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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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  • Nigel Rolfe. La cuerda que nos une nos hace libres, 1983
    6 march, 1996 - 30 march, 1996
    Cinema and video Film series

    Lights, Action, Sound and Movement…for the Camera is an anthology that describes the relationship between video and performance art over the last 25 years. Although it brings together some of the most representative pieces created by important figures in this field, the programme as a whole does not presume to present a definitive history of video performance. Rather, it is designed to show the evolution of this hybrid form, which is increasingly complex and developed, in four different programmes.

  • RASKIN. No tienes corazón, 1991
    31 january, 1996 - 24 february, 1996
    Cinema and video Film series

    The series Retrospective: German Video Art presents a retrospective of German video art from the 1980s to the present day. Axel Wirths, the curator, has organised the programme (a total of 34 pieces) into five blocks of works grouped according to their thematic dichotomies: Body and Soul, Politics and Daily Life, Nature and Technology, Music and Language and Irony and Fate.

  • Peter Callas. Night's High Noon, 1988
    29 november, 1995 - 16 december, 1995
    Cinema and video Film series

    The intensity with which Australians possess and use consumer electronics is famous. Indeed, by using videos and computers, Australian artists have managed to avoid what has been called ‘the tyranny of distance’. For artists like John McCormack (Melbourne, 1964), the computer has become a way to escape the limitations of the physical world. An Eccentric Orbit: Video Art in Australia presents a selective look at a varied and abundant field: contemporary electronic artworks produced in Australia between 1980 and 1995. The programme is divided into three thematic sections. The programme entitled The Body Electric contains works that contemplate falling into a physical and psychological trap, proposing a release through dreams, technology and the imagination. The second block, entitled Any Resemblance to Reality is Purely Deliberate, deals with the magic of construction and deconstruction in or by the computer culture, while the works included in the section Reduced Paradise reflect on place and the lack of location. The themes in each programme represent what could be considered the three concerns of contemporary Australian culture condensed into the work of video artists and directors. Obviously each of these themes refers to the gestalt of a culture immersed in the post-industrialist dualisms found in all western civilisation: the active construction of the ‘perceived’ polarities between nature and culture, nature and technology and human beings and technology. However, without openly resorting to an ‘Australian’ iconography, most of the artists in these three programmes present a curiously idiosyncratic approach to electronic culture, resulting in a reflection on video and computer storage devices, the most easily transportable media available to artists. These same media are also extremely useful for citizens living in a country that can only be reached by an almost daylong flight from Europe and even longer from the East Coast of the United States.

  • Luis Buñuel. Un Perro Andaluz, 1929
    18 november, 1995 - 17 december, 1995
    Cinema and video Film series

    In 1990, the Cinemadart festival in Barcelona brought together a dozen prestigious Spanish specialists to reflect on different questions related to the conjunction of surrealists, surrealism and film. The Surrealist Gaze is a film and video series that compiles the criteria of the retrospective put together by Julio Pérez Perucha to illustrate those debates.

  • Javier Codesal. Sábado Legionario, 1988
    11 october, 1995 - 4 november, 1995
    Cinema and video Film series

    Video Signals: Aspects of Spanish Video Creation in Recent Years is an audiovisual series that features 40 works by more than 35 artists made between 1988 and 1995, designed to offer a view/review of recent Spanish video. The exhibition was not conceived as a ‘who’s who’ of video in Spain - i.e., the artists with the longest careers and biggest reputations - but rather as a type of critical anthology, to borrow from the world of literature. The selection is neither indiscriminate nor whimsical, the range neither wide nor narrow, but spacious enough to include some new contributions and ones that might have passed unnoticed on other circuits. However, no attempt has been made to cover specific genres or subgenres - such as the standard music video clip, video dance, art documentary and the occasional television productions with an experimental touch - even though the selection does include some pieces linked or contiguous with them. In any case, the selection is admittedly partial in every sense of the word.

  • Rea Tajiri. History and Memory, 1991
    20 september, 1995 - 7 october, 1995
    Cinema and video Film series Conference

    Wanderers: Reflections on Exile is a video programme that ‘upsets’ the relationship maintained with Spain and the identity of individuals in society, looking at the margins to take stock of the occasional pleasures and evils that result from different types of exile: physical exile, made up of political exiles, refugees, self-declared ex-pats, immigrants and ‘perpetual travellers’ and mental exile, made up of insane, alienated, depressed, marginalised, unconscious and creative people.

  • Ines Cardoso. Diástole, 1994
    14 june, 1995 - 1 july, 1995
    Cinema and video Film series

    This series features a selection of pieces from the World Wide Video Festival ’95 that highlight the diversity and limits of video art today. Video has never been a ‘pure’ medium, since it can be combined with and complemented by film, photography, performance art and, increasingly, computer techniques. The range of aesthetic and formal focus points, from an almost pictorial poetic narrative to abstract explorations of electronic chaos, is very wide. Free from the restrictions imposed by television and film advertising, video artists enjoy complete freedom to choose their own formats. Beyond the documentary genre, many concentrate substance and content into short but powerful audiovisual declarations.

  • Eugenia Balcells y Eugeni Bonet. 133, 1978-1979
    7 june, 1995 - 22 june, 1995
    Cinema and video Film series

    With a view to providing a multi-disciplinary overview of Eugènia Balcells’ (Barcelona, 1942) career as an artist and as a complement to the exhibition being shown on the third floor of the Museo Nacional Centro de Arte Reina Sofia, her experimental films from the 1970s are being screened. In addition, two sessions of the performance piece Imágenes para sonidos will be staged with the collaboration of musicians Peter van Riper and Llorenç Barber.

  • Jordi Teixidó / Mal Pelo. Mundana, 1995
    10 may, 1995 - 3 june, 1995
    Cinema and video Film series Conference

    Choreographing for the Camera is a film, video and conference series on the concept of video dance that includes audiovisual pieces somewhere between dance, film and video created by directors, choreographers and dancers working together. To reconstruct the process since Merce Cunningham and Nam June Paik made their first video dance piece, it is important to remember that modern dance and film have been conjoined since the outset and have had cyclical moments of intense collaboration. The appearance of video - the tool closest to avant-garde movements - at the time of the ascendency of the creation of contemporary dance in the United States and Europe rekindled a desire to experiment among choreographers. The possibility of participating in the great communicative power of audiovisual media tempted many young choreographers who found new staging spaces and new ways of reaching in the public in images. The 1980s were a golden age for video dance productions, especially in France and Belgium, where public institutions decisively supported their creators. Festivals and shows like the Centre Pompidou’s Video Danse and competitions like Grand Prix and Dance Screen organised by the International Music + Media Center (IMZ), became meeting points for the profession and a thermometer of the quality and quantity of productions in the genre, and also revealed the growing interest of television programmers. It was during these years as well that video dance began to appear in Spain: La Mostra de Video-Dansa in Barcelona was a driving force, not only from the point of view of dissemination, but also in terms of production in the country. In Madrid, festivals like Madrid en Danza provided annual grants, while the Metrópolis (TVE) and Piezas (Canal+) programmes regularly broadcast national and international video dance programmes.

  • Luis Canicio. Ombligo, 1993
    6 april, 1995 - 29 april, 1995
    Cinema and video Film series Conference

    Computer-generated images and interactive virtual reality systems, both products of a graphic evolution in images and the historical development of the interaction between artist, artwork and viewer, have heralded a complete transformation in traditional art practices. Everything Flows: Spanish Computer Graphics is a collection of videos that illustrate this important transformation in Spain through a selection of some of the most outstanding works of the last ten years, from the first computer-generated piece by Juan Carlos Eguillor (San Sebastian, 1947 - Madrid, 2001) to works made in the sphere of virtual reality by Águeda Simó and telematic projects by Rafael Lozano-Hemmer (Mexico City, 1967).

  • Cerith Wyn Evans. Degrees of Blindness, 1988
    1 march, 1995 - 25 march, 1995
    Cinema and video Film series Conference

    On This Side of the Channel: British Video Art is a retrospective made up of four programmes of video art, computer animation and other creative works produced for commercial television in the British Isles that stand out from other electronic works because of their originality and the quality. Spanning a quarter century (from the first formal experiments to recent projects using more sophisticated technology), this programme presents a revealing record of British artists who have used electronic media to make important, vibrant creations as an alternative to commercial television. The first set of works, grouped under the title A Brief History of British Video Art: 1975 - 1990, offers a historical overview of video art projects that includes works by David Hall (Leicester, 1937), Jeremy Welsh (Gateshead, 1954), Mona Hatoum (Beirut, 1952) and Keith Piper (Malta, 1960); the second, New British Video: 1990 - 1994, focuses on a short period of four years to highlight the richness of the most recent work, including pieces by Michael Curran (Scotland, 1963), Steve Hawley, Andrew Stones (Sheffield, 1960) and Terry Flaxton (London, 1953); while A Brief Introduction to British Computer Animation: 1968 - 1994 returns to a more extended timeframe to spotlight the most important examples from the world of computer graphics, almost from its very beginnings. The programme starts off with some of the first experimental projects done in the domain of computer-animated images, featuring artists like Tony Pritchett (England, 1938), Stan Hayward (England, 1930) and Darrell Viner (Coventry, 1946 - London, 2001), and ends with some truly surprising and sophisticated technological pieces, exemplified by Alan Schechner, William Latham (England, 1961) and Andrew Budd. Finally, the works grouped under the title Virtual Television focus on a highly innovative group of electronic pieces that were either especially produced for or premiered on British television, such as First Direct, directed by Marc Ortmans, A Short History of the Wheel (1993) by Tony Hill (London, 1946) and Stooky Bill (1990) by David Hall.

  • Ilene Segalove. Porque veo televisión y otras historias, 1983
    2 february, 1995 - 25 february, 1995
    Cinema and video Film series

    Video art, an art trend that uses video as its medium, has served as a form of expression for a large number of Spanish artists. It is relatively young: it was born at the end of the 1960s and, since the first works appeared, its evolution has been paired with technological advances in the medium. Video Art: The First 25 Years commemorates the first quarter century of this means of artistic expression with an anthological exhibition curated by Barbara London that includes 48 works in chronological order from the early years of video until the 1990s. The programme features North American artists such as Nam June Paik (Seoul 1932 - Miami, 2006), Bill Viola (New York, 1951), Gary Hill (Santa Monica, 1951), Laurie Anderson (Glen Ellyn, 1957), Peter Callas (Sidney, 1952) and Woody Vasulka (Brno, 1937). Taken as a whole, these works provide an exemplary review of the historical evolution of video and a great opportunity to become acquainted with its main trends.

  • Juan Hidalgo. Una acción Zag, 1993. Foto: J. Antonio Mula
    11 october, 1994 - 4 november, 1994
    Cinema and video Conference Performance art

    The Action

  • Industrial Light & Magic. The Mask, 1994
    28 september, 1994 - 15 october, 1994
    Cinema and video Film series Conference

    Cyberculture is upon us. It is the last movement of the 20th century. Its supporters are the first cyberspace nomads: a heterogeneous group of visionary scientists, hackers, computer-fan musicians and digital image artists. Their interests range from high technology to virtual games, from hypertext to smart drinks, from cyberpunk literature to the Internet and brain implants. Their motto: Information must be free! Art Futura ’94: Cyberculture is a video and conference programme designed to draw attention to this new and fascinating universe.

  • Beryl Korot. The Cave, 1994
    15 june, 1994 - 11 july, 1994
    Cinema and video Screenings

    The Cave is a multi-channel video installation by Beryl Korot (New York, 1945) with music by Steve Reich (New York, 1936) inspired by the multimedia opera The Cave (1994), the first collaboration between the two artists, made up of music, video and theatre for 13 musicians and four singers. The title of The Cave comes from the only site in the world that is sacred to both Jews and Muslims: the Cave of the Patriarchs where Abraham is buried with his descendents. The piece tells the biblical story of Abraham and his family from a contemporary perspective. Beryl Korot and Steve Reich studied the common roots of Judaism, Islam and Christianity in a series of interviews with members of these religions, asking them: Who is Abraham? And Sarah? And Hagar? Ishmael? Isaac? The answers, collected in testimonials from Israelis and Palestinians living in Jerusalem and inhabitants of New York and Austin in the United States, were recorded by the artists on video and audiotapes and provide the framework for the reflections on modern culture, religion and human relationships presented in this work.