Video Art Festival Projector

2020

_{Duration: 7:54
El Águila Exhibition Hall, ground floor.}

In this piece, the artist recovers phrases from Aristotle, weaving a very current dialogue between the philosopher and a twentieth-century French woman who longs for the loss of a beloved photograph, the only memory of her father who died due to the tyranny of war. The woman manages to replicate the photo by means of modern technologies, but never the original piece, stroking its rough and yellowish paper with the passage of time with her fingers.

As a backdrop to this dialogue, aerial images of a computer-generated Paris, which nevertheless reveal very real data centers, hidden by an architecture that blends them with the urban landscape. The register of words collides with the visual, projecting significance on our image technologies and signaling the idea of cloud as a contemporary myth.

Pablo-Martin Cordoba is a contemporary artist who lives and works in Paris.
After a first self-taught artistic experience followed by studies in Art History and Contemporary Art and Photography, Pablo-Martín Córdoba structures his work around the notions of temporality and movement, exploring the possibilities and limits of digital technologies. Through photomontages, videos and installations, the artist proposes a particular vision of reality without excluding turns towards fiction. His work has been exhibited in Europe, America and Asia.

When looking at stones I get sucked into deep time, when looking at my harddrive I'm afraid that it will break.

2020

_{Duration: 7:33
El Águila Exhibition Hall, ground floor.}

The work raises a reflection on the dematerialization of many aspects of today's society, emphasizing the balance between the hope of the use of technology and the Internet as incentives for human emancipation and the self-centered dictatorships of the megacorporations that increasingly dominate, the digital world.

The Internet Archive is one of the important institutions in this fight. The fragments of text, video and audio used by the authors are put together to form a composition that shows how in the right hands, the Internet and its infrastructure do not become instruments of surveillance and control, but on the contrary, they can be mysterious, elegant and divine.

Thomas georg blank is an artist who moves between research and speculative interpretations, emphasizing how the spatial representations of our individual and collective imagination affect the world in which we live and vice versa. By creating multidirectional spatial narratives, it offers viewers a space for perspective change. He has exhibited his work in German galleries and museums such as Hek Basel, Historisches Museum, Kunsthalle Darmstadt, Kunstverein Pforzheim, Blue Star Contemporary and C / O Berlin. His work has garnered critical endorsement and he has been a researcher at the Center for Human Imagination in San Diego.

Isik kaya is an artist whose practice explores the ways in which humans shape contemporary landscape. He focuses on the traces of economic infrastructures to examine politics in built environments and how man's dominance over nature finds its manifestation in everyday architecture. In his work, he erases the physical distance between existing structures and creates dense compilations of industrial fragments to construct new landscapes that seem strange and familiar at the same time. By framing your subjects exclusively at night, your goal is to accentuate these artificial and bizarre qualities of urban settings. Isik Kaya is an MFA candidate in Visual Arts at the University of California, San Diego. He has participated in exhibitions at Royal Geographic Society (United Kingdom), Die Digitale Dusseldorf (Germany), Kunsthalle Darmstadt (Germany), CEAAC (France), Galerie de L'Escale (France), CICA Museum (Korea) and Soho Photo Gallery ( USA), among others.

2018/2019

_{Duration: 6:00
El Águila Exhibition Hall, ground floor.}

The author looks for traces of the body between analog and digital appearances. The starting point is the walking mirror on a block of ice located in Antarctica, filmed by a drone. The result is the linking of the physical presence of nature to an analog flow, portrayed by a digital one, in a superposition of planes where existence expands through a set of mirrors until it melts like a block of ice.

In this sense, the phenomenon of water acts, both as a source of meteorological climatic appearances, as a metaphor for the Psyche human 2.0: Living_Image_Delete it is icy, hazy and liquid.

Anna watzinger He studied sculpture and digital art, focusing his work on this liquid space where different phenomena meet. He is a member of various artist groups and galleries such as Kollektiv Outsight (2018) and RIGRIVIS by Aa collection (2017) or Schleifmühlgasse 12-14, among others. Since 2011 she has been co-founder with Dieta Drack of the TranZ collective - Performative Gestures in Urban Context.

2020

_{Duration: 15:15
El Águila Exhibition Hall, third floor}

Deleted, forgotten and recovered images. Collapsed buildings, stories asleep under the ruins, rescued words in the corner of a faded photograph. From dust and extinct cities is born In Icto Oculi by Jorge Moneo Quintana, a jump in a blink through seven centuries of history to recover the lost beauty of Vitoria. The author turns his hometown into the symbol of all the disappeared cities, assimilated by others or converted into logistics platforms with the aim of recovering fragments of lives lost in the course of things.

For this film the author has worked with a wide number of photographic images ranging from black and white glass plates to 35mm color film. In addition, one of the strategies that has been followed to give movement to the images, in addition to montage, has been the use of different copies of the same original image, showing the alterations, marks and hazards that time and different conditions conservation have printed on the image in its multiple versions.

Jorge Moneo-Quintana He has a degree in Fine Arts from the UPV-EHU, and also studied at the University of Art and Design of Cluj-Napoca (Romania) and the University of Vigo. In 2017 he completed his training with the Master in Theory and Practice of Creative Documentary at the UAB, where he co-directed The inner city.

2020/2021

_{Duration: 3:31
El Águila Exhibition Hall, third floor}

The work is a vindication through the image of space as a place of common, of relationship between the inhabitants that make it up. For this, the author proposes an installation created from a file of found images; a container of portraits and snapshots about the neighborhood revolution that took place in Vallecas (Madrid) during the 60s, 70s and 80s of the XNUMXth century. The author speaks of a working class neighborhood, of a common utopian drift and of the sense of belonging rooted in a territorial and sociocultural identity.

Drowned visualities It consists of a video-essay accompanied by the file of the documentation found: slides of more than twenty topics, from religious acts to trips, through demonstrations in the neighborhood; showing a series of hidden narratives throughout the decades that provoke a dialogue between visual formats and structures. They are fragments of memory to honor ancestors, build meeting places and practice new ways of telling stories.

Sergio Cabrera Aparicio He has a degree in Fine Arts from the Complutense University of Madrid and is currently studying a master's degree in Visual Arts and Multimedia taught by the Polytechnic University of Valencia. He has collaborated with different entities, groups and artists to develop various projects focused on reclaiming spaces not considered by the system and turning them into meeting spaces and relationships between individuals.

It works mainly in the context of the urban peripheries; working-class, marginal and humble neighborhoods, wondering about their limits based on the physical experimentation of space and the idea of ​​a map. The recurring elements in his work are maps, lines, walking, the territory traveled, inhabiting, trending, social movement and history, with all the connections, transversalities and divergences that have appeared between them.

2020

_{Duration: 37:07
El Águila Exhibition Hall, first floor}

Taking Kafka's Prometheus as a starting point, the author focuses on the phenomenon of iconoclasm, which runs parallel to the general history of violence, analyzing the intense relationship of human beings with statues, specifically in acts of destruction and adoration towards images.

The action takes place in a placid study and cataloging environment altered by shots and strong tremors generated by distant explosions. He glimpses the dichotomy between the act of preserving and studying pieces of statues and the violence of the destruction of humans and animals, reiterating the seller-defeated pattern. The author raises questions about how to subvert this simplification and about the ways to represent intrinsic violence without resorting to images of its consequences.

Albert Garcia-Alzorriz He has a degree in Architecture from the Polytechnic University of Catalonia and a degree in Fine Arts from the University of Barcelona. He is currently studying the Master in Contemporary Cinema and Audiovisual Studies at the Pompeu Fabra University in Barcelona.
His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the Venice Biennale Art, the Taiwan International Video Art Exhibition in Taipei, the Rencontres Internationales Paris / Berlin, the FID Marseille, the FID Buenos Aires and the It documents Madrid, as well as in public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).