsi…
A series of practices to appropriate the mediated surfaces of today. A series of virtual encounters to collectively build a viralized imaginary.
Using some action guidelines as starting points, we gather in zoom to create images, to share some of the files that we save in our computers, to think in a group looking at the others, their stories, their personal and collective narratives. Open the file as a first political gesture.
Exploration axes:
THE BURNING IMAGE
THE REVOLVED IMAGE
THE ABSENT IMAGE
THE IMAGINED FAMILY
THE IMAGE CONTAGION
When we use these communication platforms, the same ones that in these months have allowed us to be with our loved ones, to work, to practice all kinds of individual and collective activities, meetings with friends, live shows, sex and yoga classes. Are we capable of communicate or are we communicated by these platforms? Where and how can we find the freedom to express ourselves in the network of infrastructures deployed by those video calls, those video-activities, those video-desires?
Towards a collective image is, then, an appointment that we will give each other during the 5th edition of the BIM. A way of meeting to share, as we did in previous editions, in the bar, chatting in the park in front of the museum, or in the street before going to the cinema. Video calling platforms find us creating an image the moment our body is present. A telepresence, a live image. A way to investigate the materialities of the image, the powers of the archive and a way to preserve ourselves. For this reason, we invite them to point to their windows, to show us their libraries, to draw live, to present their pets, to walk together in public spaces, dance, play with lights and abstractions ... all this with the care and density that our own and particular locations of the present demand of us.
All individual and collective participations will be credited at the end of the activities, in a sequence of titles that will be produced live.
The shared files will be part of an open and collaborative database that will be shared on the BIM website as a memory of the activity.
The images and sounds shared by the participants in the calls will be registered and will be maintained with creative commons rights.
10/23
THE BURNING IMAGE
The land is burning, the forests are burning. What do we do with these images? Memory burns. What is preserved? What remains? What insists among the ashes? What images do they burn? Actions with the light, the body and the archive. How long does the fire last?
10/26
THE REVOLVED IMAGE
Each revolt expresses specific tensions and relationships. What do we need the images for? What effects do they have on us? What images stir us? How to use images to reinvent the possible forms? Archives of our demonstrations, bodies, posters, actions, interventions.
10/29
THE ABSENT IMAGE
What urban stream is near your house? Did you ever see it? We invite you to look for it. Walk around town and share live footage to produce a collective archive of actions. What goes under the street? What was there before cement, what happens when we stop looking?
10/30
THE IMAGINED FAMILY
Personal archives have a historical value beyond the family anecdote. Put them together as a way of reading history and rethinking our practices to imagine other possible worlds. What about what is gone? What images generate intimacy? What worlds inhabit our personal archive? What is our family?
PERFORMANCE
Inicio: 10/23/2020 21:00
| 60'
Watch the expanded audiovisual programming in which the performance AQUÍFERA by Sandra-X and Bianca Turner will be broadcast.
Victória dos Santos and Kastrup :: (musical experiments)
Fernando velázquez :: rito
craca :: squamata
Sandra-X and Bianca Turner :: aquífera
About the AQUÍFERA project
Aquifer is composed of a set of porous and permeable underground rocks, capable of retaining water and delivering it causing exsurgences. The possibilities of retention and surrender are linked to the force of arkhé brought by the African diaspora, generating power and drains. Sandra-X and Bianca Turner present their performance AQUÍFERA and invite, to complete the evening, works that somehow dialogue with Orixás mythologies and their possible resonances in contemporary South American creation.
MEETING
Azucena Losana, Lab.irinto.Lab , FAC
Inicio: 10/24/2020 15:00
| 120'
This meeting is a proposal arising from the Bienal de la Imagen en Movimiento, in order to gather for the first time the representors of independent film labs along Latin America.
Our wish is to engender a knowledge production and exchange network with those artists who have built their own work models, and collaborate with the logics of each region. We will dialogue with the French lab L’abominable and the Australian Nano Lab, who will share their experience and help us define our action maps.
Within the framework of this meeting, these independent labs will present a program of short films of their own production.
Simultaneous translation.
Coordinator: Azucena Losana.
Participants: Rodrigo Sousa & Sousa and Vini Campos (Lab.irinto.Lab), Guillermo Zabaleta (FAC)
Rodrigo Sousa & Sousa
He is co-founder of the collective “Mundo em Foco” (2004), co-creator and director of “Super OFF - Oficinas, Filmes e Festival Internacional de Cine Super 8” (2014), founder of 26 Frames de Abril (2016), Co-founder of “Lab.irinto.Lab” Laboratorio Artesanal de Cinema e Fotografia (2017) and Co-director of “1666: Film Festival in 16mm”. He is a member of APAN (Association of Black Audiovisual Professionals). He graduated in Audiovisual (Unip) with a specialization in Documentary Film (FGV) and a Master in Creative Documentary (EICTV-Cuba). Technician in Photography, Video Editing and Public Management. He is currently making his first documentary feature film in the production phase Rastro.
Vini Campos
He is a director, screenwriter and laboratory writer. He studied Scriptwriting at EICTV - Cuba and photography in Colombia. He graduated in Film from the Armando Alvares Penteado Foundation (FAAP) where he made his first short María, presented at the 36th International Film Festival of Uruguay, 29th Curta Kinoforum de São Paulo, 25th Vitória Film Festival. He received honorable mention for the best Latin short film at the La Picasa International Film Festival and for the best student short at the 7th Bahía Blanca Independent Latin Film Festival, both in Argentina. He is currently focusing on 16mm film research and production. Co-director of the ""1666: 16mm Film Festival"" and resident artist at Lab.rinto.Lab
Guillermo Zabaleta
Visual artist and teacher. He studied museology and specialized in filmic preservation in New York, London and Madrid.
He is a member of the Foundation of Contemporary Art. Since 2009 to the date he coordinates the FAC film lab.
Visiting professor in the Alternative Cinema Master of the EICTV of San Antonio de los
Baños, Cuba, 2017. He has taught experimental film workshops and laboratories in Havana, Lima, Murcia, Madrid and Montevideo. As an artist, he participated in the III Biennial of Montevideo, 12th Biennial of Havana, IX Biennial of Salto, Manifesta 8 / Parallels and Cine a Contracorriente.
His films and performances have been shown in Mexico, Cuba, Spain, Argentina, Brazil, the USA and Switzerland, among others. He is co-founder of MVD Cine Experimental I and II.
MEETING
Inicio: 10/24/2020 18:00
| 120'
This meeting is a proposal arising from the Bienal de la Imagen en Movimiento, in order to gather for the first time the representors of independent film labs along Latin America.
Our wish is to engender a knowledge production and exchange network with those artists who have built their own work models, and collaborate with the logics of each region. We will dialogue with the French lab L’abominable and the Australian Nano Lab, who will share their experience and help us define our action maps.
Within the framework of this meeting, these independent labs will present a program of short films of their own production.
Simultaneous translation.
Coordinator: Azucena Losana.
Participants: Elena Pardo (LEC), Enrico Mandirola (Kinolab)
Elena Pardo
She lives and works between Oaxaca and Mexico City, where she works as a visual artist and director of documentaries, experimental film and animation. One of the axes of her work is the exploration of the possibilities of photochemical filmic material, both the preservation, recycling and experimentation in the capture of images, laboratory work and the projection of the various formats: super8, 16mm and 35mm. Short films such as Juquilita, Mi Barrio, Inventario Churubusco and expanded film pieces. She is currently producing the project ""Pulsos Subterráneos"" with support from the Sistema Nacional de Creadores de Arte / FONCA. Since 2005, he has been part of the expanded film collective Trinchera Ensamble, made up of artists from different disciplines, who use analogue image and sound equipment and materials for their live performances. She is also co-founder and currently director of the Experimental Film Laboratory (LEC).
Enrico Mandirola
Italian filmmaker and visual artist installed in Bogotá since 2007. Professor at the Faculty of Arts at the Pontificia Universidad Javeriana and at the Faculty of Communication at Uniminuto in Bogotá. He is a member of the collective laboratory of artist-filmmakers ""L'Abominable"" in Paris, a space where he began his artistic work as an audiovisual experimenter between 2001 and 2006. In 2007 he founded the artisan film laboratory KinoLab-Colombia, a space dedicated to creation and recovery of collective memory in the Super 8 and 16mm film formats. Since 2015 he has been studying a doctorate in communication at the University of La Plata in Argentina, investigating kinesthetic cinema as a proposal communicative that offers a disarticulation of the hegemonic structures of contemporary cinema. His works have been presented at: Georges Pompidou Center in Paris, Torino Film Festival, Toronto International Film Festival, Casa Tres Patios in Medellin, Cali Film Festival, among others.
MEETING
Azucena Losana, Cronofoto , Laboratorio FUC
Inicio: 10/25/2020 15:00
| 120'
This meeting is a proposal arising from the Bienal de la Imagen en Movimiento, in order to gather for the first time the representors of independent film labs along Latin America.
Our wish is to engender a knowledge production and exchange network with those artists who have built their own work models, and collaborate with the logics of each region. We will dialogue with the French lab L’abominable and the Australian Nano Lab, who will share their experience and help us define our action maps.
Within the framework of this meeting, these independent labs will present a program of short films of their own production.
Simultaneous translation.
Coordinator: Azucena Losana.
Participants: Sol Colombo (Laboratorio FUC), Nelson Vargas Fuentes (Cronofoto)
Sol Colombo
She has a degree in Cinematography with an orientation in Lighting and Cinematographic Camera, graduated from the Universidad del Cine. In 2005, she joined the Image Laboratory of said University as an intern and since August 2007 she has been in charge of it, supervising the development of 16mm color negative and 2k scan.
Her training also includes the Diploma in Audiovisual Preservation and Restoration (2018, University of Buenos Aires) and courses with: Juan Ignacio Bousquet (Digital Restoration, 2019, UNSAM), Ana Masiello (Conservation of Photographs, 2018, Museum of the City), Federico Windhousen (Experimental Cinema: Contemporary Looks, 2015, University of Cinema) and Raul Beceyro (Cinema and photography, particularities and relationships, 2009, Universidad del Cine). In 2020 she was selected to participate in the FIAF Film Preservation and Restoration Summer School (suspended until 2021).
Nelson Vargas Fuentes
An academic and visual artist dedicated to teaching at universities and professional institutes in Santiago de Chile. Creator of the Postgraduate Diploma in Filmmaking from the U. de Chile, in addition to its academic coordination. Another of the areas of creation of the experimental film workshop in the undergraduate area. Along with teaching activities, since 1987 he has developed a professional job as a photographer and audiovisual artist, collaborating with Chilean and foreign newspapers and magazines. This work is also involved with the making of short films, medium-length films and documentaries. He is the founder of the Cronocine Film and Video Experimentation Center, a space that has the only laboratory that reveals black and white in the country, lending its support to young filmmakers in the country and Latin America. Cronocine center develops works teaching creation methodologies in film and photography that intersect in the work. Along with this work, it develops and promotes the conservation and restoration of the national film heritage.
MEETING
Azucena Losana, L'abominable , NanoLab
Inicio: 10/25/2020 18:00
| 120'
This meeting is a proposal arising from the Bienal de la Imagen en Movimiento, in order to gather for the first time the representors of independent film labs along Latin America.
Our wish is to engender a knowledge production and exchange network with those artists who have built their own work models, and collaborate with the logics of each region. We will dialogue with the French lab L’abominable and the Australian Nano Lab, who will share their experience and help us define our action maps.
Within the framework of this meeting, these independent labs will present a program of short films of their own production.
Simultaneous translation.
Coordinator: Azucena Losana.
Participants: Stefano Canapa (L’abominable), Diana Barrie and Richard Tuohy (Nanolab)
Stefano Canapa
Stefano Canapa (1977, Italy) graduated in 2001 in Film History and Aesthetics from DAMS University in Turin. After moving to France, he combined his training with his experience from the Paris-based lab L'abominable, and contributed to setting up similar kinds of organisations (experimental, artisanal, self-managed). Since 1998 he has been part of the French artist collective Group ZUR (Zone Utopiquement Reconstituée). Since 2002 he has been increasingly involved in projects with live components: installations, performance art, multidisciplinary improvisations, and plays for theatre. He co-direct, with Catherine LIbert two feature documentary film, Les Champs Brulants and Des Provinces Lointaines. His work has been presented at many international festivals and exhibitions such as Locarno, Rotterdam, Berlin, Oberhausen, Marseille, Paris, Seoul, New York, Toronto, Montreal and Belo Horizonte.
FURTHER RADICAL (2020) THE SOUND DRIFTS (2019), JERÔME NOETINGER (2018), A RADICAL FILM (2017), KAIROS (2016), DES PROVINCES LOINTAINES (2015), LES CHAMPS BRULANTS (2010), PROMENAUX (2001)
Diana Barrie
As a young person Dianna Barrie found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab with Richard Tuohy, and into the intersection of hand making and industrial cinema technology. This exploration has spread beyond individual work to the establishment of Artist Film Workshop, where celluloid is embraced and advocated by a community of practitioners in Melbourne.
Richard Tuohy
Richard Tuohy began making works on super 8 in the late nineteen eighties. After a brief hiatus from cinema (including formal study in philosophy for seven years) he returned to filmmaking in 2004. His films have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has toured Europe, the Americas and Asia presenting programs of his and Dianna’s work. His films are typically highly structured. Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia (notably through the Artist Film Workshop in Melbourne) and internationally.
ROUND TABLE
Florencia Levy, Mariela Yeregui, Yanyun Chen, Mark Chua / Li Shuen , Claudia Schmitz
Inicio: 10/26/2020 11:00
| 120'
PERFORMANCE
Inicio: 10/26/2020 16:00
| 120'
Towards a collective image is an experience of exploration in real time, a meeting space to share files, readings, body actions, urban drifts. An activity in which we invite everyone to participate in an exercise of deprogramming our present made of zoom, meet, jitsi…
A series of practices to appropriate the mediated surfaces of today. A series of virtual encounters to collectively build a viralized imaginary.
Using some action guidelines as starting points, we gather in zoom to create images, to share some of the files that we save in our computers, to think in a group looking at the others, their stories, their personal and collective narratives. Open the file as a first political gesture.
Exploration axes:
THE BURNING IMAGE
THE REVOLVED IMAGE
THE ABSENT IMAGE
THE IMAGINED FAMILY
THE IMAGE CONTAGION
When we use these communication platforms, the same ones that in these months have allowed us to be with our loved ones, to work, to practice all kinds of individual and collective activities, meetings with friends, live shows, sex and yoga classes. Are we capable of communicate or are we communicated by these platforms? Where and how can we find the freedom to express ourselves in the network of infrastructures deployed by those video calls, those video-activities, those video-desires?
Towards a collective image is, then, an appointment that we will give each other during the 5th edition of the BIM. A way of meeting to share, as we did in previous editions, in the bar, chatting in the park in front of the museum, or in the street before going to the cinema. Video calling platforms find us creating an image the moment our body is present. A telepresence, a live image. A way to investigate the materialities of the image, the powers of the archive and a way to preserve ourselves. For this reason, we invite them to point to their windows, to show us their libraries, to draw live, to present their pets, to walk together in public spaces, dance, play with lights and abstractions ... all this with the care and density that our own and particular locations of the present demand of us.
All individual and collective participations will be credited at the end of the activities, in a sequence of titles that will be produced live.
The shared files will be part of an open and collaborative database that will be shared on the BIM website as a memory of the activity.
The images and sounds shared by the participants in the calls will be registered and will be maintained with creative commons rights.
10/23
THE BURNING IMAGE
The land is burning, the forests are burning. What do we do with these images? Memory burns. What is preserved? What remains? What insists among the ashes? What images do they burn? Actions with the light, the body and the archive. How long does the fire last?
10/26
THE REVOLVED IMAGE
Each revolt expresses specific tensions and relationships. What do we need the images for? What effects do they have on us? What images stir us? How to use images to reinvent the possible forms? Archives of our demonstrations, bodies, posters, actions, interventions.
10/29
THE ABSENT IMAGE
What urban stream is near your house? Did you ever see it? We invite you to look for it. Walk around town and share live footage to produce a collective archive of actions. What goes under the street? What was there before cement, what happens when we stop looking?
10/30
THE IMAGINED FAMILY
Personal archives have a historical value beyond the family anecdote. Put them together as a way of reading history and rethinking our practices to imagine other possible worlds. What about what is gone? What images generate intimacy? What worlds inhabit our personal archive? What is our family?
ROUND TABLE
Lucas Bambozzi, Alma Camelia, Diego Trerotola, Janelas Desobedientes
Inicio: 10/26/2020 18:00
| 120'
WORKSHOP
Azucena Losana, Jeff Zorrilla, Benjamin Ellenberger, Stefano Canapa, Sol Colombo, Jorge Doncel, Manque La Banca
Inicio: 10/27/2020 11:00
| 120'
In this second activity we will bring together a group of artists, laboratory workers and other active members of photochemical development in Argentina, to review together for the first time, our practices in the last ten years. During this recount we will exchange experiences and work models with the French collective "L’abominable" with a view to a possible independent instance in Buenos Aires in the near future.
Participants:
Jorge Doncel (Arcoiris), Heriberto San Jorge (Artchemie), Sol Colombo (Laboratorio FUC), Manque La Banca (Parquee), Jeff Zorrilla and Benjamín Ellenberger (independent filmmakers) and Nicolas Rey and Stefano Canapa (L’abominable)
PRESENTATION
Gustavo Galuppo, Gabriela Golder, Miguel Ángel Cabezas Ruiz, Remedios Zafra
Inicio: 10/27/2020 15:00
| 120'
AECID, in collaboration with the Academy of Spain in Rome and the Network of Cultural Centers of Spain abroad, presents the Project 'Reactivating Videographies'
‘Reactivating Videographies’ will offer a virtual exhibition tour of a selection of audiovisual works by almost 70 artists from 15 countries, complemented by various round tables and residencies at the RAE Roma for participants
The project, which is part of AECID's WINDOW Program, will be presented on October 27 in the framework of the Buenos Aires Biennial of Moving Image prior to the opening of the virtual exhibition in November of this year.
Reactivating Videographies will bring together in a virtual exhibition a selection of audiovisual works by nearly 70 artists from mostly Santo Domingo, Mexico City, Guatemala City, Tegucigalpa, San Salvador, San José de Costa Rica, Managua, Panama, Lima, Santiago from Chile, Córdoba (Argentina), Rosario, Buenos Aires, Montevideo, Asunción, La Paz, Bata, Malabo, Rome and Madrid. The exhibition, which will be curated by the artist and PhD in Art and Research Estibaliz Sádaba Murguia , will be inaugurated in November of this year and includes an extensive cartography inhabited by an enormous plurality of voices in which it stands out the diversity of forms of work and formats, all with the aim of offering a deep reflection on its only homogeneous characteristic: video art. Once again, technology becomes a powerful ally, facing the challenge of conceiving an exhibition in times of difficult presence. A virtual space that not only helps us to break down borders, but also to make this wide selection of artists visible and whose objective is to generate synergies throughout its next years of existence.
ABOUT THE CURATORS:
Curators, all of them local, have incorporated three works by different video artists into the virtual exhibition. These are university professors, editors, cultural managers and writers who have been selected by each of the Cultural Centers of Spain taking into account their respective personal trajectories within the field of video art.
Participate:
for
Bayardo Blandino, Anita Calà, Clara Caminero, Mauricio Esquivel, Gustavo Galuppo, Gabriela Golder, Guisele Guiron, Sayuri Guzmán, Aline Hernández, Max Jorge Hinderer Cruz, Mauricio Kabistan, Jacqueline Lacasa, Iris Lam, Pedro Mbá, Fernando Moure, Josseline Pinto, Natasha Pons, Estibaliz Sádaba Murguia, Carolina Senmartin, Gabriel Serra Arguello, Gladys Turner Bosso
ABOUT THE ARTISTS:
A multiple, personal and undoubtedly diverse look, in which the names of internationally known artists will coincide with young or not so young. A reflection in some way of the personality of the Network of Cultural Centers that will finally land in Rome, in person, in the year 2022.
Participants:
Antoni Abad, Ignacio Alcántara, Mónica Araya, Francesca Arri, Daniel Assedu Mobajale, Javiera Astudillo, Matteo Attruia, Rosalía Banet, Francisco Belarmino, Antonio Blanco Tejero, Ángela Bonadies, Andrea Canepa, Julia Castagno, Manuel Chavajay, Estefania Clotti, Donna Conlon, Cuqui, Alejandro de la Guerra, Vanessa de la O, Andrés Denegri, Sofía Desuque, Luisho Díaz, Paz Encina, Elvira Espejo Ayca, Fernando Foglino, Maria Galindo, Manuela García, Milena García, Laura F. Gibellini, José Guerrero, Melissa Guevara , Carlos Higinio Esteban, Miriam Isasi, Marie Jiménez, Laramascoto, Alma Leiva, Florencia Levy, Jorge Linares, Mario Alberto López, Yola Mamani Mamani, Alejandra Mastro, Julia Mensch, Óscar Moisés, Gabriela Novoa, Daniel Nsue Asumu, Juan Agustín Nve, Hugo Ochoa, Virginia Paguaga, David Pérez Karmadavis, Jhafis Quintero, María Raquel Cochez, Américo Retamal, M Román, Pablo Romano, Nicolás Rupcich, Joaquín Sánchez, Susana Sánchez Carballo, Borja Santomé, Paola Sferco, Elena Tejada He rrera, Lamberto Teotino, Erik Tlaseca Gaona, Lía Vallejo, Soledad Videla, Tania Ximena, Collective Project 3399.
ROUND TABLE
Gustavo Fontán, Christian Delgado, Martín Vilela, Mariana Lombard, Paz Encina
Inicio: 10/27/2020 19:30
| 120'
WORKSHOP
Gabriela Golder, Miguel Ángel Cabezas Ruiz, Remedios Zafra
Inicio: 10/28/2020 11:00
| 120'
Aware of the multi-venue nature of the project, Reactivating Videographies includes a series of debates and round tables that will take place over the next year 2021, addressing in online format - and to the extent that possible, also face-to-face— the challenges and opportunities facing video art today and, without a doubt, artists. It is, therefore, a matter of creating a space for dialogue, meeting and reflection, which also allows us to reexamine some of the ways in which cultural institutions relate to artistic work based on the use of technology. These round tables will be curated by the essayist and Head Scientist of the Institute of Philosophy of the CSIC Remedios Zafra .
Strategic action of the project is to offer two-week stays at the Royal Academy of Spain in Rome for the curators and / or video artists participating in the project. These residencies will complement your stay in the Italian capital with a series of meetings with professionals from the Italian audiovisual sector and with the possibility of actively participating in the various scheduled activities.
Reactivating Videographies is an initiative framed in the WINDOW Program of the AECID, “A window to Spanish culture”, with which it wants to continue promoting, despite the difficulties imposed by the current pandemic, internationalization of Spanish artists, creators and cultural industries, promoting artistic collaboration and networking, mainly through digital means.
ABOUT THE CURATOR OF THE EXHIBITION
for
Estibaliz Sádaba Murguia (Bilbao, Spain 1963). Artist and PhD in Art and Research. Scholarships: Spanish Academy in Rome 2018 and 2016, BBVA Multiverse Scholarship, Art i Natura Scholarship in Farrera, La Cité Internationale des Arts de Paris, BilbaoArte Foundation, Artium Museum and Art and Law Foundation. Exhibitions at the MUSAC, Matadero, Centro Centro and video projections at the Museo Nacional Centro de Arte Reina Sofía (Madrid), MACBA and Fundació Antoni Tàpies and CDAN. In addition, she has directed different seminars on artistic practices, activism and feminism in centers such as Arteleku, Sala Rekalde, or Tabakalera.
ON THE SCIENTIFIC CURATOR OF THE ROUND TABLES
for
Remedios Zafra (Zuheros, Córdoba, Spain, 1973).
Essayist and Senior Scientist at the Institute of Philosophy of the CSIC. She has been a professor of Art, Digital Culture and Gender Studies at the University of Seville and a tutor of Social Anthropology at UNED. She directs her research work to the critical study of contemporary culture, feminism, art and creation, and identity politics in the networks. She is the author of the books El Entusiasmo. Precariousness and Creative Work in the Digital Age (2017), Eyes and Capital (2015), (h) adas (2013), A Connected Own Room (2010) and Netianas (2005). He has obtained, among others, the Anagrama Essay Award, the Meridiana de Cultura and the Public Literature Award. He is currently part of the Board of Trustees of the Royal Academy of Spain in Rome.
for
www.remedioszafra.net
ARTIST TALK
Inicio: 10/28/2020 16:00
| 120'
MEETING
Cécile Dazord, Roberto Jacoby, Germán Celestino y Monti, Natalia Labaké
Inicio: 10/28/2020 18:30
| 120'
The threats that artworks face along their existence are numerous and of a varied nature. The complexity given by the variety of materials and technologies used (film, magnetic strip, tubes, plastics, screens) require a conscientious and personalized study of each of these elements and the analysis of their behavior over time and in interaction with each other.
The Bienal de la Imagen en Movimiento closely follows these issues and presents in this edition four case studies by professionals with extensive experience in the field.
Simultaneous translation
Coordinates: Leandro Listorti
Also joining the table: Rémi Guittet
Body Art, Tribute to Alberto Greco, creator of the vivo dito nobody.com.ar
At the end of the eighties, four events that articulated night scenes, art and politics, taking the body as an expressive medium as an axis took place in Buenos Aires: they were the Museos Bailables, organized and curated by Fernando “Coco” Bedoya, Mercedes Idoyaga "Emei" and Roberto Jacoby. On October 4, 1988, the last Museo Bailable took place, in homage to Alberto Greco and his art manifesto Vivo Dito, in which a Festival del Body Art was organized at the Palladium nightclub. The event was recorded by two broadcast television cameras on 13 U-MATIC tapes. This material is constituted as an archive of an era and its practices, as well as a trigger to rethink the conclusive gestures of the 20th century, in the contemporary context of deep physical and virtual interpenetration. Where is the body now?
From the digitization of the archive carried out in 2018 by Germán Monti and with the support of Museo del Cine, two videos were edited, the first one by Natalia Labaké, lasting 90 minutes and installed within the framework of the exhibition by Roberto Jacoby, Traidores los días que huyeron, curated by Santiago Villanueva and Fernando Farina, at the MACRO Museum in Rosario. Then, in 2019, Germán Montí made a second edition of the material, which resulted in a 150-minute cut, which recovers the energy and aesthetics of the live from the multi-camera tools of television and which works as a trigger for the current activation project nobody.com.ar.
The disappearance of CRT
Throughout the 20th century, the integration into works of industrially manufactured devices severely destabilized the deontological frameworks for the preservation of art. Degradation is a physical-chemical phenomenon that affects materials. In turn, obsolescence is a socio-economic process that consists of the elimination of a technology replaced by another considered more competitive and affects equipment.
From the emergence of video art in the 1960s until the appearance of video projection in the 1980s, the cathode ray tube (CRT) was the most common technology for receiving television programs and broadcasting video images. It is worth wondering about the consequences, for heritage collections, of the disappearance of a technology that profoundly marked art for two decades.
PERFORMANCE
Inicio: 10/29/2020 11:00
| 120'
Towards a collective image is an experience of exploration in real time, a meeting space to share files, readings, body actions, urban drifts. An activity in which we invite everyone to participate in an exercise of deprogramming our present made of zoom, meet, jitsi…
A series of practices to appropriate the mediated surfaces of today. A series of virtual encounters to collectively build a viralized imaginary.
Using some action guidelines as starting points, we gather in zoom to create images, to share some of the files that we save in our computers, to think in a group looking at the others, their stories, their personal and collective narratives. Open the file as a first political gesture.
Exploration axes:
THE BURNING IMAGE
THE REVOLVED IMAGE
THE ABSENT IMAGE
THE IMAGINED FAMILY
THE IMAGE CONTAGION
When we use these communication platforms, the same ones that in these months have allowed us to be with our loved ones, to work, to practice all kinds of individual and collective activities, meetings with friends, live shows, sex and yoga classes. Are we capable of communicate or are we communicated by these platforms? Where and how can we find the freedom to express ourselves in the network of infrastructures deployed by those video calls, those video-activities, those video-desires?
Towards a collective image is, then, an appointment that we will give each other during the 5th edition of the BIM. A way of meeting to share, as we did in previous editions, in the bar, chatting in the park in front of the museum, or in the street before going to the cinema. Video calling platforms find us creating an image the moment our body is present. A telepresence, a live image. A way to investigate the materialities of the image, the powers of the archive and a way to preserve ourselves. For this reason, we invite them to point to their windows, to show us their libraries, to draw live, to present their pets, to walk together in public spaces, dance, play with lights and abstractions ... all this with the care and density that our own and particular locations of the present demand of us.
All individual and collective participations will be credited at the end of the activities, in a sequence of titles that will be produced live.
The shared files will be part of an open and collaborative database that will be shared on the BIM website as a memory of the activity.
The images and sounds shared by the participants in the calls will be registered and will be maintained with creative commons rights.
10/23
THE BURNING IMAGE
The land is burning, the forests are burning. What do we do with these images? Memory burns. What is preserved? What remains? What insists among the ashes? What images do they burn? Actions with the light, the body and the archive. How long does the fire last?
10/26
THE REVOLVED IMAGE
Each revolt expresses specific tensions and relationships. What do we need the images for? What effects do they have on us? What images stir us? How to use images to reinvent the possible forms? Archives of our demonstrations, bodies, posters, actions, interventions.
10/29
THE ABSENT IMAGE
What urban stream is near your house? Did you ever see it? We invite you to look for it. Walk around town and share live footage to produce a collective archive of actions. What goes under the street? What was there before cement, what happens when we stop looking?
10/30
THE IMAGINED FAMILY
Personal archives have a historical value beyond the family anecdote. Put them together as a way of reading history and rethinking our practices to imagine other possible worlds. What about what is gone? What images generate intimacy? What worlds inhabit our personal archive? What is our family?
ROUND TABLE
Mika Taanila, Michaela Grill, Sophie Trudeau, Fernando Velázquez, Nelson Henricks, Joaquín Gutiérrez Hadid
Inicio: 10/29/2020 17:00
| 120'
ROUND TABLE
Fernando Domínguez, Celeste Rojas Mugica, Ana Gallardo, Toia Bonino
Inicio: 10/29/2020 19:30
| 120'
MEETING
Paula Félix Didier, Markus Ruff
Inicio: 10/30/2020 11:00
| 120'
The threats that artworks face along their existence are numerous and of a varied nature. The complexity given by the variety of materials and technologies used (film, magnetic strip, tubes, plastics, screens) require a conscientious and personalized study of each of these elements and the analysis of their behavior over time and in interaction with each other.
The Bienal de la Imagen en Movimiento closely follows these issues and presents in this edition four case studies by professionals with extensive experience in the field.
Simultaneous translation
Coordinates: Leandro Listorti
Also joining the table: Rémi Guittet
Stumbling Upon Films
In search of a space for film screenings, the film critic Didi Cheeka spotted the old Colonial Film Unit’s cinema in Lagos. Alongside with it, he came across two rooms stuffed with rusty films cans. By an invitation of the Goethe-Institut, staff members of the Arsenal – Institute for Film and Video Art (Berlin) were invited to support them in evaluating the condition of the film material and developing a concept for its rescue. During the visit, a film can of SHAIHU UMAR, a film that had been considered lost for a long time. The digital restoration of the film—a collaboration between Arsenal and the Nigerian Film Corporation—was the beginning of several projects within a since then growing network.
Bill Brand and BB Optics, Artist, Teacher, Preserver, and Activist of Experimental Film: The Restoration of Horizons (1973) by Larry Gottheim
In 2004, the New York Public Library commissioned Bill Brand to restore Larry Gottheim's film Horizons (1973). This work is an example of the challenges and particularities that the preservation of experimental cinema presents. Bill Brand can be defined as a one-of-a-kind archivist and preserver for his thorough understanding of film as an artistic medium. In 1976, already with an important career as a filmmaker, Brand founded BB Optics, a small laboratory for reduced-pitch films. Over time, he became an expert in preservation, working not only with individual artists but with museums, archives, and libraries. Its uniqueness is precisely related to the fact that it belongs to the experimental community and understands the context of the work necessary for the preservation of this particular way of working with the cinematographic medium. Brand is also a teacher and activist in a field he helped create. In his own words: “There are not so many technicians in labs who understand this work in the same way as I do. Most laboratories work in a more conventional way and are not able to make the critical decisions that are often necessary in the case of experimental films. There is a temptation to clean everything up and standardize movies and I am not susceptible to that."
ROUND TABLE
Nicolás Testoni, Gabriel Soucheyre, Silvina Szperling, Mario Gutiérrez Cru, Laura Baigorri
Inicio: 10/30/2020 17:00
| 120'
PERFORMANCE
Inicio: 10/30/2020 19:00
| 120'
Towards a collective image is an experience of exploration in real time, a meeting space to share files, readings, body actions, urban drifts. An activity in which we invite everyone to participate in an exercise of deprogramming our present made of zoom, meet, jitsi…
A series of practices to appropriate the mediated surfaces of today. A series of virtual encounters to collectively build a viralized imaginary.
Using some action guidelines as starting points, we gather in zoom to create images, to share some of the files that we save in our computers, to think in a group looking at the others, their stories, their personal and collective narratives. Open the file as a first political gesture.
Exploration axes:
THE BURNING IMAGE
THE REVOLVED IMAGE
THE ABSENT IMAGE
THE IMAGINED FAMILY
THE IMAGE CONTAGION
When we use these communication platforms, the same ones that in these months have allowed us to be with our loved ones, to work, to practice all kinds of individual and collective activities, meetings with friends, live shows, sex and yoga classes. Are we capable of communicate or are we communicated by these platforms? Where and how can we find the freedom to express ourselves in the network of infrastructures deployed by those video calls, those video-activities, those video-desires?
Towards a collective image is, then, an appointment that we will give each other during the 5th edition of the BIM. A way of meeting to share, as we did in previous editions, in the bar, chatting in the park in front of the museum, or in the street before going to the cinema. Video calling platforms find us creating an image the moment our body is present. A telepresence, a live image. A way to investigate the materialities of the image, the powers of the archive and a way to preserve ourselves. For this reason, we invite them to point to their windows, to show us their libraries, to draw live, to present their pets, to walk together in public spaces, dance, play with lights and abstractions ... all this with the care and density that our own and particular locations of the present demand of us.
All individual and collective participations will be credited at the end of the activities, in a sequence of titles that will be produced live.
The shared files will be part of an open and collaborative database that will be shared on the BIM website as a memory of the activity.
The images and sounds shared by the participants in the calls will be registered and will be maintained with creative commons rights.
10/23
THE BURNING IMAGE
The land is burning, the forests are burning. What do we do with these images? Memory burns. What is preserved? What remains? What insists among the ashes? What images do they burn? Actions with the light, the body and the archive. How long does the fire last?
10/26
THE REVOLVED IMAGE
Each revolt expresses specific tensions and relationships. What do we need the images for? What effects do they have on us? What images stir us? How to use images to reinvent the possible forms? Archives of our demonstrations, bodies, posters, actions, interventions.
10/29
THE ABSENT IMAGE
What urban stream is near your house? Did you ever see it? We invite you to look for it. Walk around town and share live footage to produce a collective archive of actions. What goes under the street? What was there before cement, what happens when we stop looking?
10/30
THE IMAGINED FAMILY
Personal archives have a historical value beyond the family anecdote. Put them together as a way of reading history and rethinking our practices to imagine other possible worlds. What about what is gone? What images generate intimacy? What worlds inhabit our personal archive? What is our family?
PERFORMANCE
Inicio: 10/30/2020 21:00
| 120'
Open Project
In a dialogue with the Mexican filmmaker Bruno Varela and his participation in the project mirarnos a los ojos (volver a) within the framework of BIM 2020, the ARPPA collective together with a ++ s propose a virtual simulation through the imaginary conceived by said author. A piece of audiovisual expansion, a 12-hour navigation set that rethinks time and its way of running, where our perception of it is affected as a consequence of a temporary virus that comes from the future announced by the Ancient Heraldos Prophets, a virus that accelerates perception, and in tension with the contemporary global situation, time wars are manifested, temporal phenomena cease to be perceived. Linear time is synchronized and dominated by corporate-pharmaceutical-military.
The environment will be enabled on Friday, October 30 at 10am.
At 9:00 p.m. that same day, the environment will be activated with an ARPPA live stream set
PERFORMANCE
Inicio: 10/31/2020 17:30
| 120'
Towards a collective image is an experience of exploration in real time, a meeting space to share files, readings, body actions, urban drifts. An activity in which we invite everyone to participate in an exercise of deprogramming our present made of zoom, meet, jitsi…
A series of practices to appropriate the mediated surfaces of today. A series of virtual encounters to collectively build a viralized imaginary.
Using some action guidelines as starting points, we gather in zoom to create images, to share some of the files that we save in our computers, to think in a group looking at the others, their stories, their personal and collective narratives. Open the file as a first political gesture.
Exploration axes:
THE BURNING IMAGE
THE REVOLVED IMAGE
THE ABSENT IMAGE
THE IMAGINED FAMILY
THE IMAGE CONTAGION
When we use these communication platforms, the same ones that in these months have allowed us to be with our loved ones, to work, to practice all kinds of individual and collective activities, meetings with friends, live shows, sex and yoga classes. Are we capable of communicate or are we communicated by these platforms? Where and how can we find the freedom to express ourselves in the network of infrastructures deployed by those video calls, those video-activities, those video-desires?
Towards a collective image is, then, an appointment that we will give each other during the 5th edition of the BIM. A way of meeting to share, as we did in previous editions, in the bar, chatting in the park in front of the museum, or in the street before going to the cinema. Video calling platforms find us creating an image the moment our body is present. A telepresence, a live image. A way to investigate the materialities of the image, the powers of the archive and a way to preserve ourselves. For this reason, we invite them to point to their windows, to show us their libraries, to draw live, to present their pets, to walk together in public spaces, dance, play with lights and abstractions ... all this with the care and density that our own and particular locations of the present demand of us.
All individual and collective participations will be credited at the end of the activities, in a sequence of titles that will be produced live.
The shared files will be part of an open and collaborative database that will be shared on the BIM website as a memory of the activity.
The images and sounds shared by the participants in the calls will be registered and will be maintained with creative commons rights.
10/23
THE BURNING IMAGE
The land is burning, the forests are burning. What do we do with these images? Memory burns. What is preserved? What remains? What insists among the ashes? What images do they burn? Actions with the light, the body and the archive. How long does the fire last?
10/26
THE REVOLVED IMAGE
Each revolt expresses specific tensions and relationships. What do we need the images for? What effects do they have on us? What images stir us? How to use images to reinvent the possible forms? Archives of our demonstrations, bodies, posters, actions, interventions.
10/29
THE ABSENT IMAGE
What urban stream is near your house? Did you ever see it? We invite you to look for it. Walk around town and share live footage to produce a collective archive of actions. What goes under the street? What was there before cement, what happens when we stop looking?
10/30
THE IMAGINED FAMILY
Personal archives have a historical value beyond the family anecdote. Put them together as a way of reading history and rethinking our practices to imagine other possible worlds. What about what is gone? What images generate intimacy? What worlds inhabit our personal archive? What is our family?