Landscapes

Time, light, vision. What is an image? How does an image make us see the world? First, hypnosis, a reset: Paulino Viota’s Duración (Duration, 1970), the portrait of a clock face over sixty seconds. Next, a window into a slightly altered reality: Javier Aguirre’s Objetivo 40º (40 Degree Lens, 1968–1970). A minimum intervention that inspires a session considered as successive immersions in blocks of time, as well as a journey that starts from the intimacy of a candle, the movement of a car around abandoned peripheries and the traces of anti-Franco protestors, with night falling to the emotive, profound and sharp voice of Ocaña. Now in 1990, the journey ends at other street protests, those articulated by the Agustín Parejo School collective owing to the housing problem in Málaga. As Javier Aguirre states: “It is not about achieving the objective. It is about demystifying it”.     

Framed inside The Collection Screened is the programme Present Time: Insurgent Images, curated by Luis López Carrasco, a key film-maker with a distinguished international career. The works in the programme, selected from the Museo’s film and video collection, interlink projects that are conceptual, refined, systematic — as an X-ray of their time in history — with firebrand domestic and activist films, comprehending different political emergencies from the second half of the twentieth century in Europe and Latin America. These works are viewed in light of a genealogy of revolt which buries its roots in the nineteenth century.   

Economy of Hate features one sole work, Oído Odio (2021) by artist Diego del Pozo Barriuso. The piece combines television and media archive materials, recordings with performers with explicitly queer corporalities and 3D animations, combining in a strikingly fluid dialogue. The title alludes to a notion developed by the artist concerning the materiality with which hate circulates and the way it escalates. Setting out from the idea that hate is an affect which gains more value the more it circulates, the video shows the evolution from television to mobiles, expounding how the change of technological paradigm has made viral the fact of being in contact more than ever with explicitly violent images.

Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.

A session which starts from a subtle corporeal challenge that prompts a confrontation with reason from sensibility and emotion, both of which are linked to a difference in mental health or spiritualism. It opens with a beautiful and strange short film entitled A família do Capitao Gervásio (2013), by Tamar Guimarães and Kasper Akhøj, set in a small town in inland Brazil, where around half the inhabitants are psychic mediums whose work centres on community healing. The second piece, Dias & Riedweg’s Casulo, is the outcome of a participatory project with a group of patients from the Institute of Psychiatry at the Universidad Federal de Río de Janeiro. The video bears witness to the development of their routines after hospitalisation and captures their ideas and impressions about different aspects of life, revealing the division between territories of reason and madness in their daily existence.  

Inside the framework of The Collection Screened, a programme rooted in the institution’s film, video and moving image holdings, the Museo invites Laura Baigorri, one of the leading specialists in video art, to approach specific aspects related to identity, self-representation and the body within the Museo’s audiovisual collection since the 1990s.

Nuestra tierra (Our Land, 2025) is Argentinian film-maker Lucrecia Martel’s first documentary and her most recent work. The film focuses on the legal case surrounding the murder, in 2009, of Javier Chocobar, a member of the Los Chuschagasta Indigenous community, who was killed while  resisting  the forced displacement of  ancestral land located in northern Argentina, territory  hiscommunity has inhabited and farmed for centuries. 

Drawning on fragments of the above-mentioned trial, which took place in 2019, as well as a meticulous reconstruction of the history of Los Chuschagasta since the seventeenth century, Martel decries how colonial violence, far from being a relic of the past, underlies current political and social structures and ends in the mistreatment and systematic invisibility of Indigenous peoples.   

Lucrecia Martel is a director and screenwriter widely regarded asone of the most relevant film-makers in the twenty-first-centuryLatin American cinema. To date, she has directed four feature-length films: La ciénaga (The Swamp, 2001), Zama (2001), La niña santa (The Holy Girl, 2004) and La mujer rubia (The Blonde Woman, 2008), all of which have been awarded at film festivals, including recognitions  in the Official Selection at Cannes.  Accross her work Martel explores the complexities of an Argentina shaped by the political and social crisis of the 1990s and by the burden of a colonial past, which she translates into her own visual language of documentary, paradoxically offsetting it against fiction. As Martel asserts: “What I do is all lies, all artifice. I don’t believe in the truth and, if there is any effect of truth in my films, then it’s a miracle”. 

These notions, the germinating material of her films, enable a reflection on how the tactics of fiction and imagination, materialized thought creativity, can function as powerful means  of resisting the erasure of memory and as a tactic of reparative justice. This line of thought also underpins READ Madrid. The Festival of Books and Ideas, which frames the screening of this film.  

READ Madrid is a space of encounter for critical and experimental voices in the sphere of literature and theory. The festival gathers a transatlantic framework of voices related to writing, art and publishing, whose practices challenge hegemonic frameworks of knowledge production and make room for performative and cinematic forms as expanded forms of research.