FILM ON SUNDAYS
PLEASE DO NOT WATCH!
12 MARCH - 2 APRIL
The programme ¡Prohibido mirar! (Please do not watch!) is a brief cycle of films conceived to promote debate on the idea of freedom of creative expression in times of transformation. The boundaries of legality, social protocols, industrial monitoring and artists as creative custodians are some of the structures that disclose its dysfunctionality at a time of systemic change.
In a context like the present, we believe that it is critical to share standpoints on past and present situations affecting creativity in which we can observe different voices, exchange views and experiences and build a common ground for a profound rethinking of the place, form and enactment of discourse.
To this end, we will address various scenarios in which audiovisual creations, their authors and places of exhibition have troubled the “limits” of the political, the social, the symbolic and the morally permitted. We wish to identify and reflect on the elasticity of these limits, their geographical differences and, more particularly, to identify the cracks through which artists can find a way of expressing themselves freely. Fear, morbid attraction, memory, industry, law, conflict… are frameworks within (and around) which social beings can suffer or self-impose restrictions when it comes to expressing themselves and that is why we invite you to come, see, observe and reflect on some of the people who are acquainted with these limits first hand.
Curated by Álvaro García–Vilches and Garlos Hamparzoumian
SUNDAY 12 MARCH 18:30
CINE-EYE, KINO PRAVDA AND POLITICAL DOCUMENTARY
Conversation with Tino Calabuig
Lunes negro. Atocha 55
Tino Calabuig, 1997, Spanish, 55 min.
Lunes negro. Atocha 55 revisits the events that took place in a lawyer’s office on the fatal night of Monday 24 January 1977. This documentary examines the enduring power of the far-right in Spain following the death of Franco. The director, Tino Calabuig, will explain the conditions in which the documentary was filmed and the reasons that led him to involve himself in this project associated with social memory.
Tino Calabuig is a visual artist, photographer and filmmaker. After spending some time in the USA, he participated actively in the actions of the artists’ cell of the PCE (Spanish Communist Party), and in the foundation of Galería REDOR. In 1975 he produced and directed the film La Ciudad es Nuestra. He was a founding member of Colectivo de Cine de Madrid (1975/1977), with which he filmed documentaries exploring the reality of Spanish society in the period of transition to democracy following Franco’s dictatorship. Since then he has continued working in the field of audiovisual and artistic production.
SUNDAY 19 MARCH 18:30
RESISTANCE: DOCUMENTING MEMORY IN ACTION
Conversation with Marcos M. Merino
ReMine, el último movimiento obrero
Marcos M. Merino, 2014, Spanish-Asturian-English, 101 min.
May 2012. Spain is going through the worst economic crisis of the last seventy years. Society is paralysed by fear and despondency. That is, everyone except a group of workers which has resisted change for decades. Over 4000 miners call for an indefinite strike against the historic cutbacks approved by the government and organise all kinds of daily protests to attract attention: blocking roads, a lock-in at 700 metres deep, walking 500 kilometres to Madrid… but nothing is the same as before, not even the survivors of that last workers’ movement.
A conflict of “no interest”; manipulated information; events disparaged as violent; the negation of a voice, of the capacity to argue; a quasi-museum reminiscence of the twentieth century; a kitchen-sink drama; a flame that sheds no light.
Marcos Merino experimented for many years with photography and film in collaboration with other artists. In 2011 he started producing his first documentary film: ReMine, el último movimiento obrero (Freews). In 2013 he created an audiovisual work for the group show Aprendiendo de las Cuencas (Laboral Centro de Arte y Creación Industrial, Gijón) and published the book #resistenciaminera, together with the photojournalist Javier Bauluz (Pulitzer Prize 1995), whose sales were used to fund the postproduction of ReMine. In addition, Merino has directed two series of documentaries: La Lucha, based on ReMine, el último movimiento obrero and Patrimoniu, sobre el Patrimonio industrial y su memoria, filmed in Asturias, England and Germany.
SUNDAY 26 MARCH 18:30
THE HISTORY OF A FILM SEIZED BY THE TRANSITION
Conversation with José Luis Tirado
El caso Rocío
José Luis Tirado, 2013, Spanish-Portuguese (subtitles in Spanish), 75 min.
Rocío, directed by Fernando Ruiz Vergara, has gone down in the history books as the first film legally seized in Spain following the repeal of film censorship in 1977. It is also a major contribution from Andalusia to the documentary films produced during the Transition, which tried to construct a critical discourse recovering the memory repressed during the dictatorship. The legal persecution of the film meant the end of the director’s career, who went into self-exile in Portugal, where he lived until his death in 2011.
El caso Rocío is a documentary about the documentary Rocío, a benchmark for the history of this kind of film in Spain. Both of them inevitably lead to reflections on, among other issues, the meaning of the Transition with regards civil rights such as the freedom of expression, or democratic memory, from a critical and intelligent gaze on the ideological constructions of traditions.
José Luis Tirado is an artist and independent filmmaker. He has made several documentaries and video-creations on social rights, migration, job insecurity, the environment and historic memory: Paralelo 36 (2004), La liga de los olvidados (2007), Donde hay patrón… (2007), Paisaje del retroprogreso (2010), Fuentes de la memoria (2011) and El caso Rocío (2013). At once, he has also made several shorts. His latest work is the fictional musical NO, un cuento flamenco (2016).
SUNDAY 2 APRIL 18:30
WITH A FISTFUL OF DETRITUS. FILM WITH NO END, VIDEO-GUERRILLA, FILM WITH NO CAMERAS AND AUDIOVISUAL RECYCLING IN CONNECTED MULTITUDES
Conversation with María Cañas
María Cañas invites us to take part in a game that will make us laugh, make us plot and scheme, and scare the pants off us, somewhere between an audiovisual show, a commented projection, a cañangelisation and a performanceful pataphysical action.
An experimental encounter inspired and activated by video-guerrilla warfare, appropriationism, fake, video-machy and post-gender video-remix; murky, Martian and post-Marian, led by the hand (or tail) of The Archivist of Seville and connected participants.
Guests will be invited to make the most of an audiovisual walkthrough where we will be shaking up images and casting them under suspicion in order to become more critical, rowdy and creative beings. Furthermore, it will be an opportunity to discover something more about processes of appropriationist audiovisual creation and to address countless issues related with new cinematographic narratives.
María Cañas, The Archivist of Seville, The Terrorist Virgin of the Archive, Attractor of Disasters and videopath. A mental pyromaniac. A fearbuster and a pitybuster. María Coñas at your service. A practitioner of laughter-resistance: humour in all its colours, games and video-guerrilla warfare of connected multitudes as a strategy of insurgency or, at least, of resistance and/or popular survival. An activation committed with the idea of culture as a collective construct; of the organic archive and audiovisual detritus as tools for cultural development; and with the need to educate in agitation and recycling of our imaginaries, in order to transform ourselves into free, critical and creative beings. She is the creator and director of Animalario TV Producciones.