Ignacio Tamarit

In a world where technological progress is conceived as an arrow pointing forward, why do some people insist on continuing to work with equipment others refer to as obsolete? Analog Thinking answers that question by documenting the meticulous work of those who choose that path. The screen becomes filled with wonderful objects—optical toys, cameras, projectors, film stock cans, moviolas… And the testimonies from those creators invite us to discover a universe that has a lot to do with both craftsmanship and the collective experience—an instance of thinking with your hands that is only possible with curiosity and patience. And among the words, practices and artifacts, Analog Thinking also saves a place for the images that are born from all of that. And it reminds us that, even in this digital age, they still have a lot to teach us about waiting and making mistakes, surprise and beauty.

2 min, color, sound, Super 8

Footage produced by creating images directly on film stock. "Cinematic Graffiti. A defacing of the image of normality sold to the public en masse. We manipulate these images to express our visceral reaction as filmmakers and artists to the inauguration of Donald Trump as President of the United States, the disasterous yet logical conclusion of a system that is finally imploding before our eyes."

"Che" is an interjection and a popular Argentine expression. It is used to get someone's attention without using their name (che kid! or che, come here!) or to emphasize something (che, how expensive!).

A cowboy is badly injured after a Super 8 shootout and begins to hallucinate.

A eulogy to the home movie filmmaking, to the construction of these amateur handmade films, to the filmmakers who shoot their families, their exotic trips, and their daily lives so that they can be remembered.

Can film and video coexist in the same film? Here, 16 mm and VHS tapes need each other in order to exist. Thanks to the transparent clear leader support of acetate of 16 mm, we can visualize in movement the materiality of the analog video support, stuck on top of the film, serving as skeleton and structure of the vhs tapes intervened. A film, a video? Both and none at the same time.

«Época» – Spanish for epoch – can also sound like «it isn’t a big deal» (Spanish: «es poca cosa»). So, reality is not a big deal when you are used to it. But opening the eyes a little is all it takes to produce a few gentle cracks on the ground of perceptual habits, and realize that things – including the urban architecture we pass by everyday – have their own energy; that steel, concrete, asphalt all have an unexpected vibrancy. In this way, the frame becomes a force field, without a defined and final shape. A dynamic and fragmented world held together by editing and non-uniform acceleration.