Cinema and video

Cinema and video

REGISTRATION FOR FEBRUARY 27

SESSION 18:00H HERE

SESSION 20:00H HERE

Continuing the line of work begin in 2014, El cine rev[b]elado has put together a programme of activities on audiovisual performance and cinema’s interconnections with other disciplines, engaging with the cinematographic experience beyond the conventional darkened film theatre and the screened image. Instead, here we will be interrelating and transforming it in order to activate an audiovisual-based experience that questions not just its own language but also its whole structure and logistics.

Similar to previous iterations of this programme, we are presenting a range of transversal projects that blend film and cinema with sound art, new media, radio, architecture and dance. Taking on board the situation of the pandemic and also as a kind of tribute to the origins of this programme, this year we are focused entirely on the local fabric with a view to strengthening the bonds with the territory.

Our goal is to give our audience a chance to share some of the most outstanding contemporary audiovisual and performance-based works. We will be taking a closer look at and lending a particular focus to the local scene, ensuring a continuity with local artists and agents after Covid-19. In addition, most of these projects are being debuted for the first time in Madrid, thus reinforcing El cine rev[b]elado’s role as a key event in the performing arts and in the cultural calendar of the Region of Madrid during the winter season. This year we are celebrating the project’s fifth edition at CA2M, no better moment to meet up, come together again, reflect on the current situation and continue to work together.

Curated by Playtime Audiovisuales (Natalia Piñuel Martin and Enrique Piñuel Martin).

Playtime Audiovisuales. A cultural management platform founded by Natalia Piñuel and Enrique Piñuel in 2007, dedicated to contemporary art practices, undertaking curatorial projects for art centres and cultural institutions like Espacio Fundación Telefónica, Azkuna Zentroa, MUSAC, Instituto Cervantes, Centro Cultural de España in Mexico and Tabakalera. Playtime Audiovisuales has also worked with film and music festivals. Its many projects include “Contemporary Visions: New Cinema and Video in Spain” held at Domus Artium 2002 (DA2) in Salamanca since 2013; the multidisciplinary festival “She Makes Noise” at La Casa Encendida in Madrid since 2015 which focuses on the role of women and non-binary identities in electronic music and audiovisual experimentation; and “El Cine Rev[b]elado”, the performance-based programme at Centro de Arte Dos de Mayo (CA2M) in Móstoles, Madrid, since 2014. They regularly collaborate with various mass media and as teachers.

More information:

 www.playtimeaudiovisuales.com

http://elcinerevelado.tumblr.com 

Twitter:   https://twitter.com/playtimeav

Type of activity
Dates
SUNDAYS FROM 6th TO 27 FEBRUARY 2022
Temas
Entradilla

Continuing the line of work begin in 2014, El cine rev[b]elado has put together a programme of activities on audiovisual performance and cinema’s interconnections with other disciplines, engaging with the cinematographic experience beyond the conventional darkened film theatre and the screened image.

Actividades asociadas
Categoría cabecera
CINE REVELADO5
Cinema Revealed #05
Pie media

La Ciudad de Verónica Navas. Picture: Alessia Bombaci.

¿Es un ciclo?
Desactivado
Duration
4 SESSIONS 18:30 - 20:30

This autumn's cinema series is a celebration of the audio-visual media that is part of the Centro de Arte Dos de Mayo Museum’s public heritage. Our collections feature many pieces of video art encompassing the last decades of audio-visual history, both nationally and internationally. In recent years, we have also decided to make a strong commitment to promoting experimental and exhibition cinema, as we consider the moving image to be a fundamental heritage in present-day culture and, above all, because it is important to have a museum record of the great moment that film is currently experiencing in Madrid.

Dialectal Cinema is an ideal accompaniment to Dialecto CA2M. It will allow us to watch some of the most interesting films acquired in recent years in their authors’ own voices. In other words, it will follow the traditional cinema and colloquium format, but with exceptional artists.

Non-commercial cinema is a fundamental element for the opening of the CA2M Collection. Luis López Carrasco (Murcia, 1981) will open the cycle with The Future (2013), a film of unique generational importance. This was his first big hit before the acclaimed The Year of Discovery (2020). Another documentary film, Everyone likes bananas, brings Rubén H. Bermúdez (Móstoles, 1981) back to our museum, collectively addressing the day-to-day experience of blackness in Spain as part of an impressive community exercise. The Science fiction category will be represented by Ion de Sosa (San Sebastian, 1981), who adapted Philip K. Dick's Androids Dream of Electric Sheep into a dystopian Benidorm during low season.

Lois Patiño (Vigo, 1983) has been a leading voice in the field of exhibition cinema, a less narrative format that acts as a loop for exhibition spaces, over the last decade. In Shady Mountain, the viewpoint and light reveal the geological formation as a place of coexistence, a sublime place to live. Films by Alex Reynolds (Bilbao, 1978) defy conventional narrative by displaying the affective structures that glue viewers to the screen.

In the final session can chat with three quite different video artists. Ana Esteve (Agres, 1986) discusses cinema itself and its conventions in her films. In The Magic Screen she turns a city built on the East Coast of Spain, the Levante, which is still a potential dream, into an archaeological site. Cristina Garrido (Madrid, 1986) uses a cliché promotional documentary to explain a new kind of art. This film is shown at art fair stands and Garrido herself considers it to be another artistic genre altogether: just like painting, the art featured at the fair pavilion. Finally, Mar Reykjavik (Sagunto, 1995) reflects on the creation of identity through new technologies and the virality of networks. My body, my rules analyses the potential relationships and escapes resulting from viral challenges.

In addition to these dates, and for the duration of the CA2M Dialect exhibition, all the video pieces from the CA2M Collection and the ARCO Foundation Collection will be available for viewing in a cinema on the second floor of the museum. There, visitors can choose which piece they want to watch and enjoy the possibilities that the cinematographic medium offers for current artistic expression.​

Type of activity
Dates
Del 28 de octubre al 2 de diciembre
Intended for
Entradilla

This autumn's cinema series is a celebration of the audio-visual media that is part of the Centro de Arte Dos de Mayo Museum’s public heritage. Our collections feature many pieces of video art encompassing the last decades of audio-visual history, both nationally and internationally.

Descubre más
Subtítulo
CINEMA IN THE CA2M COLLECTION
Categoría cabecera
El Futuro
DIALECTAL CINEMA
More information
Pie media

Fotograma de El Futuro, Luis López Carrasco, 2014.

¿Es un ciclo?
Desactivado
Duration
18:30 - 20:30

With the title The Films of…, we will get together to view the work of artists who use audiovisuals to speak about the here and now. There is no common theme as such between the different sessions, rather what unites them is a shared urgency to understand our surrounding world and its everyday effects on us inasmuch as inhabitants of techno-capitalism. In this proposal, there is also an intention to break away from the idea of a retrospective as the ultimate recognition of an artist’s long-standing career. The age of the artists is not important, nor the years that they have been working, nor the number of films they have made. What really interests us is that they share their working processes with us, their first and last films, their doubts and working methods.

3 FEBRUARY 17:30

The films of Jorge Suárez-Quiñones and Guillermo Pozo
With Jorge Suárez-Quiñones and Guillermo Pozo in attendance

Yohei. 63’. 2015.
Amijima. 54’ 55’’. 2016.
Gimcheoul. 97’. 2018.

Since 2014, the year they started their artistic and sentimental relationship, Jorge and Guillermo have been searching for themselves in images and in sounds. Their films are crossed journeys, their own and other people’s diaries full of repeated paragraphs and blank sheets. Guillermo’s body, always in front of the camera, is more of a container than a character, sometimes it is just a gesture, other times it is possessed by Jorge and then we have no idea who or what is speaking to us. Both of them, and also what they create, like to caress plants, wet their hands and invoke ghosts. The three feature-length films they have made to date (and this is the first time that all three can be seen together in one session), invite us to feel the form, to break the causality proper to narrative film and to find them/ourselves in the physicity of light and in phonemes.

10 FEBRUARY 18:30

The films of Mar Reykjavik
With Mar Reykjavik in attendance

My body the rules. 13’. 2017.
El Verí. 35’. 2018.
WAAITT. 15’. 2018.

The image as possibility, the pixel made flesh, stone and tree trunk. Poison. The films of Mar Reykjavik speak to us of what is not seen, of the in-between, and the power to generate new meanings by annihilating the image. She says that “poison does not kill but contemplates death in things in order to give them new meanings”. Accordingly, bodies become metallic supports and stands, and the stones emotional anchors. In her work there is a certain obsession with embodying the digital, like a desire to condense times, places and materials in search of the total image. A representation that is imitable for everybody; people, objects, animals and everything that breathes between one and the other. Sometimes her films are screened, but nearly always they move and perform themselves. This time three of them will coexist in the same space and it will be our bodies that move to view them on a path at times guided, at times suspended.

17 FEBRUARY 18:30

The films of Laura Huertas-Millán
With Laura Huertas-Millán in attendance

Laberinto. 21’. 2018.
Jenny 303. 6’. 2018.
Aequador. 19’. 2012.
Journey to a land otherwise known.23’. 2011.

Film, in uppercase, has often addressed landscape throughout the course of History, subjecting it to a romantic view and the ideology of the person recording it. Very often, almost always, the subject behind the camera is a cis, white, heterosexual and middle class man. In other words, the representation of our surroundings and of the other-place, of those spatially and culturally distant landscapes, belongs to power. It is in this framework that Laura Huertas-Millán’s films offer us some salvation. They discover for us a whole multitude of fissures in this hegemonic representational system. These cracks are material and conceptual, even temporal. Ruins and virtual architecture are some of the tools that Huertas-Millán uses to perforate History, breaking it and opening room for other systematically erased stories.

24 FEBRUARY 18:30

The films of Mario Pfeifer
With Mario Pfeifer in attendance

Untitled [“Two Guys”]. 8’. 2008.
Again. 41’ 39’’. 2018.

There is ten years between Mario Pfeifer’s first and last films. Both of them speak to us of power and representation in contemporary Europe, although the social and political turbulences that have taken place during the last decade are enough to make Pfeifer’s language necessarily more explicit, for his images to give names and surnames to the xenophobia and violence systematically exercised by the West on its frontiers, in the mass media and in refugee camps. From the political implication of their gestures, agency and reproduction, to the re-enactment and mise en scène based on real events, Pfeifer’s works analyse migratory movements and the refugee crisis in Germany with aesthetic and narrative precision, uncovering the media technologies and the necropolitics of the victors.

Image removed.

Type of activity
Dates
3rd - 14th February, 2019
Curatorship
Temas
Entradilla

With the title The Films of…, we will get together to view the work of artists who use audiovisuals to speak about the here and now. There is no common theme as such between the different sessions, rather what unites them is a shared urgency to understand our surrounding world and its everyday effects on us inasmuch as inhabitants of techno-capitalism.

Subtítulo
FILMS ON SUNDAYS
Categoría cabecera
Las películas de
THE FILMS OF…
¿Es un ciclo?
Desactivado
Duration
5 sessions

Manuel Polo and Jesús Macías are the stars of Todo lo contrario. These ninety-somethings are what you could call film buffs, although unknowingly, because they would never think in those terms, but they use scenes from films to show us what they are thinking or they flesh out ordinary memories with movie memories. They lived during that time and in that world when cinema, the only art form that has been genuinely popular, had an all-pervasive presence; you worked, ate, slept, went to the cinema, just one more thing in the everyday flow of life. This programme came about from a meeting between them and a voluntary film buff, someone who started out at the end of that time and of that world.

Following many conversations and films that the involuntary and voluntary film buffs mentioned and noted, respectively, it was whittled down to six. Manolo’s and Jesús’s tastes are filtered through another taste. Six examples of the talent accumulated in Hollywood during the golden age of the big studios. Six seminal movies, six true works of art and sources of aesthetic (and ethical) pleasure. Six ethical and (aesthetic) hypotheses whose characters mutate, with the torment and pain and excitement of change; they find out who they are and discover their inner desires through chance meetings, reunions, disagreements. And Manolo and Jesús, who saw them, perhaps get to discover something about themselves and about others through them, recognising themselves in them. And perhaps we will too.

The titles already give us a clue to the (dramatic) weight that falls on women, dealing with their adventures and their freedom. After Captains Courageous we could ask ourselves “How can you grow up without losing your childhood?” and answer, thanks to It Happened One Night and The Awful Truth, “by letting fantasies of love lead to companionship, seriousness to improvisation, humour and fun”. But you can still hear a voice saying: “Yes, ok, but… What happens if we are women light years away from the standard, or if certain relationships place us in danger?” That’s where the queen, the pirate and the voyager have something to say.

Passing on this experience, at once intimate and shared, digging up those dead who are still very much alive in the minds of non-experts, helps to understand the overwhelming influence and presence of cinema, when it offered an opportunity for sentient learning every day, a gift for the eyes everyday for everyone. Every week, Jesús, a hairdresser since he was practically a boy, would go through the programme and choose the movies he was going to see, without bothering to take into account how near or how far away the cinema was from his home-hairdresser’s: “Whether it was in Tetuán or Vallecas, it didn’t matter, I went anyway. All cinemas were for me”.

Type of activity
Dates
24, 28 & 31 January; 4, 7 & 11 February| 6:00 pm
Intended for
Temas
Entradilla

Six seminal movies, six true works of art and sources of aesthetic (and ethical) pleasure. Six ethical and (aesthetic) hypotheses whose characters mutate.

Categoría cabecera
Film on Sundays
All cinemas were for me
¿Es un ciclo?
Desactivado
Duration
6 Sesions

CURATORS MERY CUESTA Y CARLOS REVIRIEGO

The conjunction was inevitable. While Filmoteca Española (FE), jointly with the publishers Cátedra, were publishing the book La codorniz (de la revista a la pantalla y viceversa), by Aguilar and Cabrerizo, Centro de Arte 2 de Mayo (CA2M) was preparing the exhibition “Absurd Humour” and the book of the same name by the curator Mery Cuesta. To a certain extent, they were forced to get on and, as was the case in hand, “to associate together” in order to jointly imagine a shared variety show. And so, driven by the unbridled imagination of the current confinement, this double programme came about with an evident desire to strike up another equally necessary coupling: a bridge between two generations of comedians with several decades between them. Does the blood of Codorniz humour run through the veins of Chanante humour and its contemporary derivates?

FE and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today. The playful, surrealist quality of the folly unquestionably runs through the veins of these proposals which, in the second programme, focus on a direct intervention in creations from the past through the optic of the present moment. While Joaquín Reyes dubs fragments of Noticiario de Cine-Club newsreels featuring intellectuals and forward-thinkers from Madrid and Barcelona in 1930, the Tono & Mihura’s “humoristic production” called Un bigote para dos [A Moustache For Two]–“a stupid film for serious people”—is given a revamp by the hands (and voices) of the humoristic practices of Juan Cavestany, Julián Genisson and Lorena Iglesias (members of the Canódromo Abandonado collective) and Venga Monjas.

CAs if they were Jardiel Poncela’s parodic overdubbings of silent movies called “celuloides rancios” now updated to the digital era, the double programme “A Moustache for the 21st Century” goes to clearly show the generational transmission of a kind of nonsense logic humour that ran through Spanish films for many decades, and which is still alive today (at least we believe so) in more contemporary humoristic practices. The connections between Tono & Mihura and Venga Monjas, or between Neville and Joaquín Reyes, emerge naturally, revealing the staying power of absurd humour as a sign of identity of Spanish culture. At the same time, Chanante humour is paired directly with its spiritual forebears, raising absurd laughter. And so to paraphrase the fairground huckster in Verbena: “Step right in [ladies and gentlemen]! Have we a just and moral show for you!”.

SESSIONS

CODORNICESCAS PRESENTATIONS | From 22 May

A whole series of audiovisual productions sprung up around La Codorniz, the most iconic satirical magazine in the history of Spanish popular culture. Today these productions are revisited (and recommended) by the researchers Aguilar and Cabrerizo and the filmmaker Carlo Padial (Algo muy gordo, 2017).

_ Verbena (1941), by Edgar Neville [31 min]. Presentation by Santiago Aguilar and Felipe Cabrerizo.
Don Viudo de Rodríguez (1935), by Jerónimo Mihura [14 min], + El corazón de un bandido (1968), by Chumy Chúmez [7 min]. Presentations by Carlo Padial.

SCREWBALL OVERDUBBINGS | From 5 June

The practice of screwball overdubbing, the audiovisual sound and image collage, is an excellent way of creating an absurd humoristic effect. Thanks to Tono & Mihura’s Un bigote para dos, their 1940 screwball film, a comedy rewriting of the dialogue of a Johann Strauss biopic, and to Jardiel Poncela and his “celuloides rancios”, these redubbings were hugely popular back in the 1940s. Today we have chosen the filmmaker Juan Cavestany (Gente en sitios, 2013) and two comedian duos, Julián Genisson & Lorena Iglesias and Venga Monjas, to revisit this vintage comic practice from Spanish culture and to make a new dubbing for Un bigote para dos. The programme is rounded off with a dubbing by Joaquín Reyes, in the style of his “Retrospecter” or “Mundo viejuno” sketches, of a newsreel directed by Giménez Caballero.

Noticiario de Cine-Club (1930), by Ernesto Giménez Caballero [31 min]. Fragment dubbed by Joaquín Reyes.
Un bigote para dos (1940), by Tono y Mihura [64 min]. Dubbed by (in order of appearance) Juan Cavestany (subtitling) / Julián Genisson & Lorena Iglesias / Venga Monjas.

 

Type of activity
Dates
A partir del 22 de mayo
Intended for
Temas
Acceso notas adicionales

Ciclo de cine online

Entradilla

Filmoteca Española and CA2M organized a series of events and rereadings of filmic creations that arose around the satirical magazine La Codorniz run by some of the most outstanding voices in absurd humour today.

Recursos
Subtítulo
GENERATIONAL TRANSMISSION OF ABSURD HUMOUR AND AUDIOVISUAL FOLLY
CA2M & FILMOTECA ESPAÑOLA ONLINE FILM SEASON
Cupletista con barba en Verbena (1941), de Edgar Neville
A MOUSTACHE FOR THE 21ST CENTURY
Pie media

Cupletista con barba en Verbena (1941), de Edgar Neville

¿Es un ciclo?
Desactivado
Coorganiza
Duration
2 sesiones