Artistas + Conversatorios + Presentación de libro + Programaciones Internacionales
+ Experimentales + entrevistas + Retrospectiva 25 años
25 de noviembre 10 P.M
Centro Cultural San Martín
The 34th Instants Vidéo celebrate the 25th anniversary of the Video Bardo festival in Buenos Aires
Curator: Marc Mercier
Poetry is the act that generates new realities
Somewhere Eternity (5’36 – 2011) / Pierre Carrelet (France)
...What will I become in my shattered strength
My black strength at the end of my mountains
To see you forever I cast my gaze away
I listen to the sirens...
Yesterday's Tomorrow Morning (8’08 – 2021) Susanne Wiegner (Allemagne)
A single tracking shot interweaves memory spaces, childhood images and visions of the future to create a
more and more dystopian world. Every room, every shadow refers to new imaginary spaces that open up,
which only at first glance portray an ideal childhood world. Nothing is what it seems, time does not run
linearly, but becomes a round trip with no escape.
M 4 2 O r i o n (4’28 – 2021) / Inés Wickmann
If you look at the night sky without too much light pollution, it is possible to see the Orion Nebula M242.
The nebula, a cloud of gas and dust, is formed from debris from a gigantic star explosion. The
constellation Orion, visible in the Northern Hemisphere and the Southern Hemisphere is, very easily
recognized by four bright stars that form a rectangle. This constellation is located practically on the
celestial ECUADOR like a passage between the North and the South.
Love Fugitif (2’46 – 2020) / Cecelia Chapman (USA)
This video considers the ephemeral state of love.
Val (2’ - 2021) / Milan Zulic (Serbie)
Along a seashore...
Look, a seashore
that quiet area
and a blue vault...
Ballad for time (6’12 - 2020) / Maíra Ortins (Brésil)
video art made from the work of the poem Rilke's panther. The video was made during the social isolation
due to the pandemic, but raises questions beyond the human social isolation, making a correlation with
animals in captivity, circuses or zoological. Several layers can be triggered by video, the false freedom of
the modern man tied to his daily obligations, the deprivation of gender freedom including mainly that of
women inserted in an authoritarian and misogynist system, the poor population of underdeveloped
countries that live equally deprived of their full freedom in society, from prisons and other readings that
address loneliness, time and isolation.
Will (a love story) (4’15 - 2021) / Laurel Beckman (USA)
2 holes, 5 form-fluid avatars, some brass knuckles and a couple of departing bugs make up the primary
cast in a meditation on human and other powered willful forces. Forget good and evil; think telekinesis,
geotropism, anarchic particles, and the trickster known as desire. Audio includes bat echolocation and
distressed rat sounds. This is Will, part I.
The Angry Sleeper (2’18 - ) / Stuart Pound (GB)
The symphony of disharmony (5’ - 2019) / Vasilis Karvounis (Grèce)
This film has key influences-references, on the one hand, to the field of psychology and the views on the
death drive and, in the other hand, to the work of the playwright Samuel Beckett. The purpose of the play is to highlight the paradox of drive as an unconscious impulse of internal violence
and self-destruction, as a tendency of self-handicapping, uncontrollable and irreversible. In the video, the
clowns of an orchestra playing music in an unconventional way, creating a condition influenced by Fluxus practices, play on the brink between harmony and disharmony trying to make a reduction or a parallelism, among bipolar relationships between conscious and unconscious, psychological balance and paranoia, totality and fragmentation, life and death.
La postura de la vida e una postura politica (28’ - 2004) / Marc Mercier (France / Argentine)
A video about the self-managed IMPA factory in Buenos Aires. Sound : Javier Sobrino.
Po l í p t i c o : i n m i g r a n t e s / Co.De. 2018 – Cuerpo colectivo e insurrección poética
Serie Constelaciones Decoloniales en Arte-Acción #2
Espacio Peras de Olmo –ARS CONTINUA
Duración: 45:38 (PREMIER / ESTRENO Público)
Anita Araujo (BR) * Gabriela Muollo (AR) * Aidana Rico Chávez (VZ-AR) * Clarice Rito Plotkowski(BR)* Claudia Ruíz Herrera (AR) * Graciela Ovejero Postigo (AR-USA) * Yarinés Suárez (VZ-AR) * Laura Victory (AR) * Daniel Acosta (AR) * Claudio Braier (AR) * Gabriel Montero (AR) * Frank Trejo (VZ-AR) *
PLAZA de LOS INMIGRANTES o PLAZA ARMENIA.
16 de Diciembre.
Creación de la serie, coordinación documental y Curaduría:
Graciela Ovejero Postigo
Robert Paredes, Eva Semino, Hamid Dayani.
Malen Ovejero y Graciela Ovejero Postigo
Archivo y webmaster:
Co.De. 2018 – Cuerpo colectivo e insurrección poética
Fue el segundo encuentro de la serie Constelaciones Decoloniales en Arte Acción para artistas de performance accionando colectiva y simultáneamente en un sitio público, que promueve el espacio Peras de Olmo – ARS CONTINUA en la ciudad de Buenos Aires, como ciclo anual desde 2017. Peras de Olmo – ARS CONTINUA es un espacio-proyecto independiente sin fines de lucro, dedicado al arte acción o performance desde 2011.
Los encuentros Co.De. / Constelaciones Decoloniales en Arte Acción constituyen una de las diversas series curatoriales abiertas y continuas, del espacio, dedicado a la Performance. En cada oportunidad lxs artistas son invitadxs a accionar en forma conjunta y simultánea sin partituras preconcebidas, acudiendo a la cita con sus eventuales objetos o materialidades, abiertxs a dejarse afectar por el entorno y lxs otrxs artistas, configurando una narrativa constelar que interviene y dialoga con el sitio elegido por un espacio tiempo de aproximadamente 2 horas. La experiencia es documentada y los registros luego se reconfiguran como una obra audiovisual documental, que a la vez mantiene el carácter experimental y no ordinario que le confiere el lenguaje mismo de la performance y la confluencia de los diversos vocabularios individuales que aportan lxs artistas. En esta oportunidad lxs artistas participantes son una convergencia de artistas argentinos, de Brasil y Venezuela que residen en Buenos Aires o visitaban la ciudad.
La obra audiovisual de cuentas de una narrativa plural en contingencia que se auto-escribe en vivo, junto a la cotidianeidad urbana particular del sitio elegido que generalmente dan el nombre a la pieza.
26 de noviembre 7.30 p.m -
Centro Cultural San Martín
29 de noviembre 4 P.M
Youtube: Videobardo Videopoesía
29 de noviembre 3 P.M
Youtube: Videobardo Videopoesía
-Presentación de libro-
Sarah Tremlett in conversation with Javier Robledo on the publication of The Poetics of Poetry Film (Intellect Books, UK) and the role of videopoetry and poetry film today
Javier Robledo conducts an in-depth interview with Sarah Tremlett, co-director of Liberated Words, discussing videopoetry, poetry film and her publication The Poetics of Poetry Film, and her long-term aim to promote VideoBardo and Latin American work in the UK. Selected films from VideoBardo curations for Liberated Words (festival) in 2013 and 2020 (presentation in conjunction with Dr Rebecca Kosick of Bristol University) will be shown.
The book has been described as: ‘A ground-breaking, encyclopedic work, comprising nearly 400 pages, with multiple contributors … it explores the history and different types of poetry film, a must for students, researchers, poets, filmmakers, across the fields of media, filmmaking, literary and cultural studies, art and philosophy and sheds light on the fast- growing genre …’
Sarah Tremlett is a prize-winning poetry film-maker, poet and theorist www.sarahtremlett.com and co-director and editor of Liberated Words www.liberatedwords.com. A curator and judge at festivals, she has given talks on the subject and shown her work worldwide. Her new publication The Poetics of Poetry Film (Intellect Books UK, and Chicago University Press USA),
-Videopoesia en Portugal y España -
Programación y entrevistas de
Para el 25º Festival Internacional de Videopoesía, VideoBardo, Charles Olsen presenta entrevistas y una muestra de obras de videopoetas de Portugal y España incluidos en su ensayo para el libro 'The Poetics of Poetry Film' (La poética de la videopoesía), Intellect Books 2021. Además, muestra algunos videopoemas relacionados con su ensayo 'Poetic Sound' (Sonido poético) del mismo libro.
Poética de Tom Konyves
" Rayuela : La analítica de un videopoema"
28 de noviembre 6:15 P.M
Centro Cultural San Martin
Asociación de Realizadorxs Experimentales Audiovisuales
27 de noviembre 8:00 P.M
Centro Cultural San Martin
Imágenes que recitan
La selección de obras presentadas por AREA, la Asociación de Realizadorxs Experimentales Audiovisuales, reúne cortometrajes tanto en fílmico como en soporte digital que se caracterizan por vivir la poesía a través de la mirada y capturar algo de lo inasible de esa contemplación en el montaje, ya sea en cámara o en postproducción. Son imágenes del inconsciente, fantasmagorías, ensueños, abstracciones, miedos, trances, en una superficie que nos abre a otras y otras, que nos invitan a dejarnos llevar, a sentir.
Muchxs de nuestrxs asociadxs han acompañado desde los inicios a VideoBardo, participado en distintas ediciones y visto crecer al Festival de Videopoesía de cerca. Por eso, hemos querido celebrar su 25 aniversario con este programa especial de cortos de cine experimental y videoarte que incluye obras tanto de lxs miembrxs de mayor trayectoria de nuestra asociación como Graciela Taquini, Ernesto Baca, Ricardo Pons, Susana Barbará, Richard Shpuntoff, así como de las nuevas generaciones. Porque las obras son jóvenes o viejas no por la edad de sus artistxs sino por cómo respiran, por las experiencias poéticas que nos regalan.
1. In queens my ambitious soul i bare - Richard Shpuntoff - 7: 13
2. Memorias pasadas por agua - Ernesto Baca - 3:17
3. Monterrey - Richard Pons - 1:26
4. 137 - Susana Barbará - 2:20
5. Confín - Graciela Taquini - 4:40
Imágenes que recitan
1. Filtrónica - Juan Miceli - 2:12
2. Espacio para la ausencia - Rodrigo Noya - 9:12
3. Cada flor del mundo es un estallido - Ramiro Antico - 6:04
4. Triple exposure - Paula Pellejero - 3:04
5. Caída - Melisa Haller - 3:11
6. Uncertain Territory - Laura Focarazzo - 3:35
7. Época es poca cosa - Ignacio Tamarit / Tomás Maglione- 2:43
8. Cine Bisagra - Leandro Varela - 0:35
La Asociación de Realizadorxs Experimentales Audiovisuales reúne, desde 2017, a decenas de realizadorxs argentinxs y extranjerxs radicadxs en el país que utilizan las herramientas del cine y el video para investigar las posibilidades de creación narrativas, estéticas y técnicas que ofrecen la experimentación audiovisual, tanto digital como analógica y fotoquímica. Entre sus objetivos figura la organización para la defensa de los intereses y el desarrollo de los derechos de los artistas audiovisuales, así como la visibilización a nivel nacional e internacional de la existencia en la Argentina de una escena cada vez más rica y nutrida de cineasxs y videastxs experimentales. Pero también se propone crear espacios comunes que profundicen la creación y la difusión audiovisual, como la divulgación de trabajos propios y ajenos; producción de nuevas obras individuales y colectivas; reflexiones teórico-prácticas; laboratorio; preservación y archivo de material fílmico y videográfico; intercambio cooperativista de conocimientos e insumos técnicos; etc.
AREA somos 42 asociades:
Melisa Aller, Martín Alomar, Ramiro Antico, Marto Álvarez, Ernesto Baca, Susana Barbará, Manuel Bascoy, Marisol Bellusci, Paola Buontempo, Mariela Cantú, Magdalena Cernadas, Macarena Cordiviola, Sofía Covelli, Gonzalo Egurza, Laura Focarazzo, Luciana Foglio, Clara Frías, Fabiana Gallegos, Yaela Gottlieb, Nicolás Grandi, Paula Herrera Vivas, Oreste Lattaro, Florencia Levy, Mariana Lombard, Juan Miceli, Luján Montes, Ariel Nahón, Maia Navas, Rodrigo Noya, Paula Pellejero, Jonathan Perel, Ricardo Pons, Walter Ponte, Carla Porroni, Heriberto San Jorge Correa, Richard Shpuntoff, Malena Souto Arena, Ignacio Tamarit, Graciela Taquini, Nicolás Testoni, Leandro Varela, Ana Villanueva.
-Taiwan Video Program-
25 de noviembre 8:00 P.M
Centro Cultural San Martin
Sketch CHI, Kai-Yuan|Taiwan|Single channel video|2021|5:50
It was a journey intertwined by sections of highways, only for a certain purpose or not for a certain purpose. The displacement of going and passing seemed to be a vacuum drawn away from life, the purity without a name, a structure, or an identity. While
exposing myself to the sun, traveling on the highway, the sparse vegetation as well as landscape came in sight in the wind, time appeared to be slowed down in front of an
expanse of landscape, and things were being shifted out in the order of nature. Yet what I wanted to find out has already passed. All I can respond with is merely a condensed
WANG, Yu-Song|Taiwan|Single channel video|2017|8:00
The concept behind the artwork, Hualien White Lighthouse, is derived from Yu-
Song Wang’s thoughts for plein air painting, where he seeks to use the plein air painting
approach to convey a performance concept, experience non-figurative elements in a
given space, and depict things that the eye can’t perceive. By doing so, Wang achieved
the following realization: The objective with plein air painting is not about tangible
views or objects but the artist’s will and feelings towards the act of painting, whereby
the viewers are able to imagine the meaning behind the creative process when they see
The subject of this artwork, the white lighthouse, references the essay Hualien
White Lighthouse included in The Searcher: Collected Lyrical Essays by Yang Mu.
Yang often spent his years in junior high gazing at the sea and the lighthouse outside
the window of his classroom; the lighthouse was later demolished due to expansion
construction at the harbor. After reading Yang’s writing in high school, the image of the
white lighthouse left a lasting impression on Wang. With the same scenery set in a
different space-time, Wang has also looked out from that same window, where he
imagined and longed for that white lighthouse. He has since been on a quest for that
legendary form, which echoes with his relentless pursuit to identify painting as an act
of physical practice, with more imaginative possibilities uncovered the further he digs
Continental Sea LIN, Ying-Chieh and CHANG, Ken-Yao|Taiwan|Single channel video|2019| 9:02
Khun-sin, which describes the uplift back of the whale, is one of the many ancient names in Taiwan. It also marks the mainland island surrounding the lagoon. If you see through by the old coastline of old Taij-iang inner see, it looks like whales dim in the
water half. ZitDim Art Space ( a space we run with artists from Hong-Kong and Taiwan )
opened just a half year, near the Yongfu elementary school. Under the guidance of
historical enthusiasts, it was discovered that some of the Qing Dynasty’s ruins were
hidden in the high-rise roadway behind the campus. Its are two scenes of “ Eight Scenes
of Taiwan”: Cheng Tai Guanhai and Fei Ting Ting Tao( means the beautiful pavilion to
listen to waves or watching the ocean), the name sounded magnificent. However, after
the actual visit, we saw only a new and old indistinguishable stone monument, with a
few bright red words. Living in a city connected by asphalt roads, it is difficult to
imagine the situation of seeing the ocean and hearing the waves. I thought it was just a
kind of a literati-style. After chatting with the neighbors, we learned that Ximen Road
that we pass every day was the coastline of the old Taijiang inner sea in the Qing
Dynasty. It changed by the re-routing of the river and the siltation of the river, which
formed the geography of Tainan that we understand today.
Back in Tainan in 2004, a sperm whale stranded on the west coast of Yunlin. On
the way to transfer its body to Tainan, it exploded at the crossroad of Ximen Road and
Xiaobei Road. There were few fixed-angle photos, but the event itself is framed by
images of different resolutions, and it coincidently happened on the coastline we are
looking for, like inserting an indigestible landmark on the map. To find the skeleton of
the sperm whale, we accidentally stepped into the Taijiang Whale Dolphinarium in
Sicao that was semi-abandoned. It was raining heavily that day. We took the
photographic equipment and prepare to negotiate with the manager, but we cannot even
find a ticket booth, the entire specimen museum is out of electricity, overflowing with
moisture, the glass box of the whale worm, the dolphin has been filled with water
droplets, seeing the pale, white whalebone hanging in the air, suddenly there is an
illusion as if we are the creatures that are out of date and accidentally sneak into the
Living in Taiwan, surrounded by the sea, there is a kind of illusion about the inner
sea of the island country, with land or mountains as the frame, as the freshwater lake
where the rain gathers or the sea view suites alongside the road, is realistic and
unrealistic. The exhibition "Continental Sea" starts from the historical landmark of
"Fei-Ting Ting Tao", but the exhibition itself does not focus on a linear sorting of human
geography for local changes. When the land is connected to the island and the sea is not
in the sea, what kind of spiritual interpretation can we make to the sea that has
disappeared? Compared to the clarity of the land, the sea symbolizes various
possibilities, and in these possibilities, it can be romantic, inclusive, aggression,
political, trying to look at the spots, place names and events that seem to be misplaced
from above. Between, draw a new sightseeing path.
LIN, Ying-Chieh and CHANG, Ken-Yao|Taiwan|Single channel video|2019|
Tai-jiang Inland Sea, formerly known as the “sea of whale bones” in Dutch ancient
literature, could probably be given the name for the shoals that looked like whale backs
rising from water. Or maybe there had been whales losing their ways here and got
stranded on the sandbanks called “kun shen (the body of a giant fish)”?
However, with the constant overflowing and diversion of rivers, no matter for the
sea of whale bones or Daofong Lagoon, both the estuaries and the areas of inland seas
are vanishing gradually because of riverbed silt. The phenomenon is called “Floating
Island” in geography.
At present, we can only find some traces of these inland seas in Qigu and Beimen
Districts as well as in those fish farms densely located along the west coast. The history
of salt production in Taiwan is just like legacy of these inland seas through the imagery
of salt crystals on the ground surface after the emergence of floating islands. Nowadays,
as global warming is happening, we are seemingly able to envision sea level rise that
submerges the land area once again from a futuristic perspective. Is it possible that even
hái-iang (whale in Sirayan) aspires to return to land where its ancestors used to live?
We, who yearn for the sea while being enchanted with the myth of giant fish, stroll
along the border of ancient Soulangh (Siao-long in Sirayan) peninsula and contour the
landscape of Daofong Lagoon with our body. The project extends from the artist’s
exhibition “Continental Sea” in 2019. During her three-month residency, the artist has
linked the projects through utilizing spaces, scripts, writing, and images while
attempting to comprehend and envisage the interchangeable relationship between
“inland sea” and “land at the border of sea and rivers” from the past to the present. The
images refer to topology and the myth that are developed by the inland sea, salt, and
whales. The gradual disappearance of the inland seas and what it may symbolically
mean to Taiwan shall also be explored.
A turtle and...
HO, Yen-Yen|Taiwan|Single channel video|2019|8:05
A turtle and... is the transformation of an off-site artist residency experience on
Chongming Island, Shanghai, represents the physical exertion and fatigue, weird
perception of time, the voice dialogue between inner and exterior space, and the mixed
experience of memories and experiences in the process of physical displacement. The
video records a trip on a sightseeing boat from Yilan Wushi Harbor to Guishan Island.
There are three scenes in the film: the ship’s cabin, Guishan Island and the abandoned
fortress. The tour guides depicted the personification of the island as a turtle,
introducing the geological landscapes, legends and the development of the place. As a
former military base, tourists could only image the island through languages and the
observation from outside instead of visiting in person. The action of “visiting around
the island and going back” seemed to embody the psychological feelings of enclosure
during the journey and the displacement.
Through the arrangement of images, literal narratives and sounds, the work tries
to transform the island into a life form and consider the boat as the extension of physical
fatigue, form the perspectives of the lands and the sea that staring at each other, reforms
the connections between lands, islands and the ocean, discusses the searching for the
tangible and intangible boundaries.
WANG, Shao-Gang|Taiwan|Single Channel Video|2021|05:13
It was a prelude of vaccine and genetic pathway.
In the Post-Pandemic Era, can people rediscover the path to the origin of human
beings in their own gene?
One day, the vaccine went in my body. At night, the side effects occurs with
vaccine caused fever, and made me pacing back and forth in my studio, because it really
ached, every part of my body was aching badly... In the suffering moment, the immune
system in my body was causing me troubles, making my consciousness gradually leave
the body. A strange feeling of déjà vu came to me and I saw myself existing in a tropical
rainforest. I saw dark grey hairs began to grow from my hands. Am I experiencing a
devolution or revolution? A fog in front of me covered my vision, the reality and the
space were folded together. It seemed that the world has no more boundary. Grass and
vines were holding my body softly from the back. In that moment, I had a strong
intention of sketching, in memory of the scene that I was wondering in the rainforest,
it might be the sketch of an installation.
Tomorrow’s Lonely City
Chapter Three: Capital Cities Submerged by the Sea
Old documents reveal that Earth’s plates have moved even more over the years.
The area of land has significantly reduced, and the proportion of sea and land has
become 95:5. The alerts about the greenhouse effect and the rising sea levels have been
mentioned in the ancient texts, but, most likely, not many pre-extinct humans earnestly
practiced how to avoid disasters. Nowadays, undersea exploring has become prominent.
The sea is like a treasure-trove, which reflects on the ancient wisdom. We learn from
the archeological studies of human thinking of how to disguise as a human being and
how not to be exposed. How did they survive in the cities, what was their lifestyle? It
has become an important exploration. Only 0.002% of us, white-collar robots who have
the whole body, have the skills to do archeological research. Looking at a statue made
of bronze, we can estimate that it is a relic of a certain diety from pre-extinct Denmark.
It appeared in the waters of pre-extinct Bangkok, hence, I think the strength of ocean
currents really should not be underestimated. Distinguishing to which of the systems
this object belongs to is very difficult.
Chen is best known for her artistic practice in video art, experimental
animation/video, interactive art, multi-media art, and painting. Her primary focus is on
social issues and folk stories in industrious and marginalized areas, also among the
lower middle class. The idea of her artworks is to weave a giant map of the history of
rural villages and industries, which carries an individual’s experiences between reality
and illusion. It also attempts to create a conversation with a realistic/real society. The
poetic image and the romantically lighthearted music express the impossible dream.
HONG , Jun-Yuan|Taiwan|Video Installation|2018|06:20
This video work has a strong self-experience inherent emotional vacancies,
especially divorced parents, domestic violence, economic weaknesses and other broken
primitive family growth, becoming a reductive sample of the inner spirit. Due to the
above factors, the three protagonists of the image reflect the inability to repair the direct
emotional structure, forming many contradictory characters and inner entanglement
when facing the object, while the cascading in the close-up is the creator and the mother
and the message dialogue. A fragment between. Back in the image of the work, strong
waves attacked and eroded the traces of the face. The corners of the eyes, nose, ears,
and mouth are the legacy of the waves. Even if the facial expression is distorted and
sad, the outer contour is surprisingly beautiful waves. Ironically, the interior of the
facial image has long been the inner vacuum of emotional retreat.
Love Song in Harbour City
WU, Tien-Chang|Single Channel Video, color, sound|2020|5:57
Born during the baby boom generation, Wu Tien-chang has witnessed the
transformation of Taiwan: from a base for the KMT to prepare their coun-terattack back
to the Mainland China in the Cold War era, the free area of the Republic of China,
Republic of China on Taiwan (President Lee Teng-hui), Republic of China is Taiwan
(President Chen Shui-bian), to Republic of China (Taiwan)(President Tsai Ing-wen) in
the “New Cold War” era between US and China these days. Back in the 1970s, when
the United States broke off the diplomatic relations with the ROC and the ROC walked
out of the UN, Taiwanese endured the toughest days. During the stormy times of these
70 years, the unique historic experience that we cher-ish has led to the rise of Taiwanese
consciousness while safeguarding Tai-wan’s freedom, shaping a sovereignty, “an
imagined community with shared destiny.”
An expert in reproducing the truth in life with doctored and fake images, Wu Tien-
chang uses visual images and symbols of “farewell,”such as artificial skin membrane
and other medium, to create works of art not only touching the soul of millions of
Taiwanese, but striking a chord with the public, and demonstrates the perseverance of
the people of Taiwan. Using exaggerated and exotic images, Wu Tien-chang depicts the
irreparable sor-rows and loss of the individuals and the nation, which, on the one hand,
reveal the historical context of Taiwan, and, on the other hand, offer a bright vision for
In 2020, Wu Wen-chang finished his video under the title “Love Song in Harbour
City,” depicting different desire and longing for the nation, re-viving the collective
memories of Taiwan in over half of a century after the war, a rich and exotic tapestry of
all the diversified races. Through “Love Song in Harbour City,” a Taiwanese ballad by
Wu Jin-huai, he pays trib-ute to life from the perspective of seagulls, sailors, and
soldiers. It in fact ventilates Wu Tienchang’s own patriotic sentiment and evokes the
histor-ic ambiance of the Cold War with the harbor, citadels, and monoliths. He brings
out the most critical issue: the national identity on Taiwan and raises the question,
“ Why and for whom?”
International Video Art Festival
Curator: Enrico Tomaselli
'In the Magmart's eyes' A video art festival is an open window to the world of the moving image. For this, Magmart has been and is for me a privileged observation point, which is worth every single sacrifice required by its organization. Having the opportunity to see hundreds of video works, however, becomes problematic when you are asked to make choices, whether they are those of the winning works of each edition, or a particular selection for an exhibition. Because the quantity of works that one would like to choose is always far greater than those that can be chosen. Any video left out is a regret. But, fortunately, this always means that the choice made is still the best, even if not all. As in this case, the selected videos are in turn a small part of those awarded in the 12th edition, and if they are not 'the best of the best', they are certainly well representative of the high artistic level of the festival participants.
Annuli (Double-Blind No.2)
The Double-Blind Experiments
The Double-Blind Experiments is a collective of VFX artists and motion designers with diverse creative backgrounds including visual effects, animation, filmmaking, photography, illustration and graphic design.
Annuli - The space between two concentric circles. In this instance, the space is time on a timeline, not distance.
Three sound designers created a bed of eclectic sound and composition which was then cut into clips of varying lengths before being randomly distributed to 15 artists.
For the artists, this experiment consisted of only two rules:
1. Take inspiration from the randomly supplied sound clip.
2. Create a visual representation of this sound, beginning and ending with a circle of a predetermined size… fill the space between two circles.
Dark Myriad 7
Dark Myriad 7 (Тьма Тем 7) is a videopoem that aims to create a new type of poetic language, integrating spoken word with moving image to develop an non-illustrative style. By morphing faces and colours together with the use of dynamic lighting, this composition aims to weave together the fluidity of light and language.
The videopoem presented here is part of an album called Dark Myriad (Тьма Тем). The project aims to integrate the audio-visual elements into inseparable rhythmic and rhyming compositions. This approach strives to reach a universal type of poem, where the natural language of the spoken word is only a part of the composition and the knowledge of this language does not limit the understanding and appreciation of the piece. The project builds on Eta Dahlia’s previous videopoem album Little Flowers (Цветочки) and develops the visual aspects and techniques of creating unified videopoetic experience.
The title Dark Myriad comes from an ancient Slavonic numbering system and signifies the biggest possible number, which is linguistically associated with darkness and its perceived infinity.
Deep Blue, Springs and Apneas between Worlds.
The spiritual potential of emptiness and fullness, their interconnectedness is an evidence. From the opposition of two systems, one metaphysical and another coming from the real, certains energies take shape.
In constant metamorphosis through the circular movement and changes they interact and connect the sphere of unconsciousness with rational , the body with nature .That process is active in both ways .
Seeking for equilibrium is a process of Healing.
[in search of my lost self]
Lisi Prada - Carmen Isasi
A woman goes, comes, chases herself, stops; she toasts with the sea, dressed in her own skin. An umbrella with a very long handle protects her from invisible rain. A seagull observes her imperturbable, or who knows if she carelessly notices the facts and screams at the event that we ignore if it happens or is imagined. She goes in and out of the sea, over and over again, as in an orphic rite; perhaps it dies to be reborn or repeats the repetition to exorcise the recurring gesture to which we are doomed, obeying the laws of inertial systems. What is the point of an umbrella to swim against the current of the unreason of certain customs or to turn them around from the perspective in which women, alone, seek their own desire, faithful to the ethics of those who bracketing the moral artifice of conventions and the limitations of what is expected of them as such? Or is it a suicide?
Jerry King Musser
Quantum entanglement is a physical phenomenon that occurs when a pair or group of particles is generated, interact, or share spatial proximity in a way such that the quantum state of each particle of the pair or group cannot be described independently of the state of the others, including when the particles are separated by a large distance. We are all linked whether we like it or not.
Úrsula San Cristóbal
Soleil Noir (Black Sun) is an audiovisual poem inspired by Gérard de Nerval’s and Julia Kristeva’s writings on melancholy. Images, sounds, actions and text that evoke some of the most intimate sensations and concerns of a melancholic state, propose to the audience a reflection on sadness and depression in our daily lives. What is this black sun whose radiation clouds my wishes and burns my hopes? How to escape from the prison of sadness? Can artistic creation overcome melancholy?
Isabel Pérez del Pulgar
A set of organs, a scaffolding of bones, a map of skin. More or less harmonically arranged elements build a body. A representative body, unquestionable, physical, meat, identity, nominative. A body imprisoned, questioned, discarded, manipulated, possessed, instrumentalized, fragmented, invaded, used, denied, dispossessed...
Culture, and cultures, are the result of millenary migrations and contaminations. To the rhythm of an imaginary tango written by the Lucanian composer Rocco De Rosa, images of migrants of yesterday and today heap up, images of planetary pain but also evidence of the need to survive, always and at any cost, fleeing geopolitical and climatic injustice.
Wild Times - NVGÆ
Wild Times, is a video clip made for the Berlin band Nugae. A figure runs into a dark and lonely space, torn by flashes of light. The figure runs relentlessly, facing bizarre worlds and strange enemies, constantly looking for a way out
27 de noviembre 7:20 P.M
Centro Cultural San Martin