Chus Domínguez

Patricia Lamas, with her generosity and energy, invited us to improvise-play-share at the recently opened creation centre L'animal a la esquena (Celrá, Girona). From that meeting resulted, among others, these improvisations.

The film is based on the oral testimony of Josefa Castro García, recorded in 2013 when she was 90 years old, in which she recounts her life marked by the Civil War and post-war repression. Through her narration, the students with the same age as Josefa Castro was during the Civil War, 16-18 years, have developed a cinematographic proposal in parallel to their process of shared discovery of audiovisual language.

Refilmed scene by scene of the short film "The Perfect Human" (1967), by Jorgen Leth, to resignify from the recognition of diversity and the multiple intertwinings with the body, affective-sexuality and mental health.

In a peculiar universe that looks much like our own present, the desires, fears and hopes of a group of people fighting to survive a world that appears to be heading towards fascism unfurl. "Ya habremos olvidado" asks La Rara Troupe in this ensemble tale that questions the audience by means of the experiences of our bodies as they pass through distance and solitude.

Architecture is a hunt for harmony in the chaos, a way of putting order in the universe through the creation of regular angles. The severity of the forms of a Francoist building – the Universidad Laboral in Gijón, Spain – is distilled and decomposed into its patterns, in this piece made with a mobile phone device for filMO (a project commissioned by Laboral Centro de Arte y Creación Industrial, Gijón).

‘In the realm of the visible, all epochs coexist fraternally, even if they are separated by centuries or millennia’. John Berger. ‘The third eye turns on a recognition: the Other perceives the veil, the process of being visualized as an object, but returns the glance [...] the third eyes winks at us [...], but notice how ridiculous my cage and my image are’. Tobing Rony.

‘In the realm of the visible, all epochs coexist fraternally, even if they are separated by centuries or millennia’. John Berger. ‘The third eye turns on a recognition: the Other perceives the veil, the process of being visualized as an object, but returns the glance [...] the third eyes winks at us [...], but notice how ridiculous my cage and my image are’. Tobing Rony.

Sometimes, in order to get to the essence, one departs from the essential. In 'Silent Karaoke' the performer has to contribute more than just his or her voice.

Sometimes, in order to get to the essence, one departs from the essential. In 'Silent Karaoke' the performer has to contribute more than just his or her voice.

Patricia Lamas, with her generosity and energy, invited us to improvise-play-share at the recently opened creation centre L'animal a la esquena (Celrá, Girona). From that meeting resulted, among others, these improvisations.

All the rooms of Hostal España, a modest and centrally located establishment in the city of León, are occupied by elderly people, many of them coming from the abandoned rural environment. In its rooms, corridors and dining room, the seasons go by without pause for a community that has been invited to record their daily life and thus participate in the creation of a film that shows another possible way of life in the so-called third age.

An audiovisual excavation in the mining area of Gordón (León), in the village of Ciñera, affected by the dismantling of the mining industry and the ways of life associated with it. The project has been conceived as a collective work through local groups, in which the last images of the mine are intermingled with the conversations held between women miners throughout the period 2016-2017. The resulting film adds layers of complexity to an epic reading of the class struggle, while highlighting aspects such as care work or affective components, usually relegated in the conventional narrative about the mine.

An audiovisual excavation in the mining area of Gordón (León), in the village of Ciñera, affected by the dismantling of the mining industry and the ways of life associated with it. The project has been conceived as a collective work through local groups, in which the last images of the mine are intermingled with the conversations held between women miners throughout the period 2016-2017. The resulting film adds layers of complexity to an epic reading of the class struggle, while highlighting aspects such as care work or affective components, usually relegated in the conventional narrative about the mine.

City-dance-video

In the Serra da Estrela (Portugal) silence is sometimes broken by the calls (chamamentos) of shepherds to control their flocks of sheep. These sounds are the basis for the sound poet Américo Rodríguez's compositions.

Within the project “Anatomía poética" (Poetic Anatomy), by Elena Córdoba.

The autumn weather in a remote village of Caurel, in the mountains of Lugo, the slow time of the rain, the time to look for the fire...

The autumn weather in a remote village of Caurel, in the mountains of Lugo, the slow time of the rain, the time to look for the fire...

'Puerta Beta' was based on the site specific performance ‘Fuera de la fábrica Beta’, a collective creation directed by Nilo Gallego, in which the public, located inside an abandoned factory, a symbol of the industrial decline of the area, could observe the busy transport routes that connect the outside with the centre of the city of Bilbao, through a game between the everyday, chance and a series of interventions in which the residents of the Zorrozaurre neighbourhood participated.

A bitter remake -comic at times- of the first work in the history of cinematography (La Sortie des Ouvriers de l'Usine Lumière), which happens to be the last film in history.

A bitter remake -comic at times- of the first work in the history of cinematography (La Sortie des Ouvriers de l'Usine Lumière), which happens to be the last film in history.

No synopsis available yet.

Video constructed from the discarded sound recordings made in the process of developing an archive that works with domestic images. Showing and hiding as possibilities in the exercise of the same right, memory and forgetfulness, silence and word, creating a diffuse narrative, although millimetric, that accompanies the images, or their absence.

The film is based on the oral testimony of Josefa Castro García, recorded in 2013 when she was 90 years old, in which she recounts her life marked by the Civil War and post-war repression. Through her narration, the students with the same age as Josefa Castro was during the Civil War, 16-18 years, have developed a cinematographic proposal in parallel to their process of shared discovery of audiovisual language.

The film is based on the oral testimony of Josefa Castro García, recorded in 2013 when she was 90 years old, in which she recounts her life marked by the Civil War and post-war repression. Through her narration, the students with the same age as Josefa Castro was during the Civil War, 16-18 years, have developed a cinematographic proposal in parallel to their process of shared discovery of audiovisual language.

If any cinematographic experience belongs from beginning to end to spectrality (Derrida), in “Kubrick” the relationship between cinema and ghostliness is explicitly evident. Through a performative spell, the projected light frees the images from the proper territory of the specter (neither alive nor dead), giving them life, or, which is the same thing, giving them death.

On his return to his Galician homeland, the poet and storyteller Antón Avilés de Taramancos (1935-1992) sees the parallel stories of his life in Colombia and the history of the American continent intermingled. The uneasiness of a new world and the terror of colonisation and subsequent slavery give way to peace in the city where all the ingredients blend together (European, African, Amerindian) and, finally, integration in the ecstasy of dance. After his death, around a sidereal oak tree, the sounds of the two continents come together.

On his return to his Galician homeland, the poet and storyteller Antón Avilés de Taramancos (1935-1992) sees the parallel stories of his life in Colombia and the history of the American continent intermingled. The uneasiness of a new world and the terror of colonisation and subsequent slavery give way to peace in the city where all the ingredients blend together (European, African, Amerindian) and, finally, integration in the ecstasy of dance. After his death, around a sidereal oak tree, the sounds of the two continents come together.