Spanish Experimental Film Programme

Spanish Experimental Film

Dr. Esperanza Collado
Dr. Esperanza Collado (Valencia, Spain), is an artist, curator and writer currently living in Dublin. She is the director and chief curator of Márgenes: Experimento y Praxis – the Dublin-based Spanish avant-garde art and film festival. Collado is also the editor of Spectrum – an independent publication exploring different aspects of cinema. Collado has previously curated exhibitions for the Darklight Film Festival and for thisisnotashop gallery, and is a programming committee member of the Experimental Film Club. She lectures in the Creative Arts & Media Department of DBS College.

Abismo Proximo
Reivaj Yudato

“Profanation of profaneness is the political duty of the next generation”
— Giorgio Agamben
Abismo (abyss) can be interpreted as a precipice, depth, trough or void, while proximo (near) can be read as immediate, beside, close to, adjacent, alike, or similar to. This work
brings together montages of sequences from a wide variety of sources, including Christian TV programmes, news, surgical operations and football matches, building unexpected connections in order to demonstrate that the same principles apply in all contemporary television broadcasts, from the broadcasting of sporting events to the reporting of war.

Albert Alcoz
Barcelona-based Albert Alcoz works mainly with Super8,
physically altering and distorting the surface of the filmstrip
in the tradition of “materialist filmmaking” (a term
coined by English writer and filmmaker Peter Gidal in the
early 1980s). One of his most recent films, Forth and Back
and Forth, was made in collaboration with influential artist
and film-maker Michael Snow.

Trayecto(s)
Isaac Gimeno
TRAYECTO 1.2, TRAYECTO(s)(2), and 8,19MIN are three video installation
works that look at different aspects of time and
the so-called velocity phenomenon associated with new
technologies, examining how they interfere with everyday
life. Here, relativity is understood as a circular medium between
object and subject, which is reflected in a perceptual
setting created with a spinning video-camera.

Kinetic Landscapes
Programmed by Albert Alcoz
While the representation of landscape in the field of painting has been usually considered a minor theme in Occidental Art History, the Romantic movement which sparked it opened new possibilities in the study of light and civil environments that later gave way to Impressionism. Later, landscape representation in film was emphasised in the avant-garde of the 1920s through the work of Joris Ivens, Alexander Dovjenko, Herman W. Weinberg and Robert Flaherty, while Dziga Vertov, Walter Ruttman, Paul Strand and Charles Sheeler took the representation of landscape to new places, throwing new perspectives on urban surroundings. Kinetic Landscapes draws from these influences to suggest the idea of landscape as visual theme, with rural and urban settings interchanging via experimental techniques in filmic representation.

La Playa
David Domingo ( 2001 ) 1’10”

Vivid Obedientes, vivid
Hugo Cornelles ( 2005 ) 2’40”

Pentland’s
Patrick Danse ( 2007 ) 3’17”

Wien - Tagebuch
Cristina Giribets ( 2007 ) 3’17”

Todo Tiene Su Fin
Armand Rovira ( 2005 ) 2’54”

Fragmentos, Primera Impresion en s8
Oriol Sanchez ( 1999 ) 14’14”

Texas Sunrise
Lluis Escartin ( 2002 ) 20’

Siete Vigias y Una Torre
Manuel Asin ( 2004 ) 30’

Abysmo Proximo
Reivaj Yudato by ( 2008 ) 16’
total duration: 93 minutes approx.