Demontage: Film, Video/Appropriation, Recycling brings together more than 70 works by artists from diverse backgrounds, regardless of whether they were made using celluloid or video. With the indiscriminate mix of both media, the programme takes a look at different themes and focus points following related paths that branch off from each other. All of these projects (which run between 3 and 45 minutes) are based on materials from outside sources: images that are either found, appropriated, pillaged or legally obtained from archives and other sources, texts, sounds and other elements, waste and scrap material that has been taken and recycled for a purpose different from what it was originally created for. For the most part, these images and materials are recognisable because of their industrial, media, inflexible origin: images, stereotypes, messages or detritus from films, television, advertisements, propaganda, audiovisual archives, etc. In turn, they are mainly works that have a critical nature, a deconstruction or demontage of what the images or messages wanted to say or dictate in their previous life or in their original montage.
The methods and procedures for the demontage, collage and assembly found in this collection are as varied as the dates and contexts (or designations) of the origins of the different works: from burlesque or satiric-political demontage to the seriousness of today’s conflicts and unrest, the programme’s pathways snake through the echo of different movements and ‘isms’ (artistic and unartistic, surrealism, anti-war, Lettrism, assemblage, pop, situationism, underground film, feminism, scratch video, etc.). Above all, they follow in the footsteps of rabidly independent artists, filmmakers, video makers and practitioners of demontage.
The breakdown of the programme could deter those who prefer to bypass the unpleasantness of life and recent history. However, space has also been set aside for more playful entertainment. And the guarantee, in any case, covers strong projects that are dense in images, highly varied and perchance stimulating in the face of the bloodier demontages bearing the flesh of another usually offered by the news that crosses the dinner table.