16:00h. Muestra Internacional de Videonarración A/R/Tográfica
16:30h. FIVA
17:00h. PLAY
17:30h. Fonlad
18:00h. Mostra Brasilenha Pioneiras da Videoarte.
A/r/tography Films: evocation, provocation, registration and referentiality in audiovisual experimentation.
Commissar: Ángel García Roldán
Artists/Works:
Ana Cabrero. Intus. 2024. 7:04 A/r/tography Films. (10ª edición)
Juan Baños. 2020-24. La Lùgubre tragédia Crimson. 06:00 A/r/tography Films. (9ª Edición)
Liliana Alcalá Ortega. Horses. 2019. 4:31 A/r/tography Films. (7ª edición)
Eugenio Rivas Herencia y María Rivas Herencia. A 15 minutos de los Asperones. 2020. 15:43 A/r/tography Films. (8ª edición)
Any question that occurs within an essay with images is an experience of possible meanings in the face of the intense desire to reach a worldview.
A/r/tography [A/r/tography] is a methodological approach that links in an original way the artist, the researcher and the teacher to generate new ideas that transform the parameters of inquiry-creation and the teaching-learning contexts.
Related to this idea are the A/r/tography Films, a category that delimits the audiovisual practices for training and artistic research based on the video-essay, in which all formats and strategies of contemporary audiovisual creation have a place. With the idea of delimiting and making these proposals visible, the Muestra Internacional de Videonarración A/r/tográfica arises as an extensive laboratory that brings together artists, educators and researchers from different fields of the human and social sciences interested in experimental audiovisual practice.
The works selected for this curatorship show four conceptualizations of A/r/tography Films and describe the fundamental ideas of this methodology in the field of artistic research: the essentiality of the register in narrative practice, the orientative value of reference, the provocative stimulation of audiovisual genesis and the argumentative evocation within poetic-analytical practices.
Ana Cabrero’s work, INTUS (2023), is a sort of mirror, and at the same time a suggestive journey through a transformative cartography based on performative experience. Through four micro-episodes the artist offers an essayistic itinerary about her own self-learning, with direct references to artists and filmmakers such as Matthew Barney, Nan Goldin, Wong Kar Wai or Gaspar Noé.
The Crimson Tragedy (2020-24), Juan Baños reworks the myth and generates a provocative iconography
from the evocative archive of friends and family, introducing us to a seductive story in which he delimits the object of his study: the aesthetics of collapse and its application in contemporary pedagogies.
Horses (2019), by Liliana Alcalá Ortega, is a video-perfomance based on provocation within a broader investigation on the oneiric origin of stories, in which the artist experiments with a double narrative and metaphor: that of the body that inhabits the space and that of the text that runs through the time of the video.
Lastly, 15 minutes from Los Asperones (2020), by Eugenio and María Rivas; a performative research based on the journey of the limits to clear the unknown of the denied cartographies. Abrupt, direct, uncomfortable and committed poetics that interrogates us, from the register, about the political conflict and the social diaspora in the dystopian city in the 21st century.
