Coming from very different backgrounds and training, these filmmakers don’t make up a local school although some of their films’ motifs and gestures do echo each other. In La alegría de vivir, Miguel Rojas travels to Senegal and produces a diary, with the voiceover acting as a compass and the experience taking on dreamlike overtones. In Valentina Alvarado Matos’s works, El mar peinó a la orilla and Trópico desvaído, film intersects with painting and collage, reflecting on the concepts of territory, diaspora and otherness. In Tot és un somni, Mariona Domènech portrays the private process involved in the creation of a painting by the Austrian artist Max Böhme, filmed both at his studio and in the midst of nature. In Untitled (August) and Ipsae (Guillermina), Blanca García investigates the possibilities of indirect self-portrait using the spaces and people that constitute us. In Autoretrat Llum Casa, the photographer Alba Yruela transfers her usual interests to the moving image. Finally, #002 by Yonay Boix forms part of a project with a series of films created in the camera, focusing on the visual play between colours, frames and shapes.
La alegría de vivir, Miguel Rojas, 2018, Super-8 to digital, 16 min; El mar peinó a la orilla, Valentina Alvarado Matos, 2019, Super-8, 2:26 min; Trópico desvaído, Valentina Alvarado Matos, 2016, Super-8 to digital, 6:09 min; Tot és un somni, Mariona Domènech, 2019, Super-8 to digital, 6:21 min; Untitled (August), Blanca García, 2016, Super-8, 3:15 min; Ipsae (Guillermina fragment), Blanca García, 2016-2019, Super-8, 3:18 min; Autoretrat Llum Casa, Alba Yruela, 2018, Super-8 to digital, 1 min; #002, Yonay Boix, 2019, Super-8 to digital, 3:18 min.
Copies courtesy of the artists.
A programme by Gloria Vilches and Diego Cepeda.