Las Jornadas de Estudio de la Imagen intentan ser un lugar de discusión y reflexión alrededor de asuntos relevantes para la configuración del sujeto contemporáneo. En este marco, la historia y la memoria tienen actualmente una fuerza y visibilidad que desborda la esfera académica y constituyen un vivo debate social y cultural. La Historia oficial, única y lineal se ha quebrado para dar origen a memorias múltiples, reivindicadas como identidad y como conjunto de valores políticos y culturales.
THIS IS THE STORM CREATED BY THE SOUNDS OF THE SHOES BELONGING TO THE GIRLS WHO COME TO DANCE IN OUR NEIGHBOURHOOD
The exhibition YWY, Visions is made up of films, interviews and assorted documentation that Neves Marques uses to reaffirm the role of fiction to document environmental and political violence, while also reflecting on different imaginaries of other possible futures for gender, technology, the question of indigenousness and science fiction.
Myriad Reflector is an exhibition exercise into the nocturnality. Conceived as a multilayered score unfolding through time, the contributions of artists —composed by light, sonic, rhythmic, smell, haptic, and choreographic elements— intermingle in a kaleidoscopic display defined by disorientation, refractive perspectives, and sensual textures.
Malicious Mischief is the result of exhaustive research into the artist’s life’s work with a view to expanding its narrative and recognition among European audiences, spanning from his early creations on the East coast to his work in the late-90s before he died from AIDS-related illness.
SOCIAL CHOREOGRAPHIES
La Escuelita at CA2M is an informal school, a living research organism transversal to the art centre that operates as a laboratory for non-traditional forms of production and transmission of knowledge. A programme of low intensity strange studies, a formless mass of experiences and knowledge, a device for promiscuous learning.
This fountain is made through a twofold transformation of materials sourced from nature. Firstly, marble—the material par excellence of classical sculpture—is a previously cut piece which was perhaps originally destined for industrial use.
There is a signature feature to Hannah Collins’s photos of urban horizons: the sky is always tinted with a strange colour. Like the images over the credits of an imaginary film, this photo captures the feeling that a particular place—whether through premeditated cultural references or a subjective impression—produced in the artist at a certain point in time.