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Cinema and Video

The audiovisual programs are intended to counteract the predominant model of the black cube, even at a time in which both film and video have become fully integrated and dissolved into contemporary art museums. Their aim is to explore the projected image using different formats and discourses: historical series that broaden – and question – the narrations told by the Collection, retrospectives that draw attention to other stories in the audiovisual history and programs that examine the close links that film and video have with contemporary artistic practices. At the same time, this programming seeks to define a space for film and video outside of the usual circuits, describing itineraries distinct from the spectacle and its derivatives.    

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  • Montxo Algora, Brad Degraf, Michael Wahrman. PAU, 1990
    20 october, 1993 - 4 november, 1993
    Cinema and video Film series Conference

    Art is like blood: it has to flow continually to stay alive. When the media through which it is expressed do not expand, its only alternative is to find new channels that almost magically lift it to a higher level. Art Futura ’93/Retrospective ’90-92 is a video and conference programme that presents some of the most important pieces and contributions to the field from works seen over the four years of Art Futura, an annual art and technology programme that came to life in Barcelona in the 1990s. It four sessions, dedicated respectively to Virtual Reality (1990), the Cybermedia (1991), the Global Mind (1992) and to Artificial Life (1993) have been guided by the idea of “scratching the future”, of building a space for artists’ ideas and expressions that, by their very nature, do not fit into the categories established by art institutions, as especially occurs in the case of those that make use of the new technologies.

  • Ilppo Pohjola. P(l)ain Truth, 1993
    19 may, 1993 - 20 may, 1993
    Cinema and video Film series

    Time Code IV is a video programme that features the pieces included in the fourth Time Code, an international project founded in 1986 by a group of broadcast directors and programming heads from the most important television stations, along with independent producers from several countries. It uses television as a medium for visual communication and cultural exchange, respecting the identity of each participant and also guaranteeing that countries with fewer possibilities can take part with their own productions. The project is structured such that each of the participants produces a short piece by a video artist from their country and in exchange receives an international programme with all of the pieces produced by the other countries for the event. In each case, the main challenge is to create an international network of broadcast directors, programming heads and cultural programme producers to establish communication and cooperation in the field of images. Time Code I presented seven productions by internationally renowned video artists like Robert Cahen (Valence, 1945), Gusztav Hamos (Budapest, 1955), Brenda Miller (New York, 1941) and Xavier Villaverde (La Coruña, 1958). Time Code II featured twelve video clips under the generic title of Transfer Musical and included the Spanish piece Ruedo 360, 5600º K by Gustavo Martínez, which was acquired by the Museo Nacional Centro de Arte Reina Sofía for its presentation at the Moving Image Biennial. Time Code III, entitled Rituals of Love, presented seven videos related to the theme of love and included the participation of the Museo Reina Sofía.

  • Visit to Picasso of Paul Haesaerts
    13 may, 1993 - 5 june, 1993
    Cinema and video Film series

    At the point where films on art are at their most inventive and creative, Pablo Picasso (Malaga, 1881 - Mougins, 1973) has long been a target, the object of inquiry and seduction. Trapped by a silent and almost forgotten attraction, the cinema has focused on his oeuvre, a motionless immensity in time. After the Second World War, when films on art appeared in France, Belgium and Italy, three essential pioneers in the genre made - within years of each other - three key films in the history of films on art, all about Picasso’s work: Guernica (1949) by Robert Hessens and Alain Resnais (Vannes, 1922), Visite à Picasso (1950) by Paul Haesaerts (Boom, 1901 - Brussels, 1974) and Picasso (1953) by Luciano Emmer (Milan, 1918 - Rome, 2009). It is almost impossible to imagine all the films that have been made about the artist since then and difficult to realise that, going back a bit further in time, other films could emerge from where they lie hidden to take their place on the long list of works dedicated to the painter from Malaga. The result would be 140 hours of screen time, i.e., an uninterrupted programme of five and a half days. In these otherworldly sessions, the painter and his work would appear on the screen, in forms ranging from drawings to ink, engravings to sculpture, from collage to oils, ceramics and pottery. Nothing would interrupt the artist’s work except for the changing of the reels in the projector, brief intervals in this permanent cinema session. The fascinated viewer would then take a kind of condensed, stunning tour through the work of a lifetime.

  • Klaus vom Bruch. Relativ Romantisch (DEU 1983-84)
    15 april, 1993 - 30 april, 1993
    Cinema and video Film series

    VideoFest '93 brings together a selection from the sixth Berlin Video Festival. Until the mid-1980s, video was only a small section within the International Forum of Young Film. In 1988, the Forum dedicated itself entirely to video, which was the signal for MedienOperative to organise an autonomous festival to present independent video work. Since then, VideoFest has grown and advanced to become one of the most important international video festivals. The sixth festival, held in 1993, included 241 tapes from 21 countries and attracted more than 6,000 viewers. The microcosm from the selection that is presented here reveals the character of the festival: programmes with structured content in which all genres are represented, from computer animation and video art to documentaries and narrative video fiction. Poetic videos are presented alongside decively political works, with innovative power and the search for a new visual language always used as the selection criteria.

  • D. Barbier. Twice the Universe, 1931
    11 march, 1993 - 27 march, 1993
    Cinema and video Film series

    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.

  • Coproducciones del Centro Internacional de Creación de Vídeo, CIVC
    11 february, 1993 - 27 february, 1993
    Cinema and video Film series

    In just two years of existence, the Centre International de Création Vidéo Montbéliard-Belfort (CICV) has become a model for audiovisual creation and teaching. Now, the Museo Nacional Centro de Arte Reina Sofía is presenting a small sample of its co-productions from the selection made by Pierre Bongiovanni, the centre’s director. Since the first Manifestation Internationale de Video et Television Montbéliard held in 1982, this biannual festival has gone from strength to strength to become one of the oldest international festivals around. As a result of the success and integrity of the event in 1991, the CICV, a unique institution in its genre, opened its doors. The CICV promotes work and research visits for video artists, producers, teachers, researchers and creators, who live together for the time they need to get their projects done. The initial goal of this centre was to create laboratories that are “decentralised, autonomous, organised into networks, traversed by creative flashes of resistance, lethargy and investigation”, to support the production of independent videos and educational and cultural television programmes.