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The friction of bodies

Film and video about the 1980s in Latin America

January 9 - February 15, 2013 - 7:00 p.m. /
Sabatini Building, Auditorium

The friction of bodies is a film and video series that presents a broad panorama of different artistic and political manifestations from the 1980s, which arose during and co-existed with the years of repression in Latin America. Many of these videos and films, most of which have never been shown publicly outside of their original contexts, demonstrate the emergency of new political subjects and forms of subcultural participation. The program also includes recent film proposals that look back at the agitated times of the 1980s in this context, to offer different readings or to activate a memory still throbbing within us.

The expression the friction of bodies (el roce de los cuerpos) returns to the idea developed by the Argentine art historian Roberto Amigo about how the new forms of artistic activism in the 1980s in different places in Latin America took shape. If in the 1960s and 70s the linking of art and politics arose within traditional moulds related to the legacy of Marxism, in the 1980s that way of operating underwent a radical transformation. Encounters, festivities, the carnavalisation of protest and other forms of direct contact between bodies, whether in the private sphere or in a clandestine manner, would be the way to create a public counter-sphere in opposition to the devastating effects of violence.

Radical and libertarian attitudes thus appear, interweaving sexual dissidence, countercultural production, occupation of the streets, anarchism, social demands and civil disobedience or the demand that the victims of political disappearances come back to life, spaces and rituals that were previously invisible. This experimental wave brought a new way of thinking about and intervening in political happenings, using imaginaries of resistance and activism that favoured the building of new bodies and socialities, and the rebuilding of the emotional ties that had been broken by terror.

These film and video productions were made by documentary makers, artists, researchers, historians and people involved in these episodes. They include: amateur productions arising in underground spaces; works with the visual sophistication of a renewed cinematographic experimentalism; films of limited commercial circulation that draw connections between crisis periods by examining urban violence, music and drugs; and also new productions made especially for this exhibition. Using memory, narrative, recovered documents and images, and also musical production, this living archive of those events attempts to rethink the ways in which film and video have given a different visibility to a multitude of dissident bodies and behaviours.

Program

  • Pedro Chaskel and Pablo Salas. Somos + (We are +) 1985
    January 16, 18, 23 and 25, 2013 - 7:00 p.m.
    Cinema and video Film series

    This block presents the creative strategies of the human rights movement in Argentina and Chile, along with actions and productions by activist groups with such marginal materiality that they used resources such as silk-screening, photocopies and the body to process and show the consequences of State terrorism with its correlate of massacres, torture, forced disappearances.

      In various sessions, it explores how the modes of political action in the 1970s became, due to the impossibility of confrontation, the resource used in artistic tactics aimed at ending the isolation of political practice and provoking viewers by means of body-to-body contact in the streets. This open opposition and occupation of the public space would become, in the 1980s, the key elements that allowed for the creation of new citizenries.

    Session 1

    January 9, 7:00 p.m.
    No me olvides (Don't forget me)
    Tatiana Gaviola. Chile, 1988. Production format: U-Matic, 15 min. Exhibition copy in DVD. Distributed by Tatiana Gaviola

    Somos+ (We are +)
    Pedro Chaskel and Pablo Salas. Chile, 1985. Production format: U-Matic, 16 min. Exhibition copy in DVD. Distributed by Pablo Salas

    Por la vida (For Life)
    Pedro Chaskel and Pablo Salas. Chile, 1985. Production format: U-Matic, 28 min. Exhibition copy in DVD. Distributed by Pablo Salas

    Presentation by Miguel Martínez
    Miguel Martínez holds a PhD in Political Science and is a researcher in the department of Sociology II at the Universidad Complutense de Madrid. He specializes in social movements and urban studies.

    Session 2

    Dates: January 11, 7:00 p.m.
    Arete Guasu
    Made by: Dea Pompa. Based on an original idea by: Lia Colombino. Paraguay, 2012. Production format: DV-Cam, 37 min. Exhibition copy in DVD. Distributed by Lia Colombino. Short film not previously released, made jointly with Museo Reina Sofía and the network Conceptualismos del Sur.

  • Sarah Minter. Alma punk, 1991
    January 16, 18, 23 and 25, 2013

    Block 2. Underspaces

    The friction of bodies

    Cinema and video Film series

    This block reflects a series of collective experiences in semi-clandestine places, in certain "official" spaces and on the outskirts of large Latin American cities. New cultural manifestations linked to one another by the crudeness of their forms and by their total negation of official values. Later called the ‘subte’ scene (short for subterránea, underground), in this period creativity reached unknown heights, in contrast with the despondency and the brutality of the armed conflict in Peru, the military dictatorship in Chile and the processes of marginalisation in Colombia, Mexico and Brazil.

    Grouped around libertarian and anarchist discourses, and making use of music, the visual arts and poetry, these groups are characterized by their refusal to remain silent in the face of news about torture and disappearances, but also about the spread of the new market society. This independent scene choose to confront authoritarianism, repression and the social and cultural status quo, and it does so collectively through concerts, posters, scenographies, festivals and multidisciplinary encounters at universities, theatres and other places in the city.

    Session 3

    January 16, 7 p.m.
    Punks
    Sarah Yakhni and Alberto Gieco. Chile, 1984. Production format: U-Matic, 35 min. Exhibition copy in DVD. Original language: Portuguese, with Spanish subtitles. Distributed by Sarah Yakhni, Brazil.

    Grito subterráneo (Underground Scream)
    Julio Montero Solís. Peru, 1986. Production format: various, 120 min. Exhibition copy in DVD. Distributed by Julio Montero Solís, Peru.

    Session 4

    January 18, 7 p.m.
    Nadie es inocente (Nobody is innocent)
    Sarah Minter. Mexico, 1987. Production format: U-Matic, 58 min. Exhibition copy in DVD. Distributed by Sarah Minter, Mexico.

    Alma punk (Punk Soul)
    Sarah Minter. Mexico, 1991. Production format: U-Matic, 56 min. Exhibition copy in DVD. Distributed by Sarah Minter, Mexico.

    Session 5

    23 January, 7 p.m.
    Rodrigo ‘D’. No futuro (Rodrigo 'D'. No future)
    Víctor Gaviria. Colombia, 1990. Production format: 35 mm, 90 min. Exhibition copy in DVD.

    Session 6

    25 January, 6 p.m.
    Pank. Orígenes del punk en Chile (Pank. The origins of punk in Chile)
    Martín Núñez. Chile, 2010. Production format: various, 80 min. Exhibition copy in DVD. Distributed by Martín Núñez, Chile.

    Frenesí (Frenzy) - Liliana Maresca - 1984/1994
    Adriana MirandaArgentina, 1994.Production format: various, 35 min.Exhibition copy in DVD. Distributed by Adriana Miranda, Argentina.

    Presentation by Miguel Conejeros
    Miguel Conejeros is a musician. During his early career he was a member of the band Los Pinochet Boys (1984-1987), which pioneered a new way to conceive of rock/pop/electronic/experimental music in Chile and Latin America.

  • Raphael Álvarez and Tatiana Issa. Dzi-croquettes, 2009
    January 30 and February 1, 6, 8 and 13, 2013 - 19:00 h

    Block 3. Sexual disobediences

    The friction of bodies

    Cinema and video Film series

    In the 1980s various artistic experiences involving gender subversion and sexual disobedience put forward a critique of normative heterosexuality, and at the same time questioned the left-wing imaginary, by confronting the naturalized relationships of inequality, authoritarianism and subordination that support these discourses. This situation is addressed in Improper Behaviour, a film in which Cuban refugees are interviewed about the incarceration of homosexuals, political dissidents and Jehovah's Witnesses in labour camps, under the Cuban government's policy of Military Units to Aid Production (UMAP).

    Many of these art practices were also a response to the HIV/AIDS crisis, as mentioned in Dzi Croquettes, and to the continual stigmatisation of minorities. Through carnivalesque performative interventions, as in Pedro Lemebel: corazón en fuga (Pedro Lemebel: a fleeing heart), images of prosthetic alterations or encounters between non-normative sexualities, such as those seen in Batato's Movie, the artistic insubordination present in this block shatters heterosexuality as a political regime.

    Session  7

    30 January, 7 p.m.

    La peli de Batato (Batato's Movie)
    Goyo Anchou y Peter Pank   . Argentina, 2011. Production format: various, 150 min. Exhibition copy in DVD. Distributed by Goyo Anchou, Argentina.

    Session  8

    1 February, 7 p.m.

    El homosexual o la dificultad de expresarse (The homosexual, or the difficulty of expressing oneself).
    Teatro del Sol. Peru, 1990. Production format: VHS, 63 min. Exhibition copy in DVD. Distributed by Giuseppe Campuzano, Peru.

    Pedro Lemebel: corazón en fuga (Pedro Lemebel: a fleeing heart)
    Verónica Quense. Chile, 2009. Production format: Betacam, 53 min. Exhibition copy in Betacam. Distributed by Verónica Quense, Chile.

    Session  9

    6 February, 7 p.m.

    Conducta impropia (Improper Behaviour)
    Néstor Almendros and Orlando Jiménez Leal. France, Cuba, 1984. Production format: 35 mm, 93 min. Exhibition copy in Betacam. Original language: Spanish and French, with Spanish subtitles. Distributed by Orlando Jiménez Leal, New York.

    Presentation: Andrés Isaac Santana
    Andrés Isaac Santana (Matanzas, Cuba, 1979) is an art critic, essayist, editor and exhibition curator. His publications include “Imágenes del desvío. La voz homoerótica en el arte cubano contemporáneo” (Ed. J.C, Sáez, Chile, 2004) and he edited the compilation of texts “Nosotros, los más infieles. Narraciones críticas sobre el arte cubano (1993-2005)”, (Ed. Cendeac, Murcia, 2007).

    Session  10

    8 February, 7 p.m.

    108 Cuchillo de palo (108 Wooden Knife)
    Renate Costa. Spain, Paraguay, 2010. Production format: Super-8 and digital video, 93 min. Exhibition copy in Betacam. Distributed by: Estudi Playtime, Barcelona.

    Reinas
    Made by: Dea Pompa. Based on an original idea by: Lia Colombino. Paraguay, 2012. Production format: DV-Cam, 20 min. Exhibition copy in DVD. Distributed by Lia Colombino. Short film not previously released, made jointly with Museo Reina Sofía and the network Conceptualismos del Sur.

    Session  11

    13 February, 7 p.m.

    Dzi Croquettes
    Tatiana Issa and Raphael Álvarez. Brazil, 2009. Production format: various, 110 min. Exhibition copy in Blu-Ray. Original language: Portuguese, with Spanish subtitles. Distributed by: Tatiana Issa and Raphael Álvarez, Brazil.

  • Rafael Saar. Homem-ave, 2010. Photograph: Angelo Zolini
    February 15, 2013 - 7:00 p.m.
    Cinema and video Film series

    The Bureau of Surrealist Enquiries, an institution invented by Antonin Artaud in 1924, was conceived as a place where anyone could go to explore madness in order to reinvent life through creative activity. Taking up the idea of this key institution once again, in the 1980s different groups in Argentina decided to refound the international surrealist movement. Among them was TIC - Taller de Investigaciones Cinematográficas, or the Cinematographic Investigation Workshop - which produced a series of videos now being shown for the first time.


    Along with these videos by the TIC, other films recover the imaginary of the 1970s and 1980s and put forward poetic and experimental creations. Homem-ave gira deals with the poetic universe of the Brazilian singer Ney Matogrosso, who during the dictatorship of the 1970s broke sexual taboos with his behaviour on stage. Mi Co-Ra-Zón, by the Mexican Pola Weiss, explores the body, with its organs, guts and fluids, through montages linking the eye to the heart. The block ends with Melquíades Herrera, participant in the collective No-Grupo, who, in modifications of daily activities, takes imagination, provocation and collective creation to transform the “normal” conditions of existence.

    Session 12

    February 15, 7 p.m.

    Detrás del muro (Behind the wall)
    Taller de Investigaciones Cinematográficas (TIC), Adrián Rivero (Adrián Fanjul). Argentina, 1980. Production format: Super-8, 5 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.

    El Chulu
    Taller de Investigaciones Cinematográficas (TIC), Sergio Bellotti. Argentina, 1980.
    Production format: Super-8, 20 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.

    El amor vence (Love wins)
    Taller de Investigaciones Cinematográficas (TIC), Beto Sánchez (Roberto Barandalla).
    Argentina, 1980. Production format: Super-8, 12 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.

    El loco de la carretilla (The Madman with a Wheelbarrow)
    Taller de Investigaciones Cinematográficas (TIC), Eduardo Nico "Magoo". Argentina, 1979.
    Production format: Super-8, 7 min. Exhibition copy in DVD. Distributed by Roberto Barandalla, Argentina.

    Homem-ave
    Rafael Saar. Brazil, 2010. Production format: HD, 6 min. Exhibition copy in DVD. Original language: Portuguese, with Spanish subtitles. Distributed by Rafael Saar, Brazil.

    Mi Co-Ra-Zón (My heart)
    Pola Weiss. Mexico, 1986. Production format: U-Matic, 11 min. Exhibition copy in DVD. Distributed by: Documentary Archive of the MUAC, Universidad Nacional Autónoma de Mexico.

    Venta de peines (Selling combs)
    Jorge Prior and Melquíades Herrera. Mexico, 1993. Production format: Betacam, 2 min. Exhibition copy in Blu-Ray. Distributed by Producciones Volcán, Mexico.

    Uno por 5, 3 por diez (One for 5, 3 for ten)
    Jorge Prior and Melquíades Herrera. Mexico, 1992. Production format: Betacam, 11 min. Exhibition copy in Blu-Ray. Distributed by Producciones Volcán, Mexico.

    Presentation: Jaime Vindel and Eduardo Nico “Magoo”.
    Jaime Vindel is an art historian, a member of the curatorial team of Losing the Human Form and a participant in the network Conceptualismos del Sur.
    Eduardo Nico “Magoo” is the co-founder, with Roberto Barandalla, of the Taller de Investigaciones Cinematográficas (Cinematographic Investigation Workshop) He has also published two books of poetry, "La Polaca" (1995) and "Puros por cruza" (2011).

Activity´s details

Entry: 
Free of charge, but space is limited
Organized by: 

Conceptualismos del Sur Network and Museo Reina Sofía

Itinerary:

Centro Cultural Juan de Salazar (Asunción, Paraguay), October 2 to 14, 2013, MALI (Lima, Peru), January 11 to February 23, 2014, CCEMx (Centro Cultural de España en México), February 19 to April 4, 2014, CCET (Centro Cultural de España en Tegucigalpa), March 5 to 20, 2014, CCPE (Centro Cultural Parque de España, Rosario, Argentina), March 9 to April 27, 2014, CCEBA (Centro Cultural de España, Buenos Aires, Argentina) and UNTREF (Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina), April 3 to May 9, 2014.

Itinerary in collaboraction with AECID

See all activities in: Cinema and video

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