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  • Me and You and Everyone We Meet

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    Anna Moreno, Select The Right Location, 2014

    Me and You and Everyone We Meet is a video program (films, short films, documentary) structured in four chapters that explores the main elements that set up subjective production and the working environment taking it as a space on which reflection is needed in order to generate different readings and possibilities imagining new ways of living and organizing ourselves.

    Wednesday December, 3, 2014, 08,00pm, Zumzeig Cinema
    Third chapter: Art and culture in the cognitive labour paradigm

    Julien Prévieux, Anomalies Construites, 2011, 07’41”; Agnieszka Polska, How the Work is Done, 2011, 6´24´´; Anna Moreno, Select the right location, 2014, 33’; Chto Delat?, Museum Songspiel: The Netherlands 20XX, 2011

    Introduced by artist Anna Moreno, this chapter focus on the place that culture and art occupy or may occupy in today’s labour paradigm where the cognitive plays a leading role. The four films are developed from different perspectives, addressing issues as creative work in the business environment, the role of the artist in society, culture and crisis or the possibilities of the museum in an apocalyptic future.

    FILMS DESCRIPTIONS

    Julien Prévieux, Anomalies construites, 2011, 7’41’’
    A slow “traveling” on the screens of a computer room. In voiceover, two users free modeling software from Google “Sketchup” – which allows 3D landmarks on Google Earth – testify, one from a passionate and fulfilled approach for recognition of his talent by the computer giant, the other, from a more critical perspective, detects a kind of undercover work. “I think this time is very well done. Everything is so damn good, so well tied, do not even know we’re working when we work.”

    Agnieszka Polska, How the Work is Done, 2011, 6’24’’
    In 1956 a group of students of the Academy of Fine Arts in Cracow locked themselves inside the sculpture and ceramics workshop, transforming the venue of daily labour into a space of passive existence. In her quasi-documentary, Agnieszka Polska re-enacts the strike. Juxtaposing its inherent inaction, not far removed from an artistic performance, with animations showing the humdrum character of everyday creative work, the artist poses a question about the social effectiveness of the artists’ efforts.

    Anna Moreno, Select the right location, 2014, 33’
    A city is flooding and five artists seek shelter on the contemporary art museum’s rooftop. Each one of them has saved one valuable object from the flood, which is symbolic to the kind of artist that saved it and to the main topics discussed in the play. The artists are waiting for the flood to pass and meanwhile, they talk about their present -and future- situation. At one point, the occupation of the museum becomes a plausible possibility. The artists, then, decide to stay in the museum.

    Chto Delat?, Museum Songspiel: The Netherlands 20XX, 2011, 25’21’’
    The script takes place against the backdrop of an imaginary scenario of Dutch politics in the year 20XX, where all immigrants have been banned from the country. The museum seems to be the only institution in which they hope to be able to evade their deportation. The film raises the frightening question of which particular role the museum and therefore also art might be forced to play under political circumstances borrowed from the realities of Russian current political situation. The film is a kind of acid test on how socially concerned art might operate under severe pressure of control by nationalistic populist governments.

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