In the mood for today

IN THE MOOD FOR TODAY @ Big Screen Plaza New York

Parallel public exhibition Madrid – New York, curated by Macu Moran

What day is today? How to define Monday? What is a Thursday? What are Saturdays like? What meanings does each day evoke in the collective imagination? How is today defined?

Oct. 02 2010 – Oct. 31 2010

Madrid: This is a square – Doctor Fourquet 24

New York: Big Screen Project – 6th Ave. & 29th St.


In the mood for today


Curated by Macu Moran

With the support of INICIARTE Cultural Council of Andalusia 


Parallel venues (Madrid – New York):

THIS IS A SQUARE · c/ Doctor Fourquet, 24, Madrid

PRESENTATION SCREENING: OCTOBER 2nd (8.30pm) · ON VIEW: October 11th – 17th (8.30pm)

HUB MADRID · Gobernador 26, Madrid · ON VIEW: October 4th – 12th (6pm-9pm)

BDLL Barrio de las Letras · Public Screen · C/ de las Huertas 39, Madrid ON VIEW: October 4th – 12th

BIG SCREEN PROJECT · Public screen of 30 ft x 16.4 ft · 6th Avenue, between 29th and 30th Street · Manhattan, New York · ON VIEW: November 1st – 30th (1pm and 5pm)

Time, relentless. The virtue and defect of mortals. The fourth dimension that dominates our existence intangibly and abstractly and determines us as fleeting beings. The vital magnitude that unites us all, bringing all cultures to agreement on the same structure, with the same units of measurement, seconds and hours, days and weeks, months and years.

Humanity became aware of temporality with the most basic observation of nature. The earth’s rotation on its axis set our days and nights. The orbital movement of the earth around the sun described the years, and the cycle and the lunar phases, our weeks and months. Then it was only a matter of naming them. But how?

The anthropocentric vision defines reference systems that allow us to become aware of the time. This subtle and ethereal sense of time is as unique as the perception of the infinite succession of moments in each individual, but also transferable to all, and over generations.

Time and the notion of time cross borders, languages, perceptions, and ideas, fusing the melting pot with that cyclical fragmentation devised for and by man in the relentless desire to control the uncontrollable. This show tries to focus attention on and enhance the interesting trans-cultural links of the temporary daily units and their semantic notions coming from Greek and Roman etymology. Rescuing the few but deep-rooted meanings of every day, unconsciously shared through diverse languages, almost forgotten today, but imperceptibly anchored in the human collective conscience.

The audience will be submerged in a surrounding virtual recreation referring to the semantics of the nomenclature assigned to every day of the week. Based in the widespread etymological conception of the Greek-Roman culture, emphasizing the concepts surprisingly shared with other numerous and distant cultures of the world, such as the Japanese, in the references to the same days.

This attempt to characterize the identity of each day and reveal its specific personality in the collective imagination will hopefully extend the perspective of the visitor on his own notion of the day, helping to perceive its conceptual historical transcendence.

With this focus, the show has a playful and dream-like character. The curatorial concept, which includes video different works for every day of the week, invites the visitor to return on other days in order to follow the thread of the selection. The show does not change in form but it does in content and setting, proposing the spectator to find out which is the mood of every day.

The show at the Madrid venue attempts to allegorically transport the visitor to another celestial body, distant from the Earth. This planet, satellite or star has been associated etymologically with the day of the week in which we are, from the origins of numerous ancient cultures. The walls and the ceiling simulate a starry night, combined with sandy soil and surrounding smoke that every day will modify his chromatic lighting.

Thus, on Monday, the Lunar satellite is recreated by white light. On Tuesday, Mars, with reddish lighting. On Wednesday, Mercury, with a greenish tone. On Thursday, Jupiter, with orange light. On Friday, Venus, with blue lighting. On Saturday brown chromatics will recreate Saturn, and on Sunday, a brilliant yellow will evoke the Solar star.

The pieces of audio-visual art, selected for their subject matter, invite to glimpse concepts that are also related to the divinities of the stars ruling each day of the week. The exhibition invites the visitor to stop and take in the sensation that a specific day of the week seems to create in this etymological and semantic analysis, and to reflect on his own sensations.

Five different artists participate every day in the cycle of the selected single channel projections. Video art is ideal within this context, as a means of artistic expression that intimately incorporates the temporal dimension. Owing to this particularity, the insertion of time is emphasized as an active part in the universe of perceptions, multiplying the artistic experience with incalculable visual impacts that choreography in the viewer a lasting sensation. Ideas and sensations are projected in frames as ephemeral as the instant in which we live.

Time does not stop, nor does it repeat itself, it is intrinsically linked to change. What is, will no longer be, what was, is no longer. Due to the pragmatism required to live in a tangible world, we distribute our time in days, and humanity describes infinite Mondays, infinite Tuesdays, infinite Wednesdays, infinite Thursdays, infinite Fridays, infinite Saturdays, infinite Sundays Life, simultaneously finite and infinite, denies its end, accepts the cycle, and continues.

Macu Moran, Curator


MONDAY · Moon · Night · Femininity · Virginity · Fertility · Hunting · Wildness ·

- Land Party If – 1’40”, 2008 – Cristina Martin Lara. Courtesy gallery Isabel Hurley, Malaga

- Sternennacht – 2′ 18”, 2004 – Sabine Gross. Courtesy gallery Magnus Muller, Berlin

- Mantis City – 12′ 58”, 2006 – Tobias Bernstrup. Courtesy gallery ADN, Barcelona

- Ages and Death – 4’26”, 2008 – Cristina Artola. Courtesy of the artist, Berlin

- Der Wald – 1’56”, 2006 – Heinz Schmuller. Courtesy of gallery Komet, Berlin


TUESDAY · Mars · Fire · War · Army · Weapon · Fecundity ·

- Arde lo que ser – 1’33”, 2006 – Avelino Sala. Courtesy gallery Espacio Liquido, Gijon

- Sin Noticias de Interes – 6′ 40”, 2006 – Oscar Seco. Courtesy gallery Blanca Soto, Madrid

- Game Over, Insert Coin – 1’20”, 2003 – Beatriz Caravaggio. Courtesy of the artist, Madrid

- Elegia 1938 – 5′ 34”, 2008 – Dionisio Gonzalez. Courtesy gallery Max Estrella, Madrid

- The War Prayer – 4′ 20”, 2008 – Jenny Marketou. Courtesy gallery Anita Beckers, Frankfurt


WEDNESDAY · Mercury · Water · Travel · Cultures · Abundance · Goods · Commerce · Volatility 

– Liquid Silk – 5’00”, 2008 – Gianfranco Foschino. Courtesy of gallery I-20

- The mother of bread – 6′ 28”, 2006 – Felipe Ortega Regalado. Courtesy of the artist, Seville

- Happy meal – 12′ 10”, 2003 – Shahram Entekhabi. Courtesy gallery Aaran, Tehran

- NewOrder – 5′ 28”, 2006 – Angie Bonino. Courtesy of gallery N2, Barcelona

- Parametabolic – 3′ 8”, 2007 – Robyn Voshardt/Sven Humphrey. Courtesy of the artists, New York


THURSDAY · Jupiter · Wood · Justice · Wisdom · Cosmos · Order · Happiness  

- Estudio para el desastre – 3’10”, 2006 – Marisa Mancilla. Courtesy of the artist, Granada

– Toro’s Revenge – 1′ 49”, 2006 – Maria Cañas. Courtesy of gallery Isabel Hurley, Malaga

– LifE = mc2 – 4’00”, 2006 – Macu Moran. Courtesy of the artist, Leon

– Chinchia’s vogage – 11’11”, 2004 – Ana de Alvear. Courtesy of the artist, Madrid

– Transformation – 6’20”, 2008 – Maria Jose Chinchilla. Courtesy of the artist, Caceres


FRIDAY · Venus · Metal · Peace · Relaxation · Love · Beauty · Emotions · Dreams 

- Rose – 1’07”, 2008 – Marcela Cernadas. Courtesy of the artist, Buenos Aires

– Each breathe – 1′ 50”’, 2003 – Glenda Leon. Courtesy gallery Habana, Havana

– Gotescauen – 2′ 07”, 2007 – Francesca Llopis. Courtesy gallery Trama, Madrid, Barcelona

– Laagtevrezers, 2004, 3’00”, 2004 – Joost Bakker. Courtesy of the artist, Amsterdam

– Videos of Desire – 8’00”, 2010 – Fernando Baena. Courtesy of the artist, Cordoba


SATURDAY · Saturn · Earth · Agriculture · Time · Chaos · Abstraction · Uncertainty ·

- Lovewar Blitze auf Saturn – 3′ 55”, 2005 – Veit Kowald/Benedikt Gahl. Courtesy Wandergalerie, Munich

– Anubis (a mith de_construction) – 4’57”, 2009 – Laura Celada. Courtesy of Gal Ob Art, Barcelona

– Untitled 3 (Stone Killer) – 5’59”, 2006 – Solomon Nagler. Courtesy of the artist. Halifax

– The difficult part is asking the questions – 5’34”, 2004 – Javier Roz. Courtesy of the artist, Caceres

– Running – 47”, 2007 – Chus Garcia Fraile. Courtesy gallery ADN, Barcelona


SUNDAY · Sun · Sky · Light · Truth · Herds · Healing · Muses · Music · Poetry · Art ·

- Reflections – 5’14”, 2006 – Mariana Vassileva. Courtesy of gallery DNA, Berlin

– An exercise – 9’32, 2007 – Anna Gimein. Courtesy of the artist, New York-Madrid

– Arvit (Evening pray) – 4’23”, 2008 – Dafna Shalom. Courtesy of the artist, Tel Aviv

– La procesion – 4’17”, 2007 – Grimanesa Amoros. Courtesy of gallery Hardcore, Miami

– Jeaux de Mains – 2′ 45”, 2002 – Evaristo Benitez. Courtesy gallery Ob Art, Barcelona

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DIVERGING GAZES @ Dean Project New York

Curated by Juan Ramon Barbancho at Dean Project, supported by VideoArtWorld

MIRADAS DIVERGENTES [DIVERGING GAZES] offers a reflection on the body and the gaze, and their relationship with other elements such as light, space, and the individual himself.

Dean Project, 43-45, 21st Street, Long Island City, New York

ON VIEW: Jun. 13 2009 – Aug. 02 2009

La realidad de la muerte

This reflection is both on as well as within the works of the artists who are participating in the show, and on other works, as is the case with Maria Cañas, who creates her pieces by delving into films and ‘pirating’ them, provoking a schizoid relationship between stills. The results of her efforts are spectacular, both arising from and reflecting perfectly upon the world in which we live, a world in which the concept of originality and ownership has changed completely, one in which Postproduction has come to the forefront as typical and emblematic of our time, resulting in the legitimization of the task of ‘cut and paste’ which can and does end in a ‘new work’ made up of pieces of others.

According to Nicolas Bourriaud, who has theorized extensively on this idea, the most representative visual arts of recent years expand and extend the previous concept of the readymade elaborated by Marcel Duchamp. There exists everywhere, including in the art world, a continual reflection on the fusion of production and consumption. Artists often work with already existing materials, generating meaning through a selection and combination of heterogeneous elements. Thus for Bourriaud, Postproduction is a term that arises as an explication of artistic endeavors that have recourse to known forms and have introduced them into the artwork, therefore creating a network of signs; that is to say, an appropriation of the codes of our culture and its forms. In this context, the work of Maria Cañas uses already existing images, seeking out not only new readings, but new gazes on that which has already been seen in another context, and new gazes and relationships between certain works and others.

Postproduction consists of a series of processes carried out on one or more original materials such as, for example, montage, subtitling, the inclusion of voiceovers and the insertion of fragments from other sources to give them a new form and a distinctive touch, something that is clearly reflected in the work of Cañas.

Domingo Hernandez talks of the the esthetic of ‘save as’ (‘cut and paste’): an ambiguous artistic form that responds to the apparent need of our society to be at the same time copy and original. Without doubt, the paradigm for this discourse lies in publicity, which is capable of recycling and renewing its contents over and over. But this is not the case with all of the works shown in this exhibition. As I have said, the works offer reflections on the gaze. If, as Duchamp said, ‘the viewers are the ones who make the work’, it is clearly so in this case, but in a double sense: in that of the artist who makes the work and what he sees and in that of the viewer who looks at what has already been seen, at what he has been given to see and formulates his reflection: ’creating the work’, or rather, completing it. It must be a collaboration, a negotiation between the artist and we who contemplate the work.

Our task as viewers is to discover what the artist presents to us in each case.

In the case of Francis Naranjo, his work is a reflection on the gaze and on light. To a certain extent it could be the absence of the gaze, as in his work El poeta tuerto [The Blind Poet]. The highly developed aesthetic – and technical – conception of Naranjo can lead to our being deceived by visual perception that is purely retinal – and therefore ‘gestaltic’ - which can result in a lack of appreciation of his work and the beauty within it by considering it as a whole made up of diverse parts equally, when in reality it is a whole made up of other ‘wholes’, ‘wholes’  brought together as elements of meaning in themselves, although mutually dependent in that they make up the work in its entirety and contribute to a real and utterly profound perception of each of the works.

Since his work habitually employs the format and medium of installation, our sensorial and aesthetic experience is even greater because he creates a space that is not only conceptual but also physically real. The observer – involved viewer – is physically placed within the work, taking on an ‘aesthetic posture’, savoring the experience. This may make our initial ‘confrontation’ of one of Naranjo’s work somewhat difficult. We are too accustomed to look for other things, our sense of sight seems habituated to seek the ‘utility’ of things, something that we can use to achieve certain objectives. This makes us see everything with a visual sense limited only to recognizing and identifying objects and people, but not to analyzing what is given to us or what someone is trying to sell us, what is presented to our sight.

Felipe Ortega-Regalado introduces us to gaze and space. We find in his work a peculiar way of creating paintings as well as video and photography. In his paintings there is a curious dialogue between a way of creating metaphysical spaces, vacant spaces, planes that are almost impossible; when he carries over expands this discourse into other media, space is turned into both contained and container, housing the characters of his narrative at the same level at which – along with light – narrative itself exists. One only has to look at the work and involve oneself in its history ‘to make the work’, as Duchamp said.

Ortega-Regalado’s work, originally only painting, has ’expanded’ to photography and video (as image-movement, painting-movement) and offers an interdisciplinary hybrid that, sharing its visual aspect with painting, expands into audiovisual media, language, the possibilities of the image, the technical media that produce them, visual practices and the meaning of their relationship with space, time, and the viewer. This is even more strongly emphasized by using the photograph as both image and reference to painting, as is the case with the work that is included in the Dean Project exhibition.

The work of Andres Senra presents quite clearly the curiosity of the voyeur. Accounts of our contemporary condition abound, along with an involvement in social and political problems, as in his video Sacrificio [Sacrifice] (2005), for which he combed the history of art, looking for iconographic images of sacrifice and then applied these images to actual events such as the war in Iraq. This is the role that an artist today must assume, one of social commitment, a quasi-political involvement in reality and in the lives of others – a far cry from making work in which the narrative pivots around an axis that is solely aesthetic. In fact, I believe that one of the problems of contemporary art is the ongoing loss of political and social involvement of many who create: let us call them only artists.

Works such as that which is part of the exhibition bring ‘other’ visions to the piece and are ‘narratives of place.’ These are places where certain roles are easily transgressed and are converted into ‘spaces of transgression’ for behaviors that in other circumstances would not be permitted. I am referring to ambiguous behaviors, repressed desires, zones of resistance where an out-of-bounds sexuality explores the limits of tolerance: attitudes and ‘camaraderies’  that in other places would be impossible.

In many cases the work of Alex Frances shapes ideas that deal with painful situations, sickness, the weakness of the Human Being, decrepitude, fragility, the passage of time as reflected in one’s own body or that of another. Madres e hijas [Mothers and Daughters] is a triple portrait in which Frances revisits a theme widely found in the history of Art: the passage of time or the Ages of Man. This is a theme that has been treated by many artists, either directly or indirectly, such as in the Concert of Giorgione, or by Velazquez in his Card Players, in which each person represents a single age: the vigor of youth, the prudence of maturity, and the wisdom of old age. The passage of time is also manifested in the body, such as in Gustav Klimt’Three Ages of Woman; this is made more than evident in the work that Frances presents in this exhibition. The three women do not look at each other, they look at us and are exposed to our gaze, our curiosity, and make us reflect on our own lives.

It may be that the work of Miguel Soler deviates from our norm, but his is the work that requires the most personal involvement on the part of the viewer. To be sure, his work En Blanco [Drawing a Blank] asks us to approach for a moment the desperation of one who attempts suicide, but it is much more than that. It is a narration of life and the conditions that many times place us at the limits of our abilities, of anguish and loneliness, of one who looks at himself and sees no reason to preserve himself; an introspective gaze into oneself that compels us to reflect not precisely on ourselves, but, quite the opposite, on the game of life. When all is said and done, it is only a game, the pistols are fake.

The work of Eduardo Sourrouille is distinguished by an elegant and refined treatment of various issues. His own image, frequently repeated in his work along with images of his friends, is executed with an aesthetic perfection that is highly scenographic. He himself indicates that many of these pieces explore the most intimate aspects of our relationships with others and with ourselves; love is the binding force and motivation behind this relationship. It is the loss of the body itself, so as to submerge oneself in Love, resulting in a changing, mobile identity. These ’images of desire’ appear in his work along with other images that while not directly related are yet intertwined. In the series Personas que visitaron mi casa [People who Visited my House] he reflects on issues such as the domestication of human relationships, the feelings involved, the stability of relationships, power, loneliness, love, desire, as well as lack of fulfillment.

There are also series in which he appears with other ’friends’ that seem to be dearly beloved: portraits of the artist with taxidermied animals. These are scenes of intimate friendship in which the gaze of Sourrouille, full of goodwill and subtlety, takes us to the animal world. They explore the relationship of man to animal, or perhaps with himself.

In this exhibition Paka Antunez presents part of an interesting series of photographs, much in the way of Hazekamp, where a duality of portraits is presented in which she herself appears characterized as woman and man: Mi parte masculine y femenina [My Masculine and Feminine Part]. In some of them we find the same photograph in which the person appears divided in two, one half man, the other half woman. In other works there are two people – man and woman – who look at each other, and who, as I have said, are each the artist herself. This is an investigation into the duality of our feminine and masculine parts, into the possibilities of our body’s own image.

On a totally different plane from the others, yet sharing with them the interest in the image, Victor Manuel Gracia’s work began with an admiration of the Spanish Baroque as the high point of painting, especially from a conceptual point of view, and from its capacity to represent ideas and symbols. Within this aesthetic world his work shows evidence of forms of the Andalusian iconographic tradition. Gracia’s point of departure stems from his observation and study of the heritage of the Baroque and the icons characteristic of the world of Spanish – particularly Andalusian -religious forms, employing an appropriation of history, tradition, and a strong presence of the body, which in this artist’s work involves the reality of decrepitude and death.

Although very different among themselves, the works presented in the exhibition at Dean Project each share the same objective and the same intention: they are visions of the body, different ways of treating the perception of corporeal nature. They examine a wide range of issues: the reality of death in the cases of Victor Manuel Gracia and Miguel Soler (although his is of a someone peculiar form), the passage of time in Alex Frances, the relationship of man and animal in the world of Eduardo Sourrouille, Maria Cañas. Post vision of the gaze, the spaces of Felipe Ortega, and the power struggles found in the work of Andres Senra.

By Curator Juan Ramon Barbancho, translation by David Wayne.

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TIME · ENTERING THE 4th DIMENSION @ XI Barcelona Contemporary Festival

BAC! 11.0 Entering the Fourth Dimension : TIME

Curated by Macu Moran

BAC! 11.0 (Forms of audiovisual) Begins the new decade inviting us to explore notions of space and time using today’s most advanced artistic technologies, allowing to discover virtuous talents working with the genres that intrinsically employ TIME in the palette.

Nov. 04 2010 – Nov. 10 2010

11.0 Edition of Barcelona Art Contemporary Festival


Barcelona Art Contemporani - 2010: TIME



BAC! 11.0 Entering the 4th Dimension: TIME

“Time is the moving image of eternity” - Platon

After completing its first decade, the change that the Barcelona Art Contemporary Festival had been predicting has arrived. An innovative change, as perceptible as it is intangible, BAC! Enters the 4th dimension: TIME. In a period in which different artistic, scientific, philosophical and technological disciplines interact freely, finding, creating and dissociating as part of an uncontrollable ritual dance, TIME is introduced as a brush that captivates an increasing number of art lovers, both emissaries and receivers.

TIME, divine mystery and mortal fear par excellence, becomes an active part in the world of perceptions, multiplying the artistic experience through incalculable visual impacts which choreograph a lasting sensation. Audiovisuals enter the artistic sphere with a sweeping momentum. Gone are its difficult beginnings, when a few pioneers knocked themselves out creating a vanguard of moving images that was hardly taken into account.

Only after this ordeal, a collective consciousness arises, having digested this evolution and, not even the most conservative can any longer contain the overwhelming expansion of one of the most contemporary means of expression. A means which is not only able to sublimate all the senses, but also adds a dimension of vital importance that demands our attention: TIME. Professional artists and enthusiastic amateurs investigate this new set of brushes and paints, relying on technology without prejudice and bravely accepting today’s challenges.

The latest BAC! presents the special relationship of art with the space-time binomial, promoting the infinite, simultaneously occurring combinations of the multidimensional nature of such work : Time-based Art.

A complexity that is expressed in the human experience as such, and through the interaction of all these forces creates the ethereal dimension, TIME. With the visitors’ interaction and their own space and time, the show will provide the approach to the binomial with infinite permutations. The fourth dimension is defined as a simultaneous, massive, metaphorical, and deeply intertwined with life experience. It is a dimension that contains movement, the object of numerous art historical investigations and the axis of art movements and disciplines as important as cubism, futurism, kinetic art, comics, film and, of course, video art.

Within this historic and universal fascination with exploring the space-time continuum, BAC! takes revisits the invited country context, presented in previous editions.JAPAN will be the guest country in this next edition, selected for its innovative artistic proposals and researches.

Within this framework, BAC! Begins the new decade inviting us to explore notions of space and time using today’s most advanced artistic technologies, allowing to discover virtuous talents working with the genres that intrinsically employ TIME in the palette. With the support of specialists from the different forms of that audiovisual creativity takes nowadays, BAC! will take the plunge of overviewing them under an artistic approach.

Respecting the broadly open conceptual line that characterizes BAC!‘s previous editions, this year, the proposal is even more emphatic, with a quest to reflect together on the different ways in which the time dimension itself affects human existence.

Time does not stop or repeat itself, it is intrinsically linked to change. Welcome to the art of the fourth dimension.

Macu Moran, Chief Curator



6pm. – Press Conference: Presenting the BAC! 11.0 Program

Juanjo Fernandez, Gigi Harrington, Macu Moran y Menene Gras

6.30pm. – Screening of Selection :: JAPAN AUDIOVISUALS :: [40 minutes]

Curated by Menene Gras (Exhibitions Director of Casa Asia)

- JSCO: Shinchika – Japan, 2007-2008, 6’00″

- 971 HORSES + 4 ZEBRAS: Yu Araki – Japan, 2007, 1’00″

- DUCK LAKE: Mayumi Kimura – Japan, 2008, 2’43″

- CONVERSATION WITH ANNE FRANK PART 2: Kanako Sasaki – Japan, 2008, 3’00″

- TOKYO: Kazuhito Sahara – Japan, 2007, 4’28″

- FLOW (AGAIN): Izumi Chiaraluce – Italy-Japan, 2010, 1’34″

- SUNDAY MORNING PROJECT: Jun’ichiro Ishii – Japan, 2010, 3’15″

- FRANTIC BEAUTY: Shige Moriya – Japan, 2010, 3’33″

- SPIRAL -THIRD MATTER-: Shige Moriya – Japan, 2010, 5’06″

- CANDLE: Shiho Kano – Japan, 2007, 6’50″

- WITH OR WITHOUT YOU: Chikara Matsumoto – Japan, 2008, 5’30″

7.30pm. – Opening cocktail


7pm. – Screening of selection :: EXPERIMENTAL TEXTURES :: [1 hour 6 minutes]

Curated by Gye Joong Kim (Director of EXiS Seoul Festival)

- FALLING CLOTHING: Claudia Maina – Italy, 2007, 4’15”

- HOAX: Ramon Suau – Spain, 2010, 4’23”

- TIDE: Eunju Jang – South Korea, 2007, 6’00”

- LAS HORAS: Gerard Freixes Ribera & Pilar Pascual – Spain, 2009, 4’10”

- THE CROSSING: Sookhyun Kim – South Korea, 2007, 6’00”

- BAILE DE SAN VITO: Pablo Valenzuela & Rosario Arteaga – Chile, 2010, 4’23”

- O4:44:24 1947 2O1O +/- 1 (variaciones O2) 717: Lcpino – Spain, 2010, 4’42”

- SIMPLIFICACION: Isabel Guerrero Schiappacasse – Chile, 2007, 27”

- DOLCE FAR NIENTE – THE TOMB STORY 1: Wonwoo Lee – Germany, 2007, 4’30”

- I CLOSE MY EYES AND WALK AWAY: Michele Castagnetti – Italy, 2009, 3’00”

- DISK: VARIABLES AUGE: Geena Jung – South Korea, 2010, 4’30”

- LE SOLEI 1923: Milan Zulic – Serbia, 2010, 3’20”

- DROP: Doona Lee – South Korea, 2009, 5’49”

- NEON, David Ellis – USA, 2010, 5’59”


8.15pm. – Screening of selection :: MICROMOVIES :: [1 hour 4 minutes]

Curated by Javier Muñiz Alimaña (Director of La Boca del Lobo Festival)

- SWEAT: Na Hong-Jin – South Korea, 2007, 12’00”

- APOSTASIA: Javier Pantaleon – Spain, 3’00”

- DANSE MACABRE: Pedro Pires – Canada, 2009, 8’18”

- REVELATIONS: Jane Lee – Irland, 2007, 3’00”

- COMMUNI: Javier R. Santamaria – Spain, 2010, 5’10”

- EL EMPLEO: Santiago Bou Grasso – Argentine, 2008, 6’19”

- A-PHAN-OUSIA: Maya Watanabe – Peru, 2008, 5’39”

- A LUCKY DAY: Laura Amante – Spain, 2008, 1’30”

- FAO: Noche de estreno – Spain, 2010, 7’00”

- NEXT FLOOR: Dennis Villenueve – Canada, 2008, 11’34”



6pm. – Screening of selection :: TIMELESS JAPAN :: [50 minutes]

Curated by Menene Gras (Exhibitions Director of Casa Asia)

- STRIPES TOO STRIPES: Mikio Saito – Japan, 2009, 8’33”

- PURPLE FLOWER IN HER DRESS: Midori Mitamura – Japan, 2008, 3’30”

- TRACES OF OTHER: Daisuke Nagaoka – Japan, 2010, 5’54”

- WHILE WE ARE HERE: Makino Takashi – Japan, 2007, 16’45”

- THE LOW STORM: Makino Takashi – Japan, 2008, 15’25”


7pm. – Screening of selection :: TIMELESS INTERNATIONAL :: [1 hour 20 minutes]

Curated by Ana de Alvear (Director of VIVA Festival)

- VIOLENT INCIDENT: Bruce Nauman – USA, 1986, 2’57”

- HOW BILL VIOLA DOES IT: Ira Schneider – USA, 1975-2000, 2’13”

- FIORUCCI MADE ME HARDCORE: Mark Leckey – UK, 1999, 15’00”

- EL GRINGO: Francis Alÿs – Belgium, 2003, 4’37”

- PASSAGE: Shirin Neshat – Iran, 2001, 11’30”

- SECRET STRIKE. TATE MODERN LONDON: Alicia Framis – Spain, 2003, 11’00”

- TRIUMPH OF THE WILD: Martha Colburn – USA, 2008, 5’00”

- ALL TOGETHER NOW… : Hans Op de Beeck – Belgium, 2005, 6’59”

- THE RHINOSAURUS AND THE WALE: Nathalie Djurberg – Sweden, 2008, 4’47”

- BALTIMORE: Isaac Julien – UK, 2003, 12’43”

- LOCK AGAIN: Yang Fudong – China, 2004, 3’00”

- SOUVENIR: Simone Lecca – Italy, 2001, 1’00”


8.30pm. – Screening of selection :: TECH-BASED TIME :: [1 hour 3 mintes ]

Curated by Macu Moran (Director of VideoArtWorld)

- BERBAOC: Arteleku – Spain, 2008, 5’25”

- THE WAVE: Goran Tirol – Portugal, 2008, 1’00”

- DEAD SEEQUENCES: Fabio Scacchioli – Italy, 2009, 3’58”

- MATT BLACK GRASS: Eva Davidova – Bulgaria, 2009, 32”

- MAD: Fausto Anibal Villalba Novoa – Ecuador, 6’00”

- SECRET LIFE: Reynold Reynolds – USA, 2008, 6’00”

- THE CALL: Albert Merino – Spain, 2009, 5’00”

- SOSIAS: Evaristo Benitez – Spain, 2010, 2’47”

- SANT SERVER: Santi Traud – Spain, 2010, 1’00”

- CLAUDIA & PAUL: Henry Gwiazda, 2008, 4’16”

- dOKrA: Crajes – Spain, 2010, 1’08”

- MEANWHILE EVERYNIGHT: Ana de Alvear – Spain, 2007, 3’33”

- PIETA II: Michael Sosna – Poland, 2010, 1’00”

- CASSA: David Rodriguez Gimeno – Spain, 2009, 3’45”

- 4/DIMENSION: Beatriz Lozano Barez & Juan Belmonte – Spain, 2009, 3’00”

- JE DIS NON: Garbi KW – Spain, 2010, 4’29”

- TODO RESPIRA, LOOP 1: Valentina Romero Mateo – 1’32”

- HEZURBELTZAK, UNA FOSA COMUN: Izibene Onederra – Spain, 2007, 4’30”

- HUMAN NATURE: Stine Gonsholt – Norway, 2008, 1’24′

- SNOW DRIFT WAS HERE AT SOME POINT IN TIME, Relja Penezic with Victoria Jordanova – YUGOSLAVIA, 2009, 3’00”



5.30pm. Screening of selection :: TIME REFLECTION :: [1 hour]

Curated by Macu Moran (Director of VideoArtWorld)

- LINEA CONTINUA: Antonia Cruz y Rosario Ateaga – Chile, 2010, 5’33”

- SHORTHAND: Celeste Fichter – USA, 2010, 44”

- PAN PARA HOY – Angela Martinez Gonzalez Anavia – Spain, 3’51”

- WATCHING THE MIND – Janyoung Yoon – South Korea, 2009, 1’13”

- EL MOVIMIENTO DE LA VIDA: Fatima Trocornal – Spain, 2009, 3’10”

- GEOMETRICAL: Anna M. & Monstruo de Bolsillo – Russia, Peru, 2010, 40”

- CON EL ORDEN DE TUS TIEMPOS – Fina Olivart – Spain, 2010, 2’10”

- YOUTHOLD: Ire Cortes – Canada, 2007, 6’00”

- GENIUS AND MADNESS: Trini Prada – Spain, 2010, 6’43”

- BEAUTY LIES IN THE IMPOSIBILITIES OF THE BODY: Joana Areal & Carlos Conceicao – Portugal, 2010, 3’15”

- UNDER THE BRIDGE: Gabi Gusmao – Brazil, 2009, 32”

- TRANSITOS Y OCUPACIONES: Sandra Alvaro – Spain, 2009-2010, 5’17”

- RADICI: Giovanni Longo – Chile, 2008, 2’55”

- ESTONOSEPARA: Yapci Ramos Ramos – Spain, 2010, 3’09”

- THE DECISION: George Drivas – Greece, 2007, 4’00”

- PLAY HORUS, CONTROL REMOTO: Carlos Villar – Spain, 2009, 3’04′

- ECLIPSE: Siro – Chile, 2010, 2’55”

- MOTHERHOOD: Luis Amavisca – Spain, 5’56”

- ZURACKWOLLEN: Rui Manuel Vieira – Portugal, 2010, 4’45”


6.30pm. Screening of selection :: ART ANIMATION :: [1 hour 8 minutes]

Curated by Damian Perea (Director of Animayo Festival)

- LEBENSADER : Angela Steffen – Germany, 2009, 6’00”

- FLOWERPOTS : Rafael Sommerhalder – UK, 2008, 5’00”

- CITYSCAPES : Seong Jun Lee – UK, 2009, 2’00”

- MAKE DOWN : Christina Heeck, Kerstin Laudascher & Maurice Hubner – Germany, 2009, 3’42”

- TEMPORARY SERVICES : Dina Noto – USA, 2008, 3’40”

- L’EDUCATION SENTIMENTALE : Paul Bourgois – France, 2009, 7’20”

- THE SNOW GLOBE : Jons Mellgren – UK, 2008, 3’15”

- TROIS QUATRE : Jean-Patrice Blanc – France, 2009, 3’00”

- LIFE LINE : Andres Salaff – USA, 2009, 5’55”

- A GALAXY OVER THERE : Martin Earle – UK, 2009, 7’44”

- I SEE WHAT YOU ARE SAYING : Lottie White – UK, 2009, 5’18”

- PARADE : Pierre Emmanuel Lyet – France, 2009, 8’06”

- WHAT LIGHT(THROUGH YONGER WINDOW BREAKS) : Sarah Wickens – UK, 2009, 4’10”

- TIR NAN OG : Fursy Teyssier – France, 2007, 4’04”



5.30pm. Screening of selection :: STOP (E)MOTION :: [1 hour 7 minutes]

Curated by specialist Adrian Encinas

- SOMBRA : Mar Caldas y Pascual Perez – Spain, 2007, 3’00”

- EN LA OPERA : Juan Pablo Zaramella – Argentine, 2010, 1’00”

- CABARET KADNE : Marc Riba y Anna Solanas – Spain, 2008, 5’00”

- TOMATO SOUP : Paul O’Brien – Irland, 3’00”, 2008

- ASP/ME : Thomas Klieber – Germany, 2008, 4’00”

- SUPERBATTLE (EPISODE 1) : Ethan Marak – USA, 2009, 8’00”


- BYGONE BEHEMOTH : Harry Chaskin – USA, 2010, 6’00”

- GERALD LAST DAY : Justin and Shel Rasch – USA, 2009, 12’00”

- THE ASTRONOMER’S SUN : Simon Cartwright, Jessica Ami Cope – UK, 2010, 6’00”

- A SHORT LOVE STORY IN STOP-MOTION : Carlos Lascano – 2008 – Spain, 2008, 3’00”

- MASTER BATOR : Beast Animation – Belgium, 2009, 1’00”

- ZERO : Christopher Kezelos – Australia, 2009, 13’00”

- 2010 WELCOME TO THE FUTURE : Eduard Puertas e Irene Iborra – Spain, 2010, 1’00”


6.45pm. Screening of selection :: TIME FOR BEAUTY :: [1 hour 10 minutes]

Curated by Macu Moran 

- ECHOING SPACES: Dennis Miller – USA, 2009, 9’20”

- POROROCA: Scott Pagano – USA, 2010, 5’16”

- FRONTIERS: Marlena Novak & Jay Alan Yim – USA, 2009, 4’33”

- VANISHING POINT #3: Rick Niebe – Italy, 2009, 1’40”

- PRETTYLITTLETHINGS: SURFACE TENSION: Pedro Veneroso – Brazil, 2008, 6’00”



- xTNZ: Rui Filipe Antunez – Mozambique, 2007, 5’00”

- HOMETHOUGHTS: Laura Fernandez Gibellini – Spain, 2009, 4’20”

- INTERFACES: Marcin Wojciechowski – Poland, 2009, 4’53”

- 24th OF JANUARY: Katja Lozar – Slovenia, 2010, 2’46”

- ELINOR: Judie Price – Canada, 2009, 5’00”

- MULTIPLE COINCIDENCES: : Joanna Hoffmann – Poland, 2010, 5’13”

- THE VIRTUAL PRIGIONE: Chiara Passa – Italy, 2010, 2’10”

- BEAUTIFUL GARDEN MOVIE: J onathan Franco – Portugal, 2007, 4’10

8pm- :: PERFORMANCE :: CONTRASTES ET GEODESIDIE: Colectivo Deria+Rectificadora. [20 minutes]

WEDNESDAY – Nov. 10th : Centre d’Art Santa Monica

5.30pm. Screening of selection :: TIME FOR A CHANGE :: [1 hour 6 minutes]

Curated by Macu Moran

- REVISITING WINKIE’S ON SUNSET BLVD: Daniel Hoflund – Sweden, 2008, 2’55”

- ACTIVISM: Beatriz Albuquerque – Portugal, 2007, 5’00”

- MEMORIA RAN: Damian A. Pissarra – Argentina, 2010, 2’27”

- AIM: Benna, Italy, 2008, 4’50”

- VS TRIBAL TREATIES 1785-1894: Flounder Lee – USA, 2007-2010, 2’00”

- EXCERPT: Guli Silberstein – Israel, 2008, 4’35”

- AT HER AGE: Heide Hatry – Germany, 2010, 6’00”

- CULTURE: Avelino Sala – Spain, 2088, 2’05”

- SE REVELA, SE DEVELA: Elia Alba – Dominican Republic-USA, 2007, 1’00”

- TIEMPO DE RESPUESTA: Verena Grimm – Mexico, 2007-2010, 6’00”

- NEON GOD: Elsie Shen Yi – China, 2008-2009, 2’36”

- AS IF TO NOTHING: Andreas Templin – Germany, 2008, 3’45”

- A LITTLE PIG GOES A LONG WAY: Rajorshi Ghosh – India, 2007, 45”

- JE SUIS PERE ET MON PERE EST PERE: Andres Weberg – Sweeden, 2010, 2’18”

- NICKNAMES: Gustavo Marrone – Argentina, 2009, 6’00”

- CORPORATE ARMIES: PSMJ – Spain, 2008, 2’44”

- INTERVIEW WITH THE COUNCIL: Arfus Greenwood – USA, 2009, 4’00”

- REPRESENTA CORISCO 2010: Vj Electroiman – Brazil, 2010, 2’46”

- MACROCARICIAS: Begoña Egurbide – Spain, 2007, 4’30”


6.45pm. Screening of selection :: MUSICLIPS :: [1 hour 5 minutes]

Curated by Carmen Sanfrancisco (Director of Musiclip Festival)

- DIVISVE (We have band) – Jul & Mat (Solab) – France, 2010, 3’25”

- TE HIERO MUCHO (Love of Lesbian) – Marta Puig Paltor (Music bus) – Spain, 2009, 4’20”

- DESPERTAR (Arcano) – Jaime Fidalgo (Fidalgo Films) – Mexico, 2010, 4’17”

- OTHER LIPS, OTHER KISSES (We Are Standard) – Jon Gomez (Mushroom Pillow Music) – Spain, 2010, 4’10”

- BORN FREE (M.I.A.) – Romain Gravas (Mourad Belkeddar) – USA, 2010, 9’00”

- LEY Y MORAL (Klaus & Kinski) – Chema Garcia Ibarra – Spain, 2010, 5’02”

- LET LOVE RULE (Lenny Kravitz, Justice Remix) – Keith Schofield (Jules Dieng / El Nino) – France, 2009, 4’09”

- FISH TANK (The Last Three Lines) – Memo Calaca (Aloud Music) – Spain, 2009, 7’17”

- THICK MUGS (Vertical Montanas) – Mariano Acha (CINCO) – UK, 2009, 4’31”

- LYLAC (Papercutz) – Daihei Shibata (Go Go Pixel) – Reino Unido, 2010, 4’08”

- BOTTOM OF THE RIVER (The Tom Fun Orchestra) – Alasdair Brotherston & JockMooney (Trun k Animation) – Canada, 2009, 3’07”

- YOU’RE STILL IN MY MIND (The Pepper Pots) – Alex Guimera (Several Studio) – Spain, 2010, 4’38”

- WALKING ON A LINE (Pony Pony Run Run) – Romain Chasaing (So Lab) – France, 2009, 3’36”

- SPIRAL (Ravid Goldschmidt) – Ravid Goldschmidt (Ravidhang) – Spain, 2009, 3’16”

8pm- :: PERFORMANCE :: SEDEER CONSTRUCCION DE UNA IMAGEN: Joaquin Jara, [45 minutes]

WEDNESDAY – Nov. 17th : H2O Gallery

8pm. Opening of photography and Video show :: ENCAPSULATED TIMES :: (Nov. 17th – December 4th)

Photography curated by Juanjo Fernandez and Alfonso Sanchez

Bubi Canal / Cristina Fontsare / Luna Tristan / Maika Amuedo / Onofre Bachiller / Miss Alessia / Sebastian Sabal-Bruce / Zak Andrea / Markus Rico

Video curated by Macu Moran: [50 minutes]

- DIMENSION CONGELADA: Veterraga – Chile, 2010, 6’26”

- TE SUMERGES, TE DUPLICO: Francisca Brunet Bayon – Chile, 2010, 2’42”

- STOCHASTICS: David Kidman, UK- 2010, 7’00”

- CRY ME A RIVER: Francesca Fini- Italy, 2009, 2’20”

- STABILIZTION IMAGE: Gonzalo Cueto Vera – Chile, 2007-2010, 4’34”

- AT SEA: Mitad mas uno collective – Spain, 2008, 2’09”

- SAND, EXPLORING THE EPHIMERAL – Serbia, 2010, 1’32”

- ON/OFF: Javier Marisco – Sweeden, 2008, 1’33”

- YO ME CONFORMO, TU TE CONFORMAS,…: Begoña Garcia Garcia – Spain, 2010, 1’52”

- COPY RIGHT NOW: Vygandas Simbelis – Lituania, 2008, 1’00”

- SAND: Ivan Francuski – Spain, 2008, 4’53”

- SEVASTOPOL: Tobias Rosenberger – Aleman, 2010, 4’30”

- INSERT COIN: Soliman Lopez Cortez – 2010, 4’00”

- HORIZONTAL INTUITION 1 & 2 : Seoungho Cho- 2008, 3’10”

- LIFE IS LIFE: Montse Villanueva & Ma uro Brando – Venezuela, 2010, 5’00”

Produced thanks to the support of: Ministerio de Cultura / ICUB / VideoArtWorld / Casa Asia / Santa Monica Arts Center / Fundacion Suñol / Galeria H20 and the collaboration of: VIVA Festival / Musiclip Festival / Animayo Festival / La Boca del Lobo Festival / EXiS Festival / MIACA / VideoArtWorld / La Santa.

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BE.BOP · BLACK EUROPE BODY POLITICS @ Ballhaus Naunynstrasse Berlin

Transdisciplinary Roundtable and Screening

Curated by Alanna Lockward with the support of Allianz Kulturstiftung

May. 04 2012 – May. 06 2012

Location: Ballhaus Naunynstrasse

Naunynstr. 27 / 10997 Berlin

+ 49 (0) 30 75453725



Be.Bop 2012. Black Europe Body Politics


Transdisciplinary Roundtable and Screening – A project developed with the support of Allianz Kulturstiftung and Ballhaus Naunynstrasse. Cooperation partners: Art Labour Archives, VideoArtWorld, Center for Global Studies and the Humanities at Duke University, Digits Without Borders, Spanish Ministry of Culture, Savvy Contemporary, NiNsee (National Institute for the study of Dutch Slavery and its Legacy).
Ballhaus Naunynstrasse
Naunynstr. 27 / 10997 Berlin / + 49 (0) 30 75453725
May 4-6, 2012
From 10:00 – 18:00
Free and open to the public
Complete program information:
To download digital catalogue:
Further information:
Alanna Lockward, Curator
Jose Manuel Barreto (United Kingdom) / Manuela Boatca (Germany) / Artwell Cain (The Netherlands) / Teresa Maria Diaz Nerio (The Netherlands) / Gabriele Dietze(Germany) / Simmi Dullay (South Africa) / Elvira Dyangani Osse (Spain) / Jeannette Ehlers (Denmark) / Fatima El Tayeb (Germany) / Heide Fehrenbach (USA) /Quinsy Gario (The Netherlands) / Ylva Habel (Sweden) / Ulrike Hamann (Germany) / Nico Horn (Namibia) / Grada Kilomba (Germany) / William Kentridge (South Africa) / Michael Küppers-Adebisi (Germany) / Rozena Maart (South Africa) / Tracey Moffatt (Australia) / IngridMwangiRobertHutter (Germany) / David Olusoga(United Kingdom) / Minna Salami (United Kingdom) / Robbie Shilliam (United Kingdom) / Sumugan Sivanesan (Australia) / Bonaventure Soh Bejeng Ndikung(Germany) / Robert A. Stemmle † / Emeka Udemba (Germany) / Rolando Vazquez (The Netherlands)
Walter Mignolo, Advisor
BE.BOP 2012
BLACK EUROPE BODY POLITICS is an international screening program and transdisciplinary roundtable centered on Black European citizenship in connection to recent moving image and performative practices. It will take place at The Ballhaus Naunynstrasse, a translocal theatre space which serves as point of arrival for artists from (post) migrant communities and beyond, founded in 2008 by Shermin Langhoff with the support of Fatih Akin.
The framework of this meeting is circumscribed within decolonial theories which expose how the idea of citizenship is linked to current racializing configurations and hence with the limits of humanity. In that sense, the racial hierarchy of human existence, originating in the Renaissance and prescribed legally during the Enlightenment, established current (white-male-heteronormative-Christian-Western) European notions of who is Human and who is lower in that hierarchy, thereby designating citizenship, one of the most important legacies of modernity. The time-based positions discussed at this meeting have been selected because they contest (racializing) fantasies on European citizenship.
By means of analyzing these narratives of re-existence, BE.BOP 2012 aims at facilitating a long-term exchange between specialists in disciplines unrelated to visual arts and time-based art practitioners of different contexts of the Black European Diaspora. The idea is to create multiple dialogues across the fields of history, legal studies, theatre, art and political activism.
This meeting is motivated and theoretically embedded to Decolonial Aesthetics and more specifically to Decolonial Diasporic Aesthetics, a term coined by curator,Alanna Lockward. In the spirit of the transformative and liberating qualities of performance art, this event is free and open to the public.
Friday, May 4th
10:00-11:00 Screening of works by Jeannete Ehlers, IngridMwangiRobertHutter, Teresa Maria Diaz Nerio, Emeka Udemba and Tracey Moffatt
11:00-11:30 Pause
Walter MignoloDuke UniversityDecolonial Aisthesis and Other Options Related to Aesthetics.
Alanna LockwardHumboldt Universität zu BerlinDecolonial Diasporic Aesthetics: Black German Body Politics.
IngridMwangirobertHutter, artist
Moderator: Rolando Vazquez, Roosevelt Academy
13:30-14:15 Lunch
Rolando Vazquez, Roosevelt AcademyDecolonial Thought and the Exteriority of Modernity.
Manuela Boatca, Freie Universität Berlin.The Mark of the Non-Modern: Citizenship as Ascribed Inequality in the Global Age.
Gabriele DietzeHumboldt Universität zu Berlin.
Artwell Cain, Director Ninsee (National Institute for the Study of Dutch Slavery and its Legacy). Migration, Integration and Citizenship: Surinamese and Antilleans in The Netherlands.
Moderator: Walter MignoloDuke University
16:30-16:45 Pause
16:45-18:00 OPEN MIC
Moderator: Robbie Shilliam, Queen Mary University, London
Moderator: Alanna Lockward, Humboldt Universität zu Berlin
Saturday, May 5th
11:30-11:45 Pause
Simmi Dullay, independent scholar. Uprootings and Belongings. Mapping the Black Body in a Scandinavian Exile
Ylva Habel, Sodertorn UniversityInvulnerable but Touchy: White Governmentality, “Race” and the affective Economies of the Post-Political In Swedish Media Discourse on the Transatlantic Slavery.
Jeannette Ehlers, artist
Moderator: Alanna Lockward, Humboldt Universität zu Berlin
13:45-14:30 Lunch
David Olusoga, author. ‘Death through Exhaustion’
Jose Manuel BarretoGoldsmiths College LondonThe Politics of Amnesia. The Herero-Nama Genocide in the context of European and German Strategies of Denial
Ulrike Hamann, Goethe University Frankfurt. Duala – Confrontations of “Res Nullius’’
Nico Horn, University of Namibia. Eddie Mabo in Namibia 
Moderator: Bonaventure Soh Bejeng Ndikung, Director of Savvy Contemporary
16:30-18:00 OPEN MIC
Moderator: Michael Küppers-Adebisi, Director of AFROTAK TV cyberNomads
Moderator: Teresa Maria Diaz Nerio, artist
Sunday, May 6th
Teresa Maria Diaz Nerio, artist. Ni ‘Mamita’ ni ‘Mulatita. Caribean women’s sterotypes and the Diaspora.
Grada Kilomba, author. Diversity in Adversity
Rozena Maart, University of Kwa-Zulu NatalBlack Europe as Black Flesh
Minna Salami, Writer/Blogger. Fashioning Womanhood in Africa through the 20th Century – The Culture and Politics of Dress
Moderator: Robbie Shilliam, Queen Mary University, London
13:00-13:45 Brunch
Michael Küppers-Adebisi, Director of AFROTAK TV cyberNomadsMulti-Media-Archives of Survival. Occupy!
Robbie Shilliam, Queen Mary University, London. Keskidee Aroha: Translation on the Colonial Stage.
Quinsy Gario, artist
Moderator: Ylva Habel, Sodertorn University
15:30-16:00 Open Mic
Moderator: Walter Mignolo, Duke University 
Moderator: IngridMwangiRobertHutter, artist
SESSION 1 / 04.05.2102
Jeannette Ehlers
Black Magic At The White House, 3:46, sound, 2009. Courtesy of the artist and Art Labour Archives.
Synopsis: Ehlers performs a Vodoun dance in Marienborg, an old building which has a strong connection to the trans-Atlantic trade. It was built as a summer residence for the commander Olfert Fischer, in 1744. It is now the official summer residency of Denmark’s Prime Minister.
Three Steps of Story, 3:35, 2009. Courtesy of the artist and Art Labour Archives.
Synopsis: We see Jeannette Ehlers waltzing in a big mirrored hall, where the colorful and rebellious governor Peter von Scholten scandalized the white citizens by inviting then the then “free Negroes” to the ball. It was also von Scholten, who proclaimed emancipation of slaves on St. Croix in 1848.
Jeannette Ehlers studied at The Royal Danish Academy of Fine Arts and The Funen Academy of Fine Arts. She has exhibited in several cities in Europe, USA, Asia and Africa; her works explores the Danish slave trade and colonialism worldwide through digitally manipulated photographs and video installations.
Neger, 4:16, sound, 1999. Courtesy of the artist and Art Labour Archives.
Wild Life, 01:33, sound, 1998. Courtesy of the artist and Art Labour Archives.
Masked, 5:16, no sound, 2000. Courtesy of the artist and Art Labour Archives.
Synopsis: In Wild Life, Niger and MaskedMwangi transforms herself into beastly images that derive from the discriminatory imagination of the West. By becoming first a roaring caged animal in Wild Life, and a minimalistic self locked “haired” entity in Neger and MaskedMwangi’s videos blend beautiful images with the edge of brutality embedded in racial stereotypes. (By: Laurie Ann Farrel)
Ingrid Mwangi and her husband Robert Hutter work together as video, photography and performance artists. They came to consider their practice as inseparable, “one artist two bodies”, and thus exhibit under their combined names. The issues that they have tackled have included race, sex and relationships.
Teresa Maria Diaz Nerio
Hommage à Sara Bartman, 4:00, 2007. Courtesy of the artist and Art Labour Archives.
Synopsis: This performance is the result of an investigation on the Black performing body, and on how Blackness has become an act in itself. Sara Bartman’s iconic status is a consequence of the well documented “legitimate” scientific and voyeuristic rape of her body.
Teresa Maria Diaz Nerio is a Dominican visual and performance artist and researcher that lives and works in Amsterdam, she graduated as a Bachelor in Fine Arts from the Gerrit Rietveld Academie 2007 and Master in Fine Arts from the Dutch Art Institute 2009. Her research challenges hegemonic constructions on “reality”.
Emeka Udemba
Dancing with the Star, 11:46, no sound, 2011. Courtesy of the artist and Art Labour Archives.
Synopsis: This work explores the conceptual twists and turns of fluidity and impalpability of the body as a social and political context. Issues of tradition, religion and gender are chartered from image to body and body to image.
Emeka Udemba studied Art Education at the University of Lagos, Nigeria. His artistic practice focuses on the use of installations, video, photography, drawing and painting  used as complementary to each other. His works focuses mainly on communication in the social and political sphere.
Tracey Moffatt
Other, 7:00, sound, 2009. Courtesy of the artist and The Momentum Collection.
Synopsis: Moffatt explores the ways in which societies define so-called minorities as the Other, using film collage to elicit poignant and insightful understandings of stereotypes and cultural attitudes.
Tracey Moffatt is highly regarded for her formal and stylistic experimentation in film, photography and video, her work draws on history of cinema, art and photography as well as popular culture and her own childhood memories and fantasies. She studied visual communications at the Queensland college of Art.
SESSION 2 / 05.05.2012
Jean Marie Teno
Le Malentendu Colonial, 78:00:00, sound, 2004. Courtesy of Les Films du Raphia.
Synopsis: This film looks at Christian evangelism as the forerunner of European colonialism in Africa, indeed, as the ideological model for the relationship between North and South even today.
Jean- Marie Teno studied audiovisual communication and worked as a film critic for Bwana Magazine and as chief editor at France 3. He produces his own films with the company Les Films du Raphia.
Sumugan Sivanesan
A Children’s Book of War, A [Not So] Secret War. Terra Nullius and the Permanent State of Exception, 1:46, sound, 2010. Courtesy of the Artist and The Momentum Collection.
Synopsis: One interpretation of international law has it that people can prove their sovereignty by their ability to make and maintain laws, and their ability to declare war. Looked at that way, war is not only something civilizations do – it is something they must do in order for their right to self–rule to be respected.
Sumugan Sivanesan is an anti-disciplinary artist. He is a member of the weather group_U, an experimental documentary collective focused on indigenous-non-indigenous exchange and collaboration. He lectures Experimental Film and Video at the College of Fine Arts, University of New South Wales.
William Kentridge
Black Box/Chambre Noire, 22:00, sound, 2005. Courtesy of the artist and Marian Goodman Gallery.
Synopsis:The development of visual technologies and the history of colonialism intersect in Black Box/Chambre Noire through Kentridge’s reflection on the history of the German genocide of the Herero and Nama in Southwest Africa (now Namibia) in 1904.
William Kentridge is a South-African artist best known for his prints, drawings, and animated films. Aspects of social injustice that have transpired over the years in South-Africa have often acted as fodder for his pieces.
SESSION 3 / 06.05.2012
Michael Küppers Adebisi
Best Practice, culture and integration, sound, 2010. Courtesy of AFROTAK TV cyberNomads.
Synopsis: AFROTAK TV cyberNomads, the Black German Social Media, Culture and Education Network, was set up in 2001 to document the exchange of socio-cultural communities of the black German diaspora reaching out to global transatlantic networks.
Michael Küppers-Adebisi (a.k.a. Sun Leegba Love a.k.a. Black Hyperion) works for AFROTAK TV CyberNomads - The 1st Black German Media, Culture & Education Archives since 2001. In 1996, he was the 1st Afro-German lyrical ambassador for the Goethe-Institute New York. For the African Diaspora in Germany he modernized Social Media Activism.
Quinsy Gario
The Bearable Ordeal of the Collapse of Certainties, 2011, theater & poetry, photo by Brett Russel.
Quinsy Gario is a spoken word performer and is currently following the MA program Comparative Women’s Studies in Culture and Politics at the Gender Studies Department of the University of Utrecht. He makes art under the banner of NON EMPLOYEES.
Final screening followed by reception in partnership with AfricAvenir
5:00 p.m. Hackesche Höfe Kino
Robert A. Stemmle
Toxi, 89:00:00, sound, 1952. Courtesy of Goethe Institut.
Synopsis: As one of the first and most successful films to directly tackle the problem of “race” in post-fascist Germany, Toxi arguably has been instrumental in the (re)construction of the German nation as exclusively white.
Robert Adolf Stemmle (1903 – 1974) was a German screenwriter and film director. He wrote for 86 films between 1932 and 1967. He also directed 46 films between 1934 and 1970.
+ ARCO. Imagery Affairs. Matadero Madrid. 18.02.2012. 8:00 p.m.
+ Kwa-Zulu Natal Society of Arts. Durban. 20.04.2012. 9:00 p.m.
+ The Bioscope. Independent Cinema. Johannesburg.  22.04.2012. 5:00 p.m.
+ National Art Gallery of Namibia, Windhoek. 24.04.2012. 8:00 p.m.
+ Goldsmiths University of London. 22.05.2012. 5:00 p.m.
+ Oncena Bienal de La Habana. 15.05.2012. Time to be confirmed.
Center for Global Studies and the Humanities at Duke University / DEFA Film Library / Goethe Institut /  Goldsmiths University of London / Kwa-Zulu Natal Society of Arts / Imagery Affairs of Digits without Borders / National Art Gallery of Namibia / Savvy Journal / Transational Decolonial Institute / The Bioscope Independent Cinema. Johannesburg / VideoArtWorld
AfricAvenir / AFROTAK TV cyberNomads / Exberliner / /
Curator: Alanna Lockward
Advisor: Walter Mignolo
Manager: Macu Moran
Publisher: Kultursprünge e.V. im Ballhaus Naunynstraße
Artistic Director: Shermin Langhoff 
Executive Producer: Wagner Carvalho
Editors: Alanna Lockward, Walter Mignolo
Coordination: Fereidoun Ettehad
Production: Christian Wolf
Presse: Verena Schimpf
Art Direction: Esra Rothoff
Graphics: Marcelo Vilela
Text Editorship: Teresa Maria Diaz Nerio
Finances: Duygu Türeli
Technik: Yavuz Akbulut, Thomas Sanne, Jens Schneider
Catering: Ali Yildiz
Intern: Melissa Palacio
Catalog Cover: IngridMwangiRobertHutterThing, 2007
PRESS: – cultural online radio in Berlin.
Diana McCarty discusses the project with curator, Alanna Lockward.[backPid]=12&cHash=0a427d1698a65f486fc0d304017c7c3e[backPid]=12&cHash=d650aed8f6cd5361db4f97c07de0a450[backPid]=12&cHash=a28881fe888baa8e7fb140e99b2d42b7 
For more information on Decolonial Aesthetics:
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VIVA SHOW @ CaixaForum and 25 Galleries Madrid


Vital Internacional Video Art (VIVA) program exhibited in CAIXAFORUM MADRID with a parallel circuit of 22 art galleries supporting the medium (VIVA OFF)

May. 24 2012 – May. 26 2012

VIVA OFF – Circuit of 22 Art Galleries from Madrid


VIVA Madrid 2012 - Collections on Tour

Program VIVA CaixaForum Madrid 2012:

May 24th, 25th and 26th 2012
CaixaForum Madrid Auditorium
Paseo del Prado 36, 28014 Madrid
On May 24th, 25th and 26th, 2012, VIVA presents an international selection of single-channel video art by artists from 22 countries at CaixaForum Madrid.
The VIVA program was conceived in 2006 to provide a continuous dialogue between historical artworks from private collections with the latest contemporary visual art practices, creating an intellectual current in the visual arts. VIVA is exhibited in an annual tour through the major art centers Worldwide, i.e. Centre Pompidou in Paris,Hara Museum in Tokyo and Seoul MoCA, among others.
Organized as a cultural educational project in collaboration with curators, galleries, collectors and institutions, VIVA has established a network of international artists, carefully selected and personally invited to participate.
Founder and Director: Ana de Alvear
Chief Curator: Macu Moran
Program 1
19.30hs. May 24th, 2012. Approx. duration 67 minutes
Cecilia Barriga - Donde empieza la Violencia, 2004, 1′, Chile
Yang Fudong - Lock Again, 2004, 3′, China
Francis Alÿs - El Gringo, 2003, 4’37”, Belgium
Marina Nuñez - Ocaso, 2007, 56″, Spain
Shirin Neshat - Passage, 2001, 11’30”, Iran
Simone Hooijmans - Campsite Hortus, 2004, 1′, The Netherlands
Nathalie Djurberg - The Rhinoceros and the Whale, 2008, 4’47”, Sweden
Anthony Goicolea - Class Room, 2003, 6’05”, Cuba
Bjørn Melhus - No Sunshine, 1997, 5’30”, Germany
Ira Schneider - How Bill Viola Does It, 1975/2000, 2’13”, USA
Andrezza Valentin & Guilherme Marcondes - Tyger, 2006, 4’30”, Brazil
Alicia Framis - Ajax Football Stadium Amsterdam 02, 2002, 3’52”, Spain
Jun Nguyen-Hatsushiba - The Ground the Root and the Air: The passing of the Bodhi Tree, 2007, 14’30”, Japan
Floris Kaayk - Parts, 2008, 2’32”, The Netherlands
Program 2
19.30hs. May 25th, 2012. Approx. duration 67 minutes
Manuel Saiz - Being Luis Porcar, 2005, 1′, Spain
Mark Leckey - Fiorucci made me Hardcore, 1999, 15′, United Kingdom
Joanneke Meester - Pregnant, 2004, 1’30”, The Netherlands
Ricardo Calero - Sea Flooding, 2001/2011, 2’53”, Spain
Yusuke Sakamoto - Yakizakana no Uta, 2004, 4’36”, Japan
Nesimi Yetik - My Mother Learns Cinema, 2007, 4′, Turkey
Pipilotti Rist - Pamela, 1997, 5′, Switzerland
Martin Sastre - The Martin Sastre Foundation, 2003, 5’11”, Uruguay
Reynold Reynolds - Secret Life, 2008, 10′, USA
Aldo Giannotti - A rewinding Journey, 2005, 10′, Italy
Florian Gwinner - Das Model, 2006, 6’18”, Germany
Ana de Alvear - Nothing ever happens, 2006, 2’20”, Spain
Programa 3
19.30hs. May 26th, 2012. Approx. duration 65 minutes
Bruce Nauman - Violent Incident, 1986, 2’57”, USA
Isaac Julien - The Attendant, 1993, 10′, United Kingdom
Rui Calçada Bastos - Same old tune, 2005, 1’49”, Portugal
Martha Colburn - Triumph of the Wild, 2008, 5′, USA
Santiago Morilla Gioco monstruoso, 2010, 4′, Spain
Douwe Dijkstra - Fragmenten uit ‘Backpacking’, 2006, 3′, The Netherlands
Hans Op de Beeck - All together now… 2005, 6’59”, Belgium
Mariko Mori Kumano, 1999, 12′, Japan
Ruth Gomez - El artista de la vida moderna, 2003-2004, 1’56”, Spain
Aili Chen - Niñas, 2006, 2’50”, Argentina
Stan Douglas - Monodramas, 1991, 4′ , Canada
Wolfgang Lehmann - Route to Cape Town, 2005, 5′, Germany
Berni Searle - Seeking Refuge, 2008, 5’56”, SouthAfrica
Joost Bakker - Laagtevrezers, 2004, 3′, The Netherlands
Simone Lecca - Souvenir, 2001, 1′, Italy

Program VIVA OFF Madrid 2012:

May 24th, 25th and 26th 2012
Circuit of 22 Art Galleries from Madrid
In this occasion, VIVA collaborates with Imagery Affairs to develop VIVA OFF Madrid, a parallel project from VIVA towards the promotion and support of the audiovisual medium. It involves a circuit of 22 art galleries in Madrid, which during those three days, will exhibit contemporary audiovisual works.

This program, designed by Macu Moran, was carried out with the support of VideoArtWorldArtConsultantDigits without Borders, the Ministry of Education, Culture and Sport of Spain and 22 galleries of the city of Madrid.
Organization: Macu Moran
Comunication: Ted Delano 
Coordination: Amparo Lopez Corral 
Lope de Vega 22, 28014 Madrid
Guillermo Martin Bermejo & Rosana Antoli - The Carradine Kids, 2012, 1’50″
In reference to David Carradine, and his ‘rugged’ death, pictures of women players by Rosana Antolí seek interaction with the anxious children by Guillermo Martin Bermejo, in a desire to experience and seek together new risky forms of pleasure. It is therefore an ode to the death and resurrection. A mirror of a generation defined not temporarily, but by avoiding sexual games evades, and place the viewer in a voyeuristic position, becoming the observer of the atrocious maneuvers masturbation. The drawings leave the flat support to interact with each other or even with machines, in a romantic at heart scenario, which emphasizes this almost theatrical drama.

The constant search for new experiences through drawing, has joined the career of of artists Antolí Rosana (Spain, 1981) and Guillermo Martin Bermejo (Spain, 1967) in the project “The Carradine’s Kids”.


Orellana 10, Bj., 28004 Madrid
Elina Talvensaari & Mauro Fariñas - How to pick berries, 2010, 18′ 45”
Economy is stranger than fiction. Visitors from a distance appear hazy in the swamps of northern Finland. The growing concern among the locals – things are changing, they discover the secret places of berries and everything becomes uncomfortable. Who is to blame and who is benefiting from this? “How to pick berries” is an exploration of the Finnish mind and the absurdities of the world economy.

Mauro Fariñas (Madrid, 1982) graduated in Fine Arts at the University of Cuenca in 2005 and earned his MBA at the Art Academy of Helsinki the following year. He has benefited from support from the Youth Institute of the Community of Madrid, Spain and the Photography Council of Finland, among others. His photographic work is regularly exhibited, mainly in Finland and Germany.



Monte Esquinza 8, 28010 Madrid
Almale Bondia - Insurmountable, 2010, 3 ́39”
The first step toward an organized space is the definition of a territory. The border is the most basic element in any landscape, which protects and excludes. Controls and the signs assure the surveillance. This piece is at the Spanish-French frontier, between Canfranc and Le Pas d’Aspe, to question the political role of the landscape and challenge the concept of “insurmountable”, title of the video.

Exploring the perceptual mechanisms that build the scenery is the central issue of the common project that in 2002 joined Javier Almale (Zaragoza, 1969) and Jesus Bondia (Zaragoza, 1952). Through photography and video, both artists make ​​work that conceptually and artistically addresses the task of “reinventing the dramaturgy of landscape.”

Blanca Berlin
Limon 28, 28015 Madrid
Linarejos Moreno - Architectural Intersections II, 2011, 50′ loop
The video “Architectural Intersections  II” is comprised of 68 high resolution pictures showing action taken by the artist in an abandoned mine at dawn. Inspired by a mechanism of scientific proof of the nineteenth Century, Moreno projects through threads forms of the architectural elements of the building, in its opposite wall. The result is the intersection of these geometric figures in space, some delicate “tunnels of threads” that provides the ruin with a new temporary significance, until the artist makes them disappear. The work is performed like a ritual, slowly cutting the wires and capturing the fall of the fragile fibers. The purpose is supported by the stills taken of slow poses, which dismisses the importance of the human figure as a mere ghostly entity.
Linarejos Moreno (Madrid, 1974) seeks architectures steeped in history to lift them briefly out of their role and turn them into places where the ritual is mixed with the past and its personal memory in a kind of living space open to multiple narratives.
Blanca Soto Arte
Alameda 18, 28014 Madrid
PSJM - Corporate Armies, 2008, 2’44”
As a trailer, “Corporate Armies” anticipates a pattern that simulates the procedures used by the factories of the entertainment market when launching its multimedia products. In this story, made in 3D, describes a world governed by corporations where marketing and totalitarianism unite to create a dystopia. Pursuing the audience in thinking about the fate of global capitalism, once freed from any limitations imposed by democratic institutions.
PSJM artistic team is composed of Pablo San Jose (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973) operating from Berlin. PSJM behaves as a trademark of art posing questions about the work of art on the market, communication with the consumer or function as artistic quality, using communication resources of the spectacular capitalism relevant to the paradoxes produced by its chaotic development.
Claudio Coello 19, 28001 Madrid
nadamasmate M. Nogueiras y J. Adan - Without Titles, 2009, 1’55″
The video sets a particular treatment of artist’s desperation to pass into different art scenes, using a humorous tone.

nadamasmate group arises in 2009, through the collaboration of Mayte Nogueiras (BBAA- UCM) and Julio Adan (BBAA - UCM and Camberwell College of Arts, London). It has exhibited in venues such as Midi GirlGregorio Prieto MuseumThe Clock House or Fotojaen11.

Centro Mexico Madrid
Alameda 3, 28014 Madrid
Rivelino Diaz Bernal - The Prophet (Le prophète), 2004, 3 ́24”
A man in Paris crosses the same street corner mechanically for hours, entering into a trance, fight and scream with some being, a prophet who would like to say something, to evasion and indifference of the people.
Rivelino Diaz studies social anthropology, works with video, installation, object, performance and photography, with subjects such as technology and social mores, so critical and ironic. Diaz lives and works in Madrid.
Distrito 4
Alcala 115, 1°, 28009 Madrid
Christoph Girardet & Matthias Müller - Maybe Siam, 2009, 12’20″
“Maybe Siam” is the latest video collage Girardet and Müller. Spinning a web of references, this book is an image of denial in exercise: as an whicn cannot see, black separates film clips capturing blind people in extreme situations of their condition, like bumping against walls and furniture, as if they were imprisoned in hostile situations and unnatural environments.
Girardet and Müller have collaborated successfully in their work “Phoenix Tapes”, a contribution to the notorious senior Alfred Hitchcock and Contemporary Museum of Modern Art in Oxford in 1999. His work has been shown in festivals such as CannesVenice and Berlin and has been exhibited in international institutions such asWalker Art Center, Minneapolis, Centre Pompidou, Paris and Deichtorhallen, Hamburg.
Elba Benitez
San Lorenzo 11, 28004 Madrid
Cabello / Carceller - Suite Rivolta, An aesthetic proposal for action, 2011, 13’01″
Two dancers choreograph a composition of three movements in which the textual rhythm and the dance itself act as substitutes for music. The project title derives from the Italian radical movement ofthe 70 “Rivolta Femminile” (led by the art critic and theorist Carla Lonzi) and the free structure of the musical suite. Following the thread of the narrative that drives the action are introduced certain performative elements based on the revolutionary aesthetic and civic movements developed in the streets. The interpretation mixes contemporary dance and Spanish dance, linking expressive instruments coming from different cultural traditions but which show the contradictions in which the contemporary subject moves in the search for a shared language.
Cabello / Carceller is an artistic team composed of Helena Cabello (Paris, France, 1963) and Ana Carceller (Madrid, Spain, 1964). With intellectual influences from feminist and gay contemporary theory, they work in a wide range of media, including video, photography, theater and installations, in addition to writing, lectures and classes - Cabello /Carceller rigorously and independently analyzes and criticizes politics of space and  representation mechanisms socially imposed, both conditioned by gender. Cabello / Carceller have had solo exhibitions at the CAAC (Seville) and La Panera (Lleida), and has participated in numerous group exhibitions, as those at the Brooklyn MuseumNational Museum of Spain Reina Sofia (Madrid), Museum Serralves (Porto) and CGAC (Santiago de Compostela).
Esquina Arte Contemporaneo
Almaden 19, 28014 Madrid
Joanneke Meester Pregnant, 2004, 2’15”
In a mute silence the character tries to innocently cope with an unwanted pregnancy.
Joanneke Meester (The Netherlands, 1966) studied at the Fine Art Academy and the Sandberg Institute in Amsterdam. She gained international fame with the pistol that she made from her own skin. Her previous installations, sculptures and videos are the result of research into the subcutaneous violence in every human being. In her new works she still addresses existential issues such as: violence and imagination, daily life, obsessions, the male/female opposition, the absurd and identity, covered with humour.
Fernando Pradilla
Claudio Coello 20, 28001 Madrid
Marta Maria Perez Bravo - A dark path I, 2011, 1’03″
The work of Marta Maria Perez Bravo is part of those speeches in which female body stands in the field of symbolic expression, emphasizing the staged, the performative. Her own body plays a key role in all her work, and becomes the means through which she describes the other, but describing herself as other. This set of dualities introduce us in her eerie and fetishist world, strongly influenced by the ethnographic weight of the Afro-Cuban religion.
Marta Maria lives and works in Mexico DF. She graduated from the Instituto Superior de Arte in Havana (1984). Her work has been exhibited at the Museo del Barrio in New York, Museum of Fine Arts in Havana, Centro Galego of Contemporary Art of Santiago de Compostela, Maison de l’Amerique Latine in Paris or the Vienna Kunsthalle, among others. Her photography is part of important collections, such the Spanish National Museum of Contemporary Art Reina Sofia (Madrid), Musée Européenne de la Photographie (Paris), LatinAmerican Art Collection DAROS (Zurich), National Museum and Fine Arts (Havana) , among others.
Formato Comodo
Lope de Vega 5, 28014 Madrid
Omar Mahfoudi - Red Carpet, 2011, 2′ loop
The work present at the festival is entitled “Red Carpet”, a journey down a red carpet for a European event, stopping at the other side of the carpet where there is another reality.
Omar Mahfoudi born in Tangier in 1981 where he studied at the Moulay Youssef Schools. Exhibitions of his paintings have traveled throughout Morocco in group exhibitions. His video The Prophecy was selected to participate in the exhibition “Capturing North-African Sunbeams,” curated by Macu Moran for Manifesta 8 along with artists such as Mounir Fatmi and Zineb Sedira. His first solo exhibition was in Casablanca art house and in 2010 at Formato Comodo gallery, Madrid, which showed a selection of pictures and videos depicting characters and ways of living in Tangier. In 2008 he won the 2nd Prize at the Film Festival of Young Talents 2009 issued during the Cannes Film Festival for Young Filmmakers.
Conde de Xiquena 12, 1° Izq., 28004 Madrid
Vincenzo Castella - Hammie Nixon’s people, 1978-1979, 38′
A blues story filmed in 16mm. In Tennessee and Mississippi, USA, in 1978 by Vincenzo Castella. Artist photographer Vincenzo Castella with Lucio Maniscalchi made this semi-imaginary biography about a family of blues musicians in 1978. The result is an intentionally 38 minutes duration clumsy homevideo-style 16mm. film, developed and edited in Cinecitta, Rome in 1979.
Vincenzo Castella was born in Naples in 1952 and is currently living in Milan. First became involved in photography in 1975 and 1982, completed this Geografia Privata, a series of colour photographs of domestic interiors. Worked in 1976, 1978 and 1980 in the USA, on the Hammie Nixon’s People project, dedicated to African Americans, their lives and architecture in the cities of the deep south. He has exhibited his works in Europe and the USA since 1980. His works are stored in the most important archives and public and private collections.
Jose Robles
Belen 2, 28004 Madrid
Alvaro Martinez Alonso - In suspension. Justino, 2011, 1’48′
“In Suspension” shows a personal perspective about a collective issue, the current social, laboral and financial crisis affecting Spain nowadays. Allegories filled with cultural, social and economic references are presented in the interpretation of reality of the artist.
Alvaro Alonso Martinez has a Bachelor of Fine Arts from the UPV in Valencia, also studied art at the University of the Basque Country and at the Burg Giebichenstein Kunsthochschule of Halle (Germany). He received the Injuve Visual Arts prize in 2011, the Valencia Crea prize 2011, the 2nd Prize of the XII Competition for Youngcreators of Salamanca, and was selected in the Second Biennial Call for Spanish Videoartists of the 100 Kubik Gallery of Cologne, Germany, among others. Recently exhibited at the Cervantes Institute in Berlin and Hamburg, Museum Patio Herreriano of Valladolid, Spain, Cultural Center El Parque of Rosario, Argentina,Tabacalera, Madrid, Bilbaoarte in Bilbao and C.A.R Contemporary Art Ruhr from Essen, Germany.
Juana de Aizpuru
Barquillo 44, 1o , 28004 Madrid
Cristina Lucas - Toward the wild, 2011, 16′
“Toward the wild” shows us a young woman who decides on its own initiative to be subject to legal process aimed to disintegrate of social. The enlightened world we have built since the West seems to have as characteristic the inevitability of its rules. The individual is subject to a political behavior impossible to  avoid. However, this brave young woman defies the system through her own mechanisms. What once was a common punishment for minor offenses in Europe and its colonies, now serves as an escape valve, a return key, the institutional process toward the wild.
Cristina Lucas (Jaen, 1973) lives and works in Madrid. She has exhibited since 2000 in Galerie Nationale du Jeu de Paume, Paris, Fundação Calouste Gulbenkian, Lisbon, Det Nationale Fotomuseum, Copenhagen, Museum of Art Carrillo Gil, Mexico City, Stedelijk Museum Schiedam, The Netherlands, CA2M – Art Centre Dos de Mayo , Mostoles, mam - Museu de Arte Moderna de São PauloMART-Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, among others. She has been invited to several international biennials: TOUCH: - Liverpool Biennial of Contemporary ArtReflections: The World Through Art - Dojima River Biennale, Osaka,INTEGRATION AND RESISTANCE 10th Biennial of HavanaIN LIVING CONTACT 28th Bienal de São PauloOptimism 10th International Istanbul BiennialBELIEF I Singapore Biennale. Her work is in collections such as Centre Pompidou - Musée National d’Art Moderne, Paris, Kiasma - Museum of Contemporary Art, Helsinki;Musac – Museum of Contemporary Art of Castilla and LeonNMAC Foundation Montenmedio, Vejer, Cadiz, Galeria Juana of Aizpuru, Madrid.
La Fabrica Galeria
Alameda 9, 28014 Madrid
Marina Abramovic - Breathing in Breathing Out with Ulay, 1978, 16’58”
With their noses blocked with cigarette filters, the artists share their breath desperately depending on each other to survive. The physical fight is visibly tiring, due to inhalation of carbon dioxide.
Marina Abramovic (Belgrade, 1946). From 1975 to 1988 began to work with Ulay. Their complicity and attraction, and its excellent harmony and understanding, created a body of work focused on their own relationship as a couple.
La Fresh Gallery
Conde de Aranda 5, 28001 Madrid
Pablo Perez Sanmartin - Tired of waiting for the end, 2012, 2′
The animation “Tired of waiting for the end” is a journey through video-games landscapes, posing an activity devoid of purpose or specific direction,  turning into an atavistic process of searching for a horizon within this universe built as parallax scroll of classic video games.
Obsessed with mass culture, youth subcultures, heterotopias and the daily rituals that occur in them, the work of Pablo Perez Sanmartin has been followed by Museums and Institutions like the New Museum (Houston, Texas), MARCO Vigo, CAI of Gijon, CGAC of Santiago de Compostela, Casa Encendida (Madrid) and in various galleries and state competitions.
Magda Bellotti
Fucar 22, 28014 Madrid
Xoan Anleo - The air between things, 2011, 1’58″
Xoán Anleo presents two new works, a two-channel video installation that gives the exhibition its title, “The air between things” and a single channel video made ​​after his residence in Iceland “On the evening” referred to the special light of the country with days or endless nights, which addresses the idea of ​​the silent nature and landscape.
Xoán Anleo (Marin, 1960) has a PhD in Fine Arts from the University of Castilla-La Mancha. He focuses his work in the audiovisual, performing film / video, photography, music and audio installations.


My Name’s Lolita Art
Almaden 12, 28014 Madrid
Chus Dominguez Notes on ephemeral. Eslava pension, Pamplona 2010, 2011, 28′
Like a travelogue of the filmmaker’s stay in the pension Eslava, in the old quarters of Pamplona, these “Notes on ephemeral” are filmed like life itself: no turning back, accepting mistakes, peering into fleeting lives that come and go, like notes on the inexorable passage of time.
Chus Dominguez (Leon, 1967) is a visual artist who uses video and film like tools and documentary like language. Works with items straight from reality to build on them narratives are among the documentary, experimental and poetic.
Oliva Arauna
Barquillo 29, 28004 Madrid
Alexandra Ranner - Silencio Subito, 2010, 12’25”
The work “Silencio Subito” shows a man sitting on a couch listening in the room a soto voce murmur, which he experiences as an overwhelming tumult and shouts“Silence! If I do not have absolutely silent at this time, Silence!” (speaking in a dialect of Bavaria, the artist’s home country). Tension before the explosion and despair that increases his loneliness.
German artist Alexandra Ranner works around spaces that she recreates, following techniques of architectural layout. Photography, video and installation show spaces with little furniture, dense textures and calm silences. Her work is marked by a personal language where minimalist realism and gimmicky baroque live within imaginary spaces, opened to the viewer’s imagination.
Raquel Ponce
Alameda 5, 28014 Madrid
Ricardo Calero - Sea flooding, 2001-2011, 4’33”
Using the metaphor of passports “journey”, one of the dramatic realities of today’s society is visualized. This metaphor of the identity also refers to each of our lives, identified by a name and a number.
Much of the artistic work of Ricardo Calero and the poetics of his actions and speeches take place in and on the territory. Calero carries out projects at carefully chosen locations, loading them with symbolism and reflection on art and society.
Rita Castellote
San Lucas 9, 28004 Madrid
Alessia de Montis - T.A.C. – Trasformazione Armonica Cosciente, 2004, 2’55”
In Odissea Contemporanea (Contemporary Odyssey) are introduced two works by the italian artist Alessia de Montis, as part of a study conducted over 10 years, and based on feminine energy and the woman as a witch -in the magical sense of the word.
Alessia De Montis born in Livorno in 1976, and lives and works in between Milan, Bologna and Rome. As visual artist, she imagines art as an open space, a global architecture that allows her to translate the needs into images.
VIVA thanks its collaborators:
Spanish Embassy, Japan / Instituto Cervantes, Japan / Hara Museum of Contemporary Art, Japan / Taka Ishii Gallery, Japan / Isaac Julien, UK / Victoria Miro Gallery, UK / onedotcero, UK / Helga de Alvear Foundation, Spain / Eyelight, Spain / VideoArtWorld, Spain / Teresa Sapey Collection, Spain / La Fabrica Gallery, Spain / MNCARS, Spain / Pi Fernandino Collection, Spain / Gallery Moriarty, Spain / Fugu Art Projects, Spain / Goethe Institut Madrid, Spain / CDMC, Spain /Animayo, Gran Canarias, Spain / Espacio Digital Gran Canaria, Spain / Canariasmediafest, Spain / Circulo de Bellas Artes, Tenerife, Spain / Arteinformado, Spain /Rosa Santos Gallery, Spain / Isabel Hurley Gallery, Spain / Jose Robles Gallery, Spain / Raquel Ponce Gallery, Spain / Esquina Arte Contemporaneo, Spain / of your life, The Netherlands / theoneminute, Netherlands / Ron Mandos Gallery, Netherlands / Galeria Luisa Strina, Brasil / 235 Media, Germany / imai- inter media art institute, Germany / Invaliden1, Germany / Galerie Anita Beckers, Germany / Grantpirrei, Australia / Veracortes Art Agency, Portugal / MoCA Shanghai, China /Galerie Bob van Orsouw, Switzerland / Peter Kilchmann Galerie, Switzerland / Michael Stevenson Gallery, South Africa / EXiS, Korea / LOOP Alternative Sapce , Korea /MOCA, Korea / Centre Pompidou, France / Berta Sichel, Spain / Mark Nash, UK / Pim Trooster, Netherlands / Elisa Uematzu, Japan / Atsudo Yasuda, Japan / Gye Joong-Kim, South Korea/ James Steele, Australia / Greta Gesenberg, Germany
VIVA Chief Curator: Macu Moran
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VIVA SHOW @ Centre Pompidou Paris

International Collector’s Choices Program

Conducted by Macu Morán

Dec. 16 2010 – Dec. 16 2010

Place George Pompidou, 75004, Paris, France
+ 33 (0) 1 44 78 12 33


VIVA Show at Centre Pompidou


Centre Pompidou Cinéma 2
Paris, France
16 December 2010 at 20:00H

VIVA give access to audiovisual art collections inventory in dialog with a range of worldwide artists, through programs at different venues.  VIVA selections do not necessarily follow a specific curatorial line, but carefully try to involve the audience into a specific dynamic, within which their attention is able to focus and establish an appropriate relation with the work.

Macu Moran
VIVA Chief Curator


Francis Alÿs 
- El Gringo, 2003 4’37’’ Belgium
Joost Bakker
- Laagtevrezers, – 2004, 3’ Netherlands
Rui Calçada Bastos
- Same old tune, 2005, 1’49’’ Portugal
Martha Colburn 
- Triunph of the Wild 2008, 5 USA
Douwe Dijkstra
Fragmenten uit ‘Backpacking’, 2006, 3’ Netherlands
Nathalie Djurberg 
- The rhinosaurus and the wale, 2008, 4’47” Sweden
Ana de Alvear 
- Nunca pasa nada, – 2006, 2’20’’ Spain
Anthony Goicolea
- Class Room, 2003, 6’05”, Cuba
Sofia Hultén 
- Animal Refusal, 2006 2’ Sweden
Isaac Julien 
- The Attendant – 1993, 10’ UK
Floris Kaayk 
- Parts 2008 2’32’’ Netherlands
Simone Lecca 
- Souvenir – 2001, 1’ Italy
Wolfgang Lehmann 
- Rout to Cape Town, – 2005,5’ Germany
Joanneke Meester 
- Pregnant, – 2004, 1’30’’ Netherlands
Yusuke Sakamoto
- Telegraph Pole Mother, – 2005, 9’49’’ Japan
Andrezza Valentin & Guilherme Marcondes 
- Tyger, 2006, 4’30’’, Brazil

Duration: 68’26’’

Special Thanks
Embassy of Spain in Japan – Hara Museum of Contemporary Art, Tokyo – Instituto Cervantes, Tokyo – Taka Ishii Gallery, Tokyo – Isaac Julien, London  – Mark Nash, London – Victoria Miro Gallery, London  – onedotcero, London  – Helga de Alvear Foundation, Spain – Eyelight, Spain – Videoartworld, Spain – Teresa Sapey Collection, Spain – La Fabrica Gallery, Spain – MNCARS, Spain –, Spain –, Spain – Gallery Moriarty, Spain – Fugu Art Projects, Spain – Goethe Institut Madrid, Spain – CDMC, Spain – Animayo, Gran Canarias, Spain – Espacio Digital Gran Canaria, Spain – Canariasmediafest, Spain – Circulo de Bellas Artes, Tenerife, Spain – Arteinformado, Spain – Rosa Santos Gallery Spain – of your life, The Netherlands   – theoneminute, The Netherlands – Ron Mandos Gallery, The Netherlands – Galeria Luisa Strina, Brasil – 235 Media Germany – imai- inter media art institute, Germany – Invaliden1, Germany – Galerie Anita Beckers, Germany – Grantpirrei, Australia – Vera Cortes art agency, Portugal – MoCA Shanghai, China – Suzie Q projects, Switzerland – Peter Kilchmann Galerie, Switzerland – Michael Stevenson Gallery, South Africa – EXiS, Korea – LOOP Alternative Space, Korea – MOCA, Korea – Embassy of Spain in Korea


Atsuo Yasuda, Japan / Claire Cooke, onedotzero, London / Pim Trooster, The Netherlands / Elisa Uematsu, Japan / Berta Sichel, Spain / Charlie Peel, Spain / Sandra Thomas, Germany 

Chief Curator 
Macu Morán 


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VIVA SHOW @ Hara Museum Tokyo

International Collectors’ Choices Program

Conducted by Macu Moran

Nov. 13 2010 – Jan. 11 2020

Hara Museum of Contemporary Art

4 – 7 – 25 Kitashinagawa, Tokyo, Japan

November 13th & 14th, 2010

VIVA give access to audiovisual art collections inventory in dialog with a range of worldwide artists, through programs at different venues.  VIVA selections do not necessarily follow a specific curatorial line, but carefully try to involve the audience into a specific dynamic, within which their attention is able to focus and establish an appropriate relation with the work.

Macu Moran

VIVA Chief Curator


13th of November 2010

At 14:00 H >> Program 1 (50 mins.)

Francis Alÿs >> El Gringo, 2003, 4’37’’ Belgium

Darya von Berner >> November Boughs, 2006, 2’36’’ Spain

Mit Borrás >> Deafland, 2008, 3’40’’ Spain

Manon Bovenkerk >> Love, 2003, 2’15’’ The Netherlands

Rui Calçada Bastos >> Same old tune, 2005, 1’49’’ Portugal

ChunTeng Chu >> Mimi Club, 2006,10’ Taiwan

Martha Colburn >> Triumph of the Wild, 2008, 5 Switzerland

Aldo Giannotti >> A Rewinding Journey, 2005, 10’ Italy

Ana de Alvear >> Chinchia’s Voyage, 2004, 11’11’’ Spain

—— BREAK ——

At 15:30 H >> Program 2
 (45 mins.)

Isaac Julien >> The Attendant, 1993, 10’ UK

Florian Gwinner >> Decoration, 2007, 5’22’’, Germany

Simone Hooijmans >> Saljoetsilo, 2005, 2’47’’ Netherlands

Concha Jerez >> A Través de Interferencias, 2007, 5’45’’ Spain

Michael Koch >> Wir sind dir Treu, 2005, 9’ Switzerland

Wolfgang Lehmann >> Rout to Cape Town,  2005, 5’ Germany

Juan Antonio Lleo >> Our, 2007, 3’ Spain

Sofia Hultén >> Animal Refusal, 2006, 2’ Sweden

Floris Kaayk >> Parts, 2008, 2’32’’ Netherlands


14th of November 2010

At 14:00 H >> Program 3 (47 mins.)

Joanneke Meester >> Nº2, 2002, 1’23’’ The Netherlands

Bjørn Melhus >> No Sunshine, 1997, 5’30’’ Germany

Barbara Lubich >> Uó, 2007, 3’50’’ Germany

Jun Nguyen-Hatsushiba >> The Ground, the Root, and the Air: The passing of the Bodhi Tree, 2007 14’30’’ Japan

Jan Van Nuenen >> Evolizer  2007 11’ The Netherlands

Hans Op de Beeck >> Determination 4, 1998, 8’30’’ Belgium

Damián Perea >> Locos por el cine, 2003, 3’03’’ Spain

—— BREAK ——

At 15:30 H >> Program 4
 (49 mins.)

Manuel Saiz >> Being Luis Porcar, 2005, 1’ Spain

Otto te Plate >> Oud Licht,  2001, 4’36’’ The Netherlands

Berni Searle >> Seeking Refuge, 2008, 5’56’’ South Africa

Sam Smith >> Passage, 2006, 6’30” Australia

Claudia Ulisses >> Utopia MOD 273/99, 1999, 5’ Portugal

Andrezza Valentin & Guilherme Marcondes >> Tyger, 2006, 4’30’’, Brazil

Tymen van Vlier/Dave Vriens >> Zadelpijn, 2005, 9’36’’ Netherlands

Markus Wambsganss >> The Gift, 2006, 7’58’’ Germany

Nesimi Yetik >> My Mother Learns Cinema, 2007, 4’, Turkey

Special Thanks

Embassy of Spain in Japan - Hara Museum of Contemporary Art, Tokyo - Instituto Cervantes, Tokyo - Taka Ishii Gallery, Tokyo - Isaac Julien, London  - Mark Nash, London - Victoria Miro Gallery, London  - onedotcero, London  - Helga de Alvear Foundation, Spain - Eyelight, Spain - Videoartworld, Spain - Teresa Sapey Collection, Spain - La Fabrica Gallery, Spain - MNCARS, Spain -, Spain -, Spain - Gallery Moriarty, Spain - Fugu Art Projects, Spain -Goethe Institut Madrid, Spain - CDMC, Spain - Animayo, Gran Canarias, Spain - Espacio Digital Gran Canaria, Spain - Canariasmediafest, Spain - Circulo de Bellas Artes, Tenerife, Spain - Arteinformado, Spain - Rosa Santos Gallery, Spain - of your life, The Netherlands   - theoneminute, The Netherlands - Ron Mandos Gallery, The Netherlands - Galeria Luisa Strina, Brasil - 235 Media, Germany - imai- inter media art institute, Germany - Invaliden1, Germany - Galerie Anita Beckers, Germany - Grantpirrei, Australia – Vera Cortes art agency, Portugal - MoCA Shanghai, China - Suzie Q projects, Switzerland - Peter Kilchmann Galerie, Switzerland -Michael Stevenson Gallery, South Africa – EXiS, Korea - LOOP Alternative Space, Korea – MOCA, Korea – Embassy of Spain in Korea


Atsuo Yasuda, Japan / Claire Cooke, onedotzero, London / Pim Trooster, The Netherlands / Elisa Uematsu, Japan / Berta Sichel, Spain / Charlie Peel, Spain / Sandra Thomas, Germany

Chief Curator 

Macu Morán

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CAPTURING NORDAFRICAN SUNBEAMS @ Manifesta 8 European Biennial

CAPTURING NORTHAFRICAN SUNBEAMS, video art selection curated by Macu Morán

Zoulikha Bouabdellah, Frederick Devaux, Mounir Fatmi, Katia Kameli, Omar Mahfoudi and Zineb Sedira.

Oct. 08 2010 – Jan. 09 2011

MANIFESTA – European Biennial of Contemporary art
Muralla Bizantina Cartagena, Centro Parraga Murcia
and Fundacion Pedro Cano, Blanca

VideoArtWorld at Manifesta 8

Curated by Macu Morán, with the support of VideoArtWorld


Oct. 9th – Nov. 14th: Muralla Bizantina, Cartagena
Opening: Oct. 8th., 14hs.
Open Hours: 10:30-13:30hs/18-20:30hs. Closed on Sundays and Mondays.

Nov. 18th – Nov. 30th: Centro Parraga, room 5, Murcia
Opening: Nov. 18th., 20hs.
Open hours: 10-14hs/17-21hs. Close on Sundays

Dec. 2nd – Jan. 9th: Fundacion Pedro Cano, Blanca
Opening: Dec. 2nd., 20hs.
Open hours: 10-14hs/17-21hs. Close on Sundays

“The post-issues Golden Age might never arrive, in fact, if there could be a slogan that would signal our times, it might read: De-colonial aesthetics are older than old and more futuristic than the future.” Alanna Lockward 

This single-channel presentation could be considered as a self-fulfilling prophecy, announcing the imminence of an alternative Europe that, how unsurprising, has always been here. A matrix that has survived the binominal modernism-colonialism, as Anibal Quijano and Walter Mignolo described it, is incorporated in these perspectives. Some of the artworks presented here are stating (in Arabic) that this optional Europe is already “a world that can contain many worlds”, as the Zapatistas articulate their own de-colonial perspective.

By means of appropriating and dislocating certain parameters of (white-Christian) “Europeanness” such as moving-image history and resources, nation-state symbolic paraphernalia and post-war political theory and nihilist philosophy, the artists offer us many reasons to disbelieve Sarkozy and Sarrazin.

There are many layers of meaning negotiated in each work; some are downright shocking, others serene and meditative. This selection aims at creating awareness beyond the metaphorical; it invites us to think in terms of Other genealogies, and to stretch our understanding of the so-called North of Africa beyond the borders of our (programmed) imagination.

MOUNIR FATMI - God is Dead, 2007, Loop 30”. Courtesy of Gallery Hussenot.
This self-explanatory double-projection, where both Nietszche and God reciprocate each other’s in terms of life disruption, insinuates that Nihilism might not be such a serious endeavour after all.

MOUNIR FATMI - Beautiful Language, 2010, 16’00”. Courtesy of Gallery Hussenot.
L´Enfant Sauvage, by Francois Truffaut (1970) becomes the backdrop for the reflexions of the artist on racism and its historical (colonial) matrix. Quotes in Arabic and of thinkers like Hanna Arendt are juxtaposed to the original footage. Their self-explanatory role is properly staged by their interchangeable positions.

ZINEB SEDIRA - MiddleSea, 2008, 16’00”. Courtesy of Kamel Mennour.
The sea is portrayed in the quiet profile of a man. The film talks about the melancholy of departure; separation and distance are subtly represented by water and the physical structure of a ship. Panoramic travelling shots create the silent atmosphere of an internal dialogue full of premonitions.

FREDERIQUE DEVAUX - K (Acugher/ACIMI), 2008, 16 mm, 8’00”

This abstract film superimposes snapshots of a fragmented reality where it is possible to sense the proximity of something remotely (un)familiar. The accelerated collage is deceivingly beautiful because the actual questions camouflaged in the film address impending political issues regarding Argelia and Cabilia.

KATIA KAMELI - Bledi a possible storyboard, 2003, 3’50”. 
This video animation intercepts random narratives found in the Argelian press. The social context of a country still marked by an insidious civil war is palpable in a paranoia symbolized by closed windows and the parabolic antennas that transmit the possibility of “democracy”.

OMAR MAHFOUDI - The prophecy, 2008, 10’00”. Courtesy of Gallery Formato Comodo
“I was raped in the house of God, in the Mosque, by four men… they never told me this was forbidden, they said it was alright…”. The individual accounting this experience describes himself as a prophet. He relates his biography looking straight at the camera, never doubting his own credibility. The artist is intrigued by the cultural shock this man lived when he migrated to Canada, and tries to reflect in this film the notion of self-sacrifice.

ZOULIKHA BOUABDELLAH - Dansons, 2003, 5’00”. Courtesy of Gallery La Bank
A woman starts prepairing herself to dance. Her hips are slowly dressed with a white, blue and red scarf. La Marselleise starts playing and her hips follow the rhythm accordingly, each beat of her body declares a new state of (de-colonial) affairs.

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VIVA SHOW @ National Museum of Contemporary Art, Seoul

Curated by Macu Morán

Along with the MACBA Collection show La Sombra del Habla, MOCA Seoul exhibits every Saturday of September three selections from VIVA, International tour of Videoart and Collections works, along with curatorial program Restless (E)motion.

Sep. 04 2010 – Sep. 25 2010

MOCA – National Museum of Contemporary Art, Korea
Grand Park Seoul Land
Seoul, South Korea

Viva Spain Video art Festival


7.30pm – 8.30pm – All Saturdays of September

VIVA give access to audiovisual art collections inventory in dialog with a range of worldwide artists, through programs at different venues.  VIVA selections do not necesarily follow a specific curatorial line, but carefully try to involve the audience into a specific dynamic, within which their attention is able to focus and establish an appropriate relation with the work.

Macu MoranVIVA Chief Curator

September 4th – VIVA SPANISH NIGHT

VIVA Spanish night presents to the public a selection with the most relevant body of work developed by six contemporary artists originally from Spain. Manuel Saiz, an artist strongly committed to support audiovisual as artistic expression mean, includes three different works which reveal some of his recurrent interests and personal style. Animation as a tool for contemporary art comes by the hand of Ruth Gomez, in 2D and Damian Perea, in 3D.  Another segment of the show will present a significant selection of works by the worldwide renowned Spanish artist Alicia Framis.

PROGRAM: (59 minutes)

Manuel Saiz
Being Luis Porcar, 2005, 1’ Spain
Social Sculptures everybody is an artist, 2005, 9’ Spain
Paralell Paradises Ecuador, 2007, 8’ Spain
Jon Mikel Euba
Gowar, 2003-2005, 6’43” Spain
Iñigo Manglano 
FM (0169275275275S) – 2000, 5’33’’ Spain
Ruth Gomez
El artista de la vida moderna, 2003-2004, 1’56” Spain
Alicia Framis
Ajax Football Stadium Ámsterdam 02, 2002, 3’52’’ Spain
Against Domestic Violence Madrid 03, 2003, 2’46’’ Spain
Secret Strike. Tate Modern. London, 2003, 11’ Spain
Damián Perea 
Podría ser Peor, 1999, 7’, Spain
Locos por el cine, 2003, 3’03’’, Spain


VIVA Monographic night is dedicated to the Spanish-German artist Ana de Alvear, which body of work plays with psychological archetypes, allowing the viewer to sympathize with the different characters and so to discover the issues that more directly refer to the moment that he is at. Looking into her work taps fundamental questions of the human being, which are smoothly presented through friendly figures staging the disclosure hiding behind.

PROGRAM: (62 minutes)

Ana de Alvear
The dream of Aksoo, 2003, 15’31’’
From the other side, 2004, 6’
Chinchia’s Voyage, 2004, 11’11’’
Complete Confirmation, 2005, 7’47’’
Cecile’s Difference, 2005, 6’
Nothing ever Happens, 2006, 2’20’’
The comfortable centre, 2007, 5’35’’
Meanwhile … every night, 2007, 3’33’’
Without Walls (the art of the possiblee), 2008, 4’03’’


VIVA International selection serves a taste of artists acclaimed worldwide due to their extraordinary talents in the medium. Outstanding animations such as the ones developed by Dutch artists Joost Bakker, Douwe Dijkstra and Floris Kaayk, intermingle with the stop motion techniques of Nathalie Djurberg and the digital manipulations of Brazilian artists Andrezza Valentine & Guilherme Marcondes, bringing the audience to a fantastic sphere were the work of Mariko Mori and Anthony Goicolea can be plausible.

PROGRAM: (61 minutes)

Joost Bakker
Laagtevrezers, 2004, 3’ Netherlands
Francis Alÿs
- El Gringo, 2003, 4’37’’ Belgium
Sofia Hulten
Animal Refusal, 2006, 2’ Sweden
Douwe Dijkstra
The Washing Machine, 2005, 4’23’’ Netherlands
Anthony Goicolea
Class Room, 2003, 6’05”, Cuba
Patrick Tuttofuoco
The golden night, 2005, 5’16” Italy
Nathalie Djurberg
The rhinosaurus and the wale, 2008, 4’47” Sweden
Wolfgang Lehmann
Rout to Cape Town, 2005, 5’ Germany
Mariko Mori
Kumano, 1999, 12’ Japan
Rui Calçada Bastos
Same old tune, 2005, 1’49’’ Portugal
Floris Kaayk
Parts, 2008, 2’32’’ Netherlands
Andrezza Valentin & Guilherme Marcondes
- Tyger, 2006, 4’30’’, Brazil
Aili Chen
Niñas, 2006, 2’50’’ Argentina
Narineh Daneghyan
Chalk painting, 2003, 1’ Armenia
Simone Hooijmans
Campsite Hortus, 2004, 1’ Netherlands
Simone Lecca
- Souvenir, 2001, 1’ Italy


Curated by Macu Moran

Restless (E)motion is dedicated to a selection of Spanish artists reflecting on the emotional uneasiness of the human being. According to 20th Century philosopherOrtega y Gasset, each generation represents certain vital sensitiveness, which confronts and develops former ideologies at the same time. An evolution configured under a structural form in which the human mass is receptive and limited to accept or oppose the proposals made by individuals with “avant-garde hearts and alert souls, condemned not to ever be fully understood”. This selection tries to upbring diverse matters of interests for a group of talented Spanish artists, mixing those specifically local, but with universal trascendence, with those universal in nature but that are perceived from the point of view of a generation of artists intrinsically attached to the Spanish culture.


Bigas Luna
Collar de moscas, 1’10”, 2002
Fernando Baena
Videos del Deseo, 8′, 2010
Chus García-Fraile
Running, 2’43”, 2009
Amparo Sard
Dudando del momento perfecto, 8′, 2004
Francesca Llopis
Gotescauen, 2’07”, 2007
Oscar Seco
Heaven came from hell, 5’10”, 2004
Maria José Chinchilla
Transformation, 6’20”, 2008
Maria Cañas
Toro’s revenge, 1’49”, 2006
Video Spot Mars, 2’20”, 2008
Evaristo Benítez
Jeux de mains, 2’45”, 2008
Ana de Alvear
Un unsual Mob, 6’22”
Enriqueta Rocher
Under the skin, 4’32”, 2009
Felipe Ortega
About reconciliation 10, 2’50”, 2010
Cristina Martin Lara
-  Landpartie if, 1’40”
Dionisio Gonzalez
Elegia 1938, 5’34”, 2008
Daniel Silvo
Tecno-olives, 2’05”, 2002
Carmen Espla
Rain, 3’09”, 2007

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HIP & COOL SHOW @ Fundación Botín Santander

II Picknic Festival, Santander

A selection of fresh works, with brash and indolent touches, which subtly sketches the philosophical impasse that remains after you have forgotten everything you learned.

Aug. 03 2010 – Aug. 07 2010

Fundacion Marcelino Botin
Calle de Pedrueca, 1
Santander / Spain


Hip & Cool

Fundación Marcelino Botín 
August 3rd – 7th from 18hs – 21hs

Hip & Cool
VideoArtWorld Selection at II Picknic Festival
Curated by Macu Moran

Hip & Cool is a journey that invites us to face life with the lightness of not having done it ever before, recovering the impressionable eyes of children, and the boldness and daring that oblivion allow us to have.

 Pranks, kite flying, music, grass, water, sun and moon.. Elements that undoubtedly rejuvenate life experience and formulate a new look, fueling delayed feelings and brushing up lost dreams.


CANTINE by Markus Kreiss
2006, 11’04”

2000, 1’39”

MIRRORLIGHT by Mariana Vassileva
2004-2005, 8’00”

DCANDANZE by Pixel in Fact
2008, 6’11”

by Heinz Schmöller
2008, 2’00”

AMAZILIA by Maria Cristina Carbonell
1997, 3’00”

by Alex McQuilkin
2003, 2’02”

ATLANTIS by Cleverson
2002, 4’28”

by Ana de Alvear
2006, 6’00”

 by Julia Oschatz
2006, 1’31”

by Laura Celada
2010, 7’33”

by Jose Luis Serzo
2006, 3’48”

RAIN by Carmen Espla
2007, 3’09”

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