CA2M Centro de Arte Dos de Mayo




FRI 22 NOV- 10 DEC 2010

Free admission

In line with the exhibition Before everything, we present this film season composed by a series of films selected by part of the artists of the exhibition. This range of films is not the result of a selection based on thematic or conceptual criteria linked to the exhibit but it intends to act as a nod of the show in order to permit the arising of new disinterested readings and casual connections between the artists and the films and between these and other works.

20:30 H.
Carte blanche to Antonio Ballester
Grizzly Man.
Werner Herzog. 2005, O.V. with Spanish subtitles, English. 104 min.
Antonio Ballester likes Werner Herzog’s films and documentaries because they present the relationship between man and nature in a harsh way. “We’re used to seeing nature from a certain perspective or through binoculars and think that chicken come from the supermarket, but Herzog teaches us that this is not nature, and by using a few times characters such as mountaineers in Scream of Stone or a crazy physicist in The White Diamond, he shows the most rough and real point of view. In the documentary Grizzly Man, this idea is combined with the concept of an outsider who wants to experience nature without fear and with all the entailed consequences.” Antonio Ballester  

20:30 H.
Carte blanche to Julia Spínola

La Strada, The Road.
Federico Fellini. 1954, O.V. with Spanish subtitles. Italian. 94 min.
“Gelsomina doesn’t know how to do many things, but she thinks that even the smallest stone come in  useful for something”. Julia Spínola.

20:30 H.
Carte blanche to Pablo Marte
Plan Rosebud: La escena del crimen. Plan Rosebud: Crime scene
María Ruido.2008. O.V. Spanish. 112 min.
“I believe in a necessary kind of cinema and María Ruido’s film belongs to it: it establishes the state of affairs regarding the tense relations between politics and spaces of memory. In this respect, a screening of this film in Móstoles would also have a specific implication, like an expanded field. In fact, traditionally Madrid has gobbled up every attempt of historical-critical analysis printing on them the monotonous mark of the great triumph of Transition. Unlike other countries such as France or Germany, the cinema made in Spain has barely dealt with the source of our democracy and therefore it is a conservative cinema which has usually positioned itself as “entertainment” (Almodóvar is an example). On the other hand, I chose a film that, despite its importance, is hardly known. And I think that another reason for this choice is a nod to this spot in the middle, this no man’s land formed by these projects that come from from the artistic institution but also reach cinematographic territory. Some of Plan Rosebud’s references cannot be any more cinematographic (from Citizen Kane whom it has been named after, to Chris Marker or Serguei Eisenstein) but, in addition, María Ruido has transcended the format itself and displayed her work into other spaces of vision and reading (as an installation, as a book). It is something that I can relate to: a certain marginality regarding the own territory (cinema which is not cinema, art that is cinema, cinema that is not art, one same thing that is everything as it is deployed, showed and depending on how it is showed), as if it were and were not at the same time. This is probably the formal quality that I admire the most in María Ruido’s work: the multiplicity of its shapes and spaces of reading.” Pablo Marte. 

20:30 H.
Carte blanche to Oriol Vilanova
L’année dernière à Marienbad, Last year at Marienbad.
Alain Resnais. 1961, O.V. with Spanish subtitles. French. 94min
“It’s an hypnotic film where time dissociation and memory create an enigmatical narration that places us in a parallel state, just like static characters that live in a big hotel, maybe dreamt by them. I’m interested in the way that the duet Resnais and Robbe-Grillet build a film that cryptic; every time I see it, I notice different actions. I think it is a good way to multiply stories and receptions. I believe that it holds the same radicalism after fifty years and keeps on unbalancing the language of traditional cinematographic narration”. Oriol Vilanova

20:30 H.
Carte blanche to Ignasi Aballi
71 Fragmente einer Chronologie des Zufalls, 71 fragments of a chronology of chance.
Michael Haneke. 1994, O.V. with Spanish subtitles. German. 100 min.
“I am intrigued by the way this film develop narration from small fragments that, at first, seem to have been chosen casually and with no connection between them, but in the end they are all linked. The way it is shot, the photography, which is clearly influenced by Robert Bresson’s films, also arouses my curiosity. The inspiration caught from an artist such as Jeff Wall and the filmmaker Aki Kaurismaki (whom I am also very interested in) seems again quite obvious to me. The film is very austere, built without any kind of concession to special effects, music or action and without professional actors etc. I think that it is a film that does represent the contemporary world and the human relationships. According to me, it is a good example of what must be the current cinema, a reflection device departed from entertainment.” Ignasi Aballi. 

20:30 H.
Carte blanche to Itziar Okariz
D'Est, From the East
Chantal Akerman. 1993, sound. 110 min.
“I started to like Chantal Akerman’s films when I began renting them at Kim’s video store when I first arrived in NYC 15 years ago. Kim’s is a video store in 8th street which offers a collection of incredible films. I’m impressed by the way Chantal Akerman uses the camera: the relation between camera and reality which is sometimes nearly a document. In “Hotel Monterrey”, the camera gives the impression of being a hidden camera showing us a nearly abstract image filmed in really long takes of almost two minutes…the time is hung in takes that look like photographs. She also uses framings different from the usual ones that focus on some stellar point.

I pay a special attention to her relation with the camera and the narration because she deals with the same aspects I’m interested in but from the cinema; the image and its relation with the reality of what we’re told and shown, the quality of images as a remnant and not only as a conventional construction. The “film” is not that much a narration as it is a conceptual gesture (News from home, Hotel Monterrey, La chambre, etc.)”. Itziar Okariz

20:30 H.
Carte Blanche to Lorea Alfaro
Amy Winehouse- I Told you I was a trouble - Live from London's Shepherds Bush Empire-

Universal Island Records. 2007, O.V. with Spanish subtitles. English. 150’.
“It’s a condensed character, both contemporary and timeless. Amy, it’s time to say that you’re a whore. The thing is to sit through it or not. Amy radioactive and irradiated. An external vision on diagonal looks. Blake and Mitch as characters of what the film would do.” Lorea Alfaro

20:30 H.
Carte blanche to Adrià Julià
Easy Rider, Dennis Hopper, 1969, O.V. with Spanish subtitles. English, 94’

George Hanson: You know, this used to be a helluva good country. I can't understand what's gone wrong with it.
Billy: Man, everybody got chicken, that's what happened. Hey, we can't even get into like, a second-rate hotel, I mean, a second-rate motel, you dig? They think we're gonna cut their throat or somethin'. They're scared, man.
George Hanson: They're not scared of you. They're scared of what you represent to 'em.
Billy: Hey, man. All we represent to them, man, is somebody who needs a haircut.
George Hanson: Oh, no. What you represent to them is freedom.
Billy: What the hell is wrong with freedom? That's what it's all about.
George Hanson: Oh, yeah, that's right. That's what's it's all about, all right. But talkin' about it and bein' it, that's two different things. I mean, it's real hard to be free when you are bought and sold in the marketplace. Of course, don't ever tell anybody that they're not free, 'cause then they're gonna get real busy killin' and maimin' to prove to you that they are. Oh, yeah, they're gonna talk to you, and talk to you, and talk to you about individual freedom. But they see a free individual, it's gonna scare 'em.
Billy: Well, it don't make 'em runnin' scared.
George Hanson: No, it makes 'em dangerous. Buh, neh! Neh! Neh! Neh! Swamp!

With the contribution of: