The collapse of the Soviet Union and the gaining of independence by its former republics were accompanied by a number of territorial disputes, military conflicts and collective traumas. 30 years later, the historical reality of these events has only become more complex. How can one talk about them today?
Self-taught filmmaker and architect, Juan Sebastián Bollaín has been making films since the 1960s, mixing his two study disciplines along the years in a series of films that reinvent the urbanism of the most traditional and religious city in Spain: Sevilla, Andalusia, the heart of the Spanish clichés, Holy Week and flamenco. At the end of the 1970s, using super 8 and various tricks and montage strategies, he made a series of imaginative visions of the city, delirious utopias full of humor, surrealist and poignant images, and lucid ideas that shake the core of the conceptions about the city.
Fechas:
De Sábado, Junio 4, 2022 (Todo el día) hasta Domingo, Junio 19, 2022 (Todo el día)
Visions in the Nunnery is the Nunnery Gallery’s renowned showcase of moving image, digital and performance art. The biennial open call is an opportunity to be part of one of the most varied and exciting presentations of moving image in London.
El Concurso Internacional Juan Downey es realizado desde 1993 por la Corporación Chilena de Video y Artes Electrónicas (CChV) como homenaje al arquitecto y artista chileno Juan Downey (1940-1993), quien fue pionero en el videoarte, el videoensayo, el cine expandido y las instalaciones interactivas. Con 29 años de trayectoria, este certamen constituye una importante instancia para el videoarte de la escena local e internacional, que da cuenta de manera crítica de los cambios en formatos, lenguajes y tecnologías en el campo.
Microscope is very pleased to present Anthony McCall’s groundbreaking piece “Light Describing a Cone” (1973) as part of its series of imageless film performances and other works in connection and collaboration with the current series “Imageless Films” at Anthology Film Archives.
Taking a cup in your hand, emptying it, holding it under water scrubbing, rinsing, putting it on the draining board, over and over again – all actions that usually happen unconsciously and automatically. Who has ever actually dedicated time to thinking about the task of washing up? Margaret Raspé is fascinated by day-to-day tasks, and devotes most of her films to them. The special aspect about her work is the camera perspective, which is provided by her “camera helmet”. Positioned on her head, the camera follows her movements and, in doing so, records the act of washing up.
