Un enano en el jardín, Claudio Caldini, Argentina 12’17”
L'obra de Teo Hernández explora la relació estreta que existeix entre imatge, moviment, i cos. En aquesta ocasió, una càmera espasmòdica desfigura la visió de la Catedral de Notre Dam, en una experiència única de centelleigs cromàtics i formes fugaces.
Inside the House of Floating Paper, Pooh Kaye, 1984, EEUU, 5’38”
A unique choreography constructed using the stop-motion technique, in which the inhabitants of an abandoned house inspect the space and give free rein to their creativity.
Sunny Swing, Juan Bufill, 2010-14, España, 3’
Juan Bufill's films see the camera as a means to translate the image of the world, to capture a reality that’s fluid. His dancing images invoke the body behind the camera, inviting us to let ourselves be carried away by its movement.
Ritual in transfigured time, Maya Deren, 1946, EEUU, 16’
Maya Deren established pioneering connections between the language of film and choreography. In Ritual in Transfigured Time, she plays with a time that’s as malleable as the body and experiments with the cuts in the transfiguration of space that are already present in At Land (1944). In this choreography of minimal gestures, people are freeze-framed statues in a dance that exists through and for the screen.
Astor Place, Eve Heller, 1997, EEUU, 10’
Eve Heller's camera hides behind the mirrors of a café and its static gaze captures a spontaneous urban choreography, transcribing for the screen a score of movements interpreted by the many different passersby on the street.
Mutiny, Abigaild Child, 1982, EEUU, 9’30”
Mutiny forms part of the Is This What We Were Born For? series (1981-1989), one of the most important found footage projects of the American avant-garde. By playfully decomposing public archive material, Child locates the gestures that construct our moving image, foreshadowing many of the concerns of contemporary film and audiovisual media.
Nuestra Señora de París, Teo Hernández, 1982, Francia, 22’21”
Teo Hernández's work explores the close relationship between image, movement and body. On this occasion a spasmodic camera disfigures the vision of Notre Dame Cathedral in a unique experience of chromatic flashes and fleeting forms.
A program by Julia Martos
