{"id":34412,"date":"2023-05-08T11:29:46","date_gmt":"2023-05-08T14:29:46","guid":{"rendered":"https:\/\/museomoderno.org\/el-cine-es-otra-cosa-2023\/"},"modified":"2025-01-10T16:05:35","modified_gmt":"2025-01-10T19:05:35","slug":"el-cine-es-otra-cosa-2023","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/el-cine-es-otra-cosa-2023\/","title":{"rendered":"[THE CINEMA IS SOMETHING ELSE] 2023"},"content":{"rendered":"\t\t
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[THE CINEMA IS SOMETHING ELSE] 2023<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Experimental cinema and video cycle\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u201cY se abrir\u00e1 todo el cielo\u201d [\u201cAnd the whole sky will open up\u201d]<\/b><\/p>

The sky as paradise, as the home of gods and the abode of angels. The sky as salvation, a place for eternal life. The sky: a scientific challenge, an instrument for divination, a tool to accurately navigate the oceans, a symbol of freedom. The sky has always been there, as an answer, as hope. And it has also been there, in one sense or another, as a great metaphorical reference.<\/span><\/p>

This year, the programme of \u201cEl cine es otra cosa\u201d [\u201cThe cinema is something else\u201d] will accompany the themes of the exhibition <\/span>A 18 minutos del sol<\/span><\/i> [<\/span>18 Minutes from the Sun<\/span><\/i>].<\/span>\u00a0<\/span><\/i>It will take you on journey through different skies in order to access, in each, a dissonant view that will allow you to contemplate, through a different lens, some of the fundamental questions of contemporary life.\u00a0<\/span><\/p>

In addition, and in line with the central theme of the museum\u2019s digital programme \u2013 dedicated to commemorating 40 years since the return to democracy of Argentina \u2013 our online programme, titled \u201cY se abrir\u00e1 todo el cielo\u201d [\u201cAnd the whole sky will open up\u201d], will be dedicated to the dichotomy between dictatorship and democracy.<\/span><\/p>

Curators: Gabriela Golder and Andr\u00e9s Denegri<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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We present El otro lado de la hoguera [The Other Side of the Stake] (2006), by Gustavo Galuppo.\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Using a movie myth as a starting point \u2013 that of Ren\u00e9e Falconetti, a French actress who died in Buenos Aires in 1946 and was later forgotten \u2013, looking through the family record in super-8 \u2013 in relation to Galuppo’s paternal grandfather, who died in 1980 – and culminating with videos of the filmmaker’s daughter, this work is structured as a brief epistolary, from which emerges an attempt to draw attention to catastrophes that occur around us. As the leitmotiv text of the work says: “It is not true that no one knows anything. The most terrible things continue to happen in full view of everyone”.<\/span><\/p>

Gustavo Galuppo, <\/span>El otro lado de la hoguera<\/span><\/i>, 2006, 7 min.<\/span><\/p>

Gustavo Galuppo Alives<\/strong> (Rosario, 1971) Audiovisual artist. Since 1998 he has regularly participated in multiple exhibitions, winning numerous awards and honours for his experimental video and essay film work. He also works in the field of research on film theory and history, publishing essays in books and specialised magazines. He teaches at the Universidad Nacional de las Artes (UNA) and the Universidad Cat\u00f3lica de Santa Fe (UCSF). In 2018, he published his first book, <\/span>El cine como promesa<\/span><\/i> (Sans Solei, Spain-Argentina); in 2020, <\/span>Los mecanismos fr\u00e1giles. Im\u00e1genes desde la vida da\u00f1ada <\/span><\/i>(Ver-Poder, Argentina), and, in 2022, <\/span>Despu\u00e9s de Godard. La legitimidad de lo incierto<\/span><\/i> (Ciudad G\u00f3tica, Argentina). He gives courses, seminars and workshops in institutional and independent settings in Argentina, Colombia, Peru and Bolivia. He lives and works in Rosario.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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We present 1978-2003 (2003), by Carlos Trilnick.\n<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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“It has been 25 years since the football World Cup that was organised in Argentina by the military dictatorship. Menotti, Passarella, Kempes, the goals, the successful final, General Videla’s celebration shared by thousands of people, raising their arms in victory. Radio commentator Jos\u00e9 Mar\u00eda Mu\u00f1oz (‘the voice of America’) emphasises every word: we Argentines are the best, we are champions, we are ‘right and human’. Only a single Dutch press team covers the procession of the Mothers of Plaza de Mayo. A few metres away from the River Plate stadium, many are tortured and killed. Not only in ESMA; the city of Buenos Aires and its surroundings were full of clandestine detention centres, as well as Rosario, Mendoza and every city in Argentina. The drug that is fascist sports and its accomplices, wearing the shirt of the Argentine national team, has done a good job. Videla celebrates the goals of his team; the World Cup will be useful for him to settle in power and develop his sinister plan of death and corruption. The intervention I make in the video on an arch of the stadium where the final of the World Cup was played is an act of silence, of mourning, of counter celebration, of homage to those who suffered in silence-“<\/span><\/p>

Carlos Trilnick
<\/span>Carlos Trilnick, 1978-2003, 2003, 7 min 30 sec.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Carlos Trilnick <\/b>(Rosario, 1957 – Buenos Aires, 2020) Argentinian audiovisual artist, photographer and independent curator. A precursor of video art in Argentina and Latin America. His work, located within the field of video installation, multimedia art and photography, is characterised by a strong experimental and political gaze. His work has been exhibited in numerous solo and group exhibitions, as well as in biennials and festivals of video, film and electronic arts in America, Asia and Europe. Parallel to his activity as a creator, he devoted himself to teaching design, audiovisual media and digital technologies. He was a professor at the Faculty of Architecture, Design and Urbanism (FADU), Universidad de Buenos Aires (UBA) between 1987 and 2020; director of the Degree in Image and Sound Design (UBA) between 2014 and 2018, and guest professor at various universities in Colombia, Ecuador and the United States.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The cinema is something else. \u201cDecir\u201d [\u201cTell\u201d]<\/strong><\/p>

The central theme of the museum’s digital programme this year is dedicated to commemorating the 40th anniversary of the return to democracy in Argentina. The online programming of El cine es otra cosa [The cinema is something else] will thus be dedicated to contemplating the dichotomy between dictatorship and democracy, as seen through audiovisual materials.<\/p>

In the \u201cDecir\u201d [\u201cTell\u201d] series of interviews, artists Sabrina Farji, Marcelo Brodsky, Tatiana Maz\u00fa and Ricardo Pons reflect on their works included in the online programme and how they relate to this important anniversary for our continued democracy.<\/p>

On this occasion, we present an interview with Sabrina Farji about her work international<\/em> [Some Women<\/em>] (2015)<\/p>

Curators:<\/strong>\u00a0Gabriela Golder and Andr\u00e9s Denegri
Coordination, production and interviews:<\/strong>\u00a0Valeria Orsi
Audiovisual production:<\/strong>\u00a0Federico Sande Novo y Rosario Cabred<\/p>

Museo de Arte Moderno de Buenos Aires
San Telmo, 2023<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Presenting <\/span>Fragmentaci\u00f3n de un paisaje patag\u00f3nico<\/span><\/i> (2023), by Ernesto Baca.<\/span><\/p>

In editing a Super 8 film that he found in the street, Baca has made cuts in the film so that the landscape becomes increasingly divided, until even the usual becomes strange.<\/span><\/p>

Materials used: A Super 8 film found in the street, labelled \u201cTrip to Port Stanley, 1981\u201d.<\/span>
<\/span>Descanso del Batall\u00f3n 601<\/span><\/i> [Battalion 601 at Rest<\/span><\/i>], filmed by Ernesto Baca. 9 July, 1999, Florencio Varela, province of Buenos Aires.<\/span>
<\/span>\u201cVerbo irregular\u201d [\u201cIrregular Verb\u201d], poem by Roberto Santoro (1939 \u2013 disappeared 1977).<\/span>
<\/span>\u201c\u00c9tnica Cruce de los Andes\u201d [\u201cEthnic Crossing the Andes”], a song by Gabriel Lococo.<\/span>
<\/span>Temas unidos<\/span><\/i> [<\/span>United Themes<\/span><\/i>], a conceptual anti-war album about the war in the Malvinas by Gabriel Lococo (Argentina) and Mark Slater (UK). Selection.<\/span><\/p>

Ernesto Baca, <\/span>Fragmentaci\u00f3n de un paisaje patag\u00f3nico<\/span><\/i> [<\/span>Fragment of a Patagonian Landscape<\/span><\/i>] (2023), 2 min 35 s<\/span><\/p>

Ernesto Baca (Buenos Aires, 1969) is a film and video director, and a graduate of the Centro de Investigaci\u00f3n y Experimentaci\u00f3n Cine y Video (CIEVYC). Baca has shot several feature films, including:\u00a0<\/span>Cabeza de palo<\/span><\/i> [<\/span>Stickhead<\/span><\/i>]\u00a0(2002),\u00a0<\/span>Samoa<\/span><\/i>\u00a0(2005),\u00a0<\/span>M\u00fasica para astronautas<\/span><\/i>\u00a0[<\/span>Music for Astronauts<\/span><\/i>] (2008),\u00a0<\/span>Vrindavana<\/span><\/i>\u00a0(2010),\u00a0<\/span>Jardines<\/span><\/i>\u00a0[<\/span>Gardens<\/span><\/i>] (2012),\u00a0<\/span>R\u00e9quiem para un film olvidado<\/span><\/i>\u00a0[<\/span>Requiem for a Forgotten Film<\/span><\/i>] (2017) and\u00a0<\/span>Israel<\/span><\/i>\u00a0(2022). He has also made several short films, including <\/span>Locomoci\u00f3n<\/span><\/i> [<\/span>Locomotion<\/span><\/i>] (2015) and <\/span>Atrapado en el sue\u00f1o del otro<\/span><\/i> [<\/span>Trapped in Each Other\u2019s Dreams<\/span><\/i>].<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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We present Casa Blanca <\/i>[White House<\/i>] (2005), by Le\u00f3n Ferrari and Ricardo Pons.<\/strong><\/p>

In line with his anti-imperialist political stance, Ferrari drops worms on a 3D scale model of the White House, a symbol of the power of the United States. This action is videotaped by Pons. The soundtrack is based on the audio of a performance presented by Ferrari in Brazil in the 1980s: the sound generated by the artist hitting his own wire sculptures. Created during George W. Bush’s presidency, <\/span>White House<\/span><\/i> brings to mind the monster and alien invasions of horror films.<\/span><\/p>

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In-person events at the Museo Moderno\u2019s Auditorium<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cCielo prohibido\u201d [\u201cForbidden Sky\u201d]<\/strong>
Censorship and repression. Resistance and counterculture. Police control, bodies resist. The films on show this month as part of \u201cEl cine es otra cosa\u201d [The Cinema Is Something Else] explore different tactics of resistance. One is set during the Ongan\u00eda dictatorship and the other in a fledgling democracy.\u00a0 The tactics range from a forbidden sky to a cry for freedom.<\/p>

Friday 4, at 7 pm.\u00a0<\/strong>
Parakultural: 1986-1990<\/i>, by Natalia Villegas and Rucu Z\u00e1rate (Argentina)
2020, 1 h 45 min<\/p>

In 1986, Omar Viola and Horacia Gabin decided to take on a monumental task: to find a space for artistic creation in a Buenos Aires still battered by the civil-military dictatorship that had ruled Argentina. This led to the opening of the Centro Parakultural, an anarchic, surrealist and explosive space that would become the centre of counter-cultural production for an entire generation that needed to express itself freely after years of repression. During its four years of existence, the Parakultural \u2013 located at 336 Venezuela Street in Buenos Aires \u2013 was home to numerous theatre, rock and punk artists, as well as poets and performers, many of whom have gone on to become leading figures in the art world. It also provided a space for a curious public that was eager to participate in everything that was taking place at the centre. When it closed its doors in 1990, the Centro Parakultural left an indelible mark on the art and culture of Buenos Aires. It is time to reopen its doors, and this film and its protagonists invite us to see and remember everything this magical place represented for the country\u2019s culture.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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BIOS
Natalia Villegas<\/strong> (Buenos Aires, 1985) Holds a degree in Audiovisual Production and is an editor and video trends consultant.
Rucu Z\u00e1rate<\/strong> (Buenos Aires, 1974) Musician, music producer and audiovisual producer. Scriptwriter with Kuarzo Entertainment Argentina since 2004.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Saturday 5 at 6 pm.<\/strong>
Danubio<\/i> [Danube<\/i>] by Agustina P\u00e9rez Rial (Argentina)
Documentary fiction
2021, 1 h 02 min<\/p>

1968. The Cold War. The intelligence services monitor how \u201ccommunism has infiltrated culture\u201d. In Mar del Plata, a Slavic immigrant woman works as an interpreter for the country delegates from Eastern European, translating the agenda of a film festival that is troubled by actors strikes and censored films. The archives used in the making of the film \u2013 declassified files, photographs, television and film clippings in different formats and from different sources \u2013 show a city of Mar del Plata that becomes a theatre of operations for increased militarisation, with the Danube Cultural Society at the centre of police paranoia.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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BIO
Agustina P\u00e9rez Rial<\/strong>\u00a0(Mar del Plata, 1982) Audiovisual producer and director. Holds a Degree in Communication Sciences (FSOC-UBA), a Diploma in Cultural Management (IDAES-UNSAM) and a Master\u2019s in Discourse Analysis (FFyL-UBA). Since 2017, she has been Co-Director of the Fi\u00f8rd Studio and specialises in audiovisual archival work. She directed the short film Los arcontes<\/i> [Archons<\/i>] (2020), with Natalia Labak\u00e9.\u00a0Danubio<\/i> is her first feature length film as director and producer. She is co-editor of the book Tr\u00e1nsitos de la mirada. Mujeres que hacen cine\u00a0<\/i>[Transitions of the Gaze: Women Who Make Films<\/i>] (Libraria, 2014).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Julio<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t
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En articulaci\u00f3n con la propuesta central del programa digital del museo, dedicada a la conmemoraci\u00f3n de los cuarenta a\u00f1os de democracia en la Argentina, este a\u00f1o el programa online<\/em> del ciclo \u201cEl cine es otra cosa\u201d estar\u00e1 orientado a pensar la dicotom\u00eda dictadura\/democracia a trav\u00e9s de materiales audiovisuales.<\/p>

La democracia es, sin dudas, un proceso en constante evoluci\u00f3n y construcci\u00f3n. Y se abrir\u00e1 todo el cielo<\/em> \u2013t\u00edtulo que identifica a esta programaci\u00f3n\u2013 propone un ejercicio de memoria, conformado por obras de artistas argentinos y de otros pa\u00edses de la regi\u00f3n que plantean, desde diferentes enfoques, reflexiones en torno a los logros alcanzados en estas cuatro d\u00e9cadas, a las amenazas negacionistas y, fundamentalmente, a los desaf\u00edos que a\u00fan persisten.<\/p>

En julio, presentamos La Internacional<\/em>, obra audiovisual de Tatiana Maz\u00fa.<\/p>

\u201cFilmo a mi hermana discutiendo con mi mam\u00e1 mientras preparan la cena de Navidad. La filmo en un acampe obrero, en un piquete, cantando. Descubro en un VHS que ven\u00eda film\u00e1ndola desde que \u00e9ramos chiquitas. Al parecer, seg\u00fan algunos versos de \u2018La Internacional\u2019, el socialismo ser\u00eda algo as\u00ed como un para\u00edso lleno de hermanos\u201d.<\/p>

Tatiana Maz\u00fa\u00a0<\/em><\/p>

La Internacional<\/em>, 2015
HD (DSLR), VHS, Color, Est\u00e9reo
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BIO
Tatiana Maz\u00fa<\/strong> (Buenos Aires, 1989) Realizadora documental experimental y artista visual, miembro del colectivo Antes Muerto Cine. Dirigi\u00f3, junto con Joaqu\u00edn Maito, El estado de las cosas<\/em> (2012) y, en solitario, La Internacional<\/em> (2015), Caperucita roja<\/em> (2019) y R\u00edo Turbio<\/em> (Prix Georges de Beauregard FIDMarseille, 2020).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Programa presencial en el auditorio del Museo Moderno<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201cEl cielo protector (el cielo como testigo)\u201d
<\/strong>A veces, vivir a cielo abierto resulta lo opuesto a padecer la intemperie. El v\u00ednculo cotidiano con la naturaleza, de manera permanente o temporal, permite desarrollar una actitud diferente de la que marca el ritmo acelerado de una humanidad cada vez m\u00e1s fren\u00e9tica y urbanizada. Aceptar la lluvia como una bendici\u00f3n que nutre y renueva. Apreciar los vientos que susurran secretos ancestrales y traen la promesa de nuevos horizontes. Encontrar consuelo en la tormenta, reconocerla como un espect\u00e1culo sublime y saber que la calma regresar\u00e1. Crecer en la resiliencia y la adaptabilidad.<\/p>

Desde el documental de observaci\u00f3n y su cruce con el cine experimental, las dos pel\u00edculas que integran el programa de julio de \u201cEl cine es otra cosa\u201d reflejan, a trav\u00e9s de situaciones diferentes, las delicias de vivir al amparo del cielo.<\/p>

Viernes 7, a las 19 h
<\/strong>Las delicias<\/em>, de Eduardo Crespo (Argentina)
2021, 1 h 5 min<\/p>

En el verde campo argentino, los alumnos del internado agrot\u00e9cnico Las delicias viven el final de su ni\u00f1ez y el comienzo de su juventud. El cuarto largometraje de Eduardo Crespo sigue la vida cotidiana de estos personajes mientras estudian, se meten en problemas y se esfuerzan por cumplir las expectativas de sus profesores, que quieren verlos convertirse en \u201cla sociedad del ma\u00f1ana\u201d. M\u00e1s all\u00e1 de las presiones de la edad adulta, Las delicias<\/em> busca celebrar a los j\u00f3venes y las comunidades que estos crean cuando est\u00e1n lejos de sus familias.<\/p>

BIO<\/strong>
Eduardo Crespo<\/strong> (Crespo, Entre R\u00edos, 1983) Director, productor y director de fotograf\u00eda. Ha dirigido los documentales Tan cerca como pueda<\/em> (2012) y Crespo<\/em> (La continuidad de la memoria)<\/em> (2016). Nosotros nunca moriremos<\/em> (2020), su tercera pel\u00edcula, se estren\u00f3 en la Secci\u00f3n Oficial del Festival Internacional de Cine de San Sebasti\u00e1n (Espa\u00f1a, 2020). Gan\u00f3 el premio Nueva Visi\u00f3n en el Santa B\u00e1rbara International Film Festival (Estados Unidos, 2021) y el premio C\u00f3ndor de Plata al mejor guion original (Asociaci\u00f3n de Cronistas Cinematogr\u00e1ficos de la Argentina, ACCA, 2021). Las delicias<\/em> (2021), su cuarta pel\u00edcula, tuvo su estreno mundial en la competencia International Documentary Filmfestival Amsterdam (IDFA, Pa\u00edses Bajos, 2021). Luego, se present\u00f3 en el True\/False Film Fest (Estados Unidos, 2022), el Frames of Representation Film Festival (Institute of Contemporary Art, Reino Unido, 2022), el Festival Internacional de Cine de Guadalajara (M\u00e9xico, 2022) y el Festival de Biarritz (Francia, 2022). Obtuvo el premio a mejor pel\u00edcula del DOCBHI (Festival Internacional de Cine Documental de Bah\u00eda Blanca, 2022). Actualmente, desarrolla un nuevo proyecto de ficci\u00f3n llamado La gruta del viento<\/em>, con el cual particip\u00f3 de la Residencia Ikusmira Berriak y gan\u00f3 el premio Irusoin (Festival Internacional de Cine de San Sebasti\u00e1n, Espa\u00f1a).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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S\u00e1bado 8, a las 18 h
<\/strong>\u00a0Al amparo del cielo<\/em>, de Diego Acosta Hern\u00e1ndez (Chile)
2021, 16 mm, color y blanco y negro, 1 h 10 min<\/p>

Un arriero y su grupo atraviesan r\u00edos y acantilados, con m\u00e1s de mil ovejas, para llegar al coraz\u00f3n de la cordillera de los Andes. Una vez arriba, en un peque\u00f1o valle inundado, el grupo se despide y el arriero queda solo. Poco a poco, se va perdiendo entre las monta\u00f1as, mientras los sue\u00f1os surgen como fantasmas.<\/p>

BIO<\/strong>
Diego Acosta Hern\u00e1ndez<\/strong> (Machal\u00ed, Chile, 1990) Director audiovisual por la Pontificia Universidad Cat\u00f3lica (PUC, Chile) y mag\u00edster en Cine Documental por la Universidad de Chile. Ha dirigido los cortometrajes Huaso chileno<\/em>, estrenado internacionalmente en el Clermont-Ferrand Short Film Festival (Francia, 2016), y \u00d1achi<\/em>, presentado en la secci\u00f3n \u201cNuevos caminos\u201d del Festival Internacional de Cine de Valdivia (Chile, 2019). Ha escrito, dirigido y montado Al amparo del cielo<\/em>, su primer largometraje documental experimental, estrenado en el Festival Internacional de Cine de Valdivia (Chile, 2021), donde obtuvo el premio al mejor largometraje chileno. Forma parte del colectivo de experimentaci\u00f3n f\u00edlmica CEIS8 (Santiago de Chile), donde realiza investigaci\u00f3n, talleres, muestras y obras.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Junio<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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En esta ocasi\u00f3n, presentamos Jugando a morir <\/em>(2008), de Marcelo Brodsky, video realizado a\u00a0 partir de una secuencia tomada del video Un espacio al olvido. Buena Memoria<\/em> (1997).<\/p>

\u201cEstamos en Yeipor\u00e1, la quinta de Billy, yo con un pul\u00f3ver rojo, Fernando con uno oscuro. Jugamos a matarnos con arco y flecha. Las flechas se dirigen al blanco con precisi\u00f3n. Caemos al suelo aparatosamente y morimos casi juntos: yo primero, aunque parec\u00eda que iba a morir antes \u00e9l. No pod\u00edamos pensar que faltaban apenas diez a\u00f1os para que uno de los dos muriera de verdad.<\/p>

\u201dVeintid\u00f3s a\u00f1os no es una edad para morir.<\/p>

\u201dCuando, a los doce, jug\u00e1bamos a hacerlo, cre\u00edamos que \u00e9ramos inmortales.\u201d<\/p>

Marcelo Brodsky<\/p>

Marcelo Brodsky, Jugando a morir<\/em>, 31 s
Grabado en loop, enero de 2008
Imagen: Mauricio Brodsky, 1967<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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BIO<\/strong>
Marcelo Brodsky<\/strong> (Argentina, 1954) Artista y activista por los derechos humanos, debi\u00f3 exiliarse en Barcelona como consecuencia del golpe militar de 1976. Estudi\u00f3 econom\u00eda en la Universidad de Barcelona y fotograf\u00eda en el Centro Internacional de la Fotograf\u00eda de la misma ciudad. Su maestro fue el fot\u00f3grafo catal\u00e1n Manel Esclusa. Situadas en el l\u00edmite entre la instalaci\u00f3n, la performance, la fotograf\u00eda, el monumento y los memoriales, sus obras combinan texto e imagen. En 1984 regres\u00f3 a la Argentina, donde realiz\u00f3 su primera exposici\u00f3n fotogr\u00e1fica individual (Palabras<\/em>, 1986). Luego expuso su trabajo en la Argentina y en gran cantidad de pa\u00edses. En 2008 recibi\u00f3 el Premio por los Derechos Humanos (B\u2019nai B\u2019rith Argentina) y, en 2014, el Jean Mayer Award (Tufts University Global Leadership Institute, EE. UU.). Entre su vasta producci\u00f3n art\u00edstica se cuenta Buena memoria<\/em> (1996), un ensayo visual que trata sobre la memoria colectiva durante los a\u00f1os de la dictadura, inspirado en las emociones y experiencias personales de quienes la vivieron. Sus obras forman parte de las colecciones del Museum of Fine Arts (Houston), la Tate Collection (Londres), el Metropolitan Museum of Art y el Jewish Museum (Nueva York), el Museo Nacional de Bellas Artes y el Museo de Arte Moderno (Buenos Aires), el Museo MAR (Mar del Plata) y el Museo de Arte Moderno (R\u00edo de Janeiro), la Pinacoteca do Estado de S\u00e3<\/em>o Paulo (San Pablo), el Museo del Banco de la Rep\u00fablica (Bogot\u00e1) y el Museo Nacional Centro de Arte Reina Sof\u00eda (Madrid), entre otras colecciones p\u00fablicas y numerosas colecciones privadas. Es miembro de la organizaci\u00f3n de derechos humanos Asociaci\u00f3n Buena Memoria y del Consejo de Gesti\u00f3n del Parque de la Memoria (Buenos Aires), en homenaje a las v\u00edctimas del terrorismo de Estado. En 2014 fund\u00f3 Visual Action\/Acci\u00f3n Visual, organizaci\u00f3n dedicada a incorporar la cultura visual en campa\u00f1as de derechos humanos y a trabajar en la educaci\u00f3n visual. Ha publicado diversos libros; entre ellos, Par\u00e1bola<\/em> (La Lira Argentina, Barcelona, 1982), Nexo<\/em> (La marca, Buenos Aires, 2001), Tiempo de \u00e1rbol<\/em> (La Luminosa, Buenos Aires, 2016) y Traces of Violence<\/em> (Artco, Berl\u00edn, 2021). Vive y trabaja en Buenos Aires.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cEl cielo amenazado\u201d
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El cielo es gris. La niebla y el humo de la usina el\u00e9ctrica cubren el pueblo. Sobre minas y ruinas hay aire negro y blanco por efecto de las m\u00e1quinas. Hay agujeros de codicia y de extractivismo en la tierra, que rompe los l\u00edmites del silencio para clamar a gritos.<\/p>

Un escenario de deterioro ambiental y social, consecuencia de la actividad industrial intensiva y de la explotaci\u00f3n de recursos naturales sin una consideraci\u00f3n adecuada por el medio ambiente y las comunidades locales.<\/p>

En las dos pel\u00edculas que se ver\u00e1n en junio, son las luchas de las comunidades organizadas las que hacen ver y dicen; las que nos permiten vislumbrar otra posibilidad.<\/p>

Jueves 8, a las 19 h.<\/strong> R\u00edo Turbio<\/em>, de Tatiana Maz\u00fa (Argentina)
2020, color y blanco y negro, 1 h 21 min<\/p>

Seg\u00fan el mito a\u00fan vigente en los pueblos carboneros de la Patagonia, si una mujer entra a una mina, la tierra se pone celosa. Entonces, hay derrumbe y muerte. R\u00edo Turbio<\/em> parte de una oscura experiencia personal para transformarse en una pel\u00edcula sobre el silencio de las mujeres que habitan pueblos dominados por hombres. \u00bfC\u00f3mo filmar donde nuestra presencia est\u00e1 prohibida? \u00bfC\u00f3mo grabar las resonancias de lo que no suena? Mientras la niebla y el humo de la usina el\u00e9ctrica cubren el pueblo, las voces de las mujeres de R\u00edo Turbio se abren paso con fuerza entre el blanco del hielo y los zumbidos de las m\u00e1quinas perforadoras, hasta hacer saltar por los aires la coraza del silencio.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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BIO
Tatiana Maz\u00fa<\/strong> (Buenos Aires, 1989) Realizadora documental experimental y artista visual, miembro del colectivo \u201cAntes Muerto Cine\u201d. Dirigi\u00f3, junto con Joaqu\u00edn Maito, El estado de las cosas<\/em> (2012) y, en solitario, La Internacional<\/em> (2015), Caperucita roja<\/em> (2019) y R\u00edo Turbio<\/em> (Prix Georges de Beauregard FIDMarseille, 2020).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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S\u00e1bado 10, a las 18 h.<\/strong> Lavra<\/em>, de Lucas Bambozzi (Brasil) 2021, 1 h 40 min<\/p>

Tras un desastre ecol\u00f3gico en Minas Gerais, una ge\u00f3grafa brasile\u00f1a regresa a su tierra con el objetivo de revelar c\u00f3mo la miner\u00eda ha moldeado y da\u00f1ado su regi\u00f3n natal y a sus habitantes. Lavra<\/em> es una pel\u00edcula h\u00edbrida, donde el personaje ficcional principal interact\u00faa con situaciones y personas reales. Una reflexi\u00f3n sobre la pertenencia y la identidad, sobre la experiencia de perder el mundo propio y luego tratar de recuperarlo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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BIO
Lucas Bambozzi<\/strong> (San Pablo, Brasil, 1965) Artista multimedia, produce obras en una variedad de formatos, como instalaciones, videos monocanal y proyectos interactivos. Ha exhibido su trabajo en exposiciones individuales y colectivas en m\u00e1s de cuarenta pa\u00edses, en diversas instituciones; entre ellas: el Museo de Arte Moderno de Nueva York (MoMA), Zentrum f\u00fcr Kunst Und Medien (ZKM), Frankfurter Kunstverein y ISEA-Ruhr (Alemania), Laboral and Arco\u2019s Expanded Box (Espa\u00f1a), Http Gallery (Reino Unido), Bienal de la Habana (Cuba), \u0160 KUC Gallery (Eslovenia), WRO Media Art Biennale (Polonia), Centre Georges Pompidou (Francia) y una gran cantidad de espacios en Brasil. Ha participado en los festivales de cine Sundance, FID Marseille, Videobrasil, It\u2019s All True Festival, Impakt, Festival do Rio y FILE, entre otros.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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May<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In keeping with the central theme of the museum’s digital programme for the year, which is dedicated to commemorating 40 years since the return to democracy of Argentina, the online programming of the \u201cEl cine es otra cosa\u201d series will be dedicated to contemplating the dichotomy between dictatorship and democracy, as seen through audiovisual materials.<\/span><\/p>

Democracy is, without a doubt, a process that is constantly evolving and under construction. The programme, titled \u201cY se abrir\u00e1 todo el cielo\u201d [\u201cAnd the whole sky will open up\u201d, is an exercise of remembrance that, through works by artists from Argentina and other countries in the region and their different perspectives, reflects on the achievements of the last four decades as well as the threats of naysayers and, fundamentally, the challenges that still persist.<\/span><\/p>

In this first portion of the programme, we present <\/span>Algunas mujeres<\/span><\/i> [<\/span>Some Women<\/span><\/i>] a video by Sabrina Farji that is based on the story of Dolly Scacheri, whose niece was returned to her after having been abducted during Argentina\u2019s last military dictatorship.\u00a0<\/span>Algunas mujeres<\/span><\/i>\u00a0provides a voice for all women: we are all one in this story which impacts all of us.<\/span><\/p>

Sabrina Farji,\u00a0<\/span>Algunas mujeres<\/span><\/i>, 1992, 14 min.<\/span><\/p>

This audiovisual work has won national and international awards, including the Franco Latinoamericano and, recently, the 8M 2023 Acquisition Award. Farji\u2019s work can be found in the collections of the Museum of Modern Art of New York (MoMA), the Fundaci\u00f3n Fortabat and the Palais de Glace.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sabrina Farji<\/b>\u00a0(Argentina)<\/span>
<\/span>Director, screenwriter, showrunner, producer. Farji is the founder of Zoelle Producciones (2003), the first vice-president of the Academia de Cine Argentina and a member of the board of the Asociaci\u00f3n La Mujer y El Cine [Women & Cinema Association]. She is also a member of DAC [the Argentine Film Directors Association] and CAPPA [the Argentinian Chamber of SME Audiovisual Producers], as well as being the Ibero-American Audiovisual Women\u2019s delegate to CIMA, the Spanish Association of Women Filmmakers. She teaches scriptwriting and audiovisual direction for film and television, and is a consultant and tutor for audiovisual projects. She participates as a jury member at national and international festivals on a regular basis, including: Cineposium (Bogot\u00e1, 2022), Cinemateca Bogot\u00e1, Ibermedia, Proimagenes and Fondo Panam\u00e1. She won the 8M 2023 Acquisition Award for her work <\/span>Algunas mujeres<\/span><\/i>. She is currently preparing for the premiere of her feature-length documentary <\/span>Mariquita, mujer revoluci\u00f3n<\/span><\/i> [<\/span>Mariquita, A Revolutionary Woman<\/span><\/i>].<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The cinema is something else. \u201cDecir\u201d [\u201cTell\u201d]\n\n<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The central theme of the museum’s digital programme this year is dedicated to commemorating the 40th anniversary of the return to democracy in Argentina and therefore the online programming of <\/span>El cine es otra cosa<\/span><\/i> [<\/span>The cinema is something else<\/span><\/i>] will be dedicated to reflecting on the dichotomy between dictatorship and democracy, as seen through audiovisual materials.<\/span><\/p>

In this series of interviews, \u201cDecir\u201d [\u201cSay\u201d], artists Sabrina Farji, Marcelo Brodsky, Tatiana Maz\u00fa and Ricardo Pons reflect on their works that are included in the online programme and how they relate to this important anniversary of uninterrupted democracy.<\/span><\/p>

On this occasion, we present an interview with Sabrina Farji about her work <\/span>Algunas mujeres<\/span><\/i> [<\/span>Some Women<\/span><\/i>] (1992).<\/span><\/p>

Curators:\u00a0Gabriela Golder and Andr\u00e9s Denegri<\/span>
<\/span>Coordination, production and interviews:\u00a0Valeria Orsi<\/span>
<\/span>Audiovisual production:\u00a0Federico Sande Novo and Rosario Cabred<\/span>
<\/span>Museo de Arte Moderno de Buenos Aires<\/span>
<\/span>San Telmo, 2023<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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\u201cCielo negro\u201d [\u201cBlack Sky\u201d]\n
\nIn-person events at the Museo Moderno\u2019s Auditorium<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The expression \u201cblack sky\u201d refers to the dark, starless appearance of the night sky in areas without light pollution. In these areas, the lack of artificial light allows our eyes to adjust until they perceive the true darkness of space, which makes the stars, planets, galaxies and other celestial objects appear even more brilliant and brighter.<\/span><\/p>

It is a concept that is also applied in astronomy and astrophotography to describe the quality of the night sky at a specific point, which can be measured using a dark-sky scale that indicates the amount of background light in the sky.<\/span><\/p>

However \u2013 as if it could be otherwise \u2013 art tends to cloud the meaning. In science fiction, \u201cblack sky\u201d is also used to describe a gloomy and threatening appearance in the night sky, and is often associated with apocalyptic or post-apocalyptic scenarios. In this sense, the works shown in this first programme of this year\u2019s edition of \u201cEl cine es otra cosa\u201d take us on a journey through skies full of satellites, radio waves, bizarre spacecraft, dubious metaphysical theories, and an exhaustive dig through popular archive images.<\/span><\/p>

Friday 12, at 7:00 pm.<\/b>
<\/b>Siete a\u00f1os terrestres, un a\u00f1o humano<\/span><\/i> [<\/span>Seven Earth Years, One Human Year<\/span><\/i>], by Adri\u00e1n Quetzal Randall (Honduras-United States)<\/span>
<\/span>2021, 1 h 19 min<\/span><\/p>

Siete a\u00f1os terrestres, un a\u00f1o humano<\/span><\/i> [<\/span>Seven Earth Years, One Human Year<\/span><\/i>] is a critical experimental documentary that examines the effects of the last hundred years of telecommunications on the human psyche. It connects historical accounts with personal anecdotes in order to explore the relationship between radio waves and brain waves. The film raises questions about the psychological weight of the US empire and its quest to create a global military communications system.<\/span><\/p>

BIO<\/span>
<\/span>Adri\u00e1n Quetzal Randall (1989)<\/span>
<\/span>Honduran-American filmmaker and video essayist. Quetzal Randall focuses on the aesthetic and narrative intersections between social policy, mental health and spirituality. He works as a professional video editor in Brooklyn, New York, and has participated in numerous projects related to social justice that have been both experimental and commercial in nature.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Saturday 13, at 6:00 pm.<\/b>
<\/b>La misi\u00f3n del comandante Ashtar Sheran<\/span><\/i> [<\/span>The Mission of Commander Ashtar Sheran<\/span><\/i>], by Ernesto Baca (Argentina)<\/span>
<\/span>2012, 70 min<\/span><\/p>

A group of beings claim they are \u201caliens\u201d from galaxies far away. They have come to Earth to collaborate in a series of tasks that must be completed in order for the human species to undergo a certain degree of evolution. The leader of the group, Commander Asthar Sheran, has a large fleet of spaceships and, from space, gives instructions to begin the evacuation of select human souls before the imminent cataclysms begin.<\/span><\/p>

BIO<\/span>
<\/span>Ernesto Baca (Buenos Aires, 1969)<\/span>
<\/span>A graduate of the Centro de Investigaci\u00f3n y Experimentaci\u00f3n en Cine y Video (CIEVYC), as a film and video director. Baca has shot several feature films, including: \u00a0<\/span>Cabeza de palo<\/span><\/i> [<\/span>Stickhead<\/span><\/i>]\u00a0(2002),\u00a0<\/span>Samoa<\/span><\/i>\u00a0(2005),\u00a0<\/span>M\u00fasica para astronautas<\/span><\/i>\u00a0[<\/span>Music for Astronauts<\/span><\/i>] (2008),\u00a0<\/span>Vrindavana<\/span><\/i>\u00a0(2010),\u00a0<\/span>Jardines<\/span><\/i>\u00a0[<\/span>Gardens<\/span><\/i>] (2012),\u00a0<\/span>R\u00e9quiem para un film olvidado<\/span><\/i>\u00a0[<\/span>Requiem for a Forgotten Film<\/span><\/i>] (2017) and\u00a0<\/span>Israel<\/span><\/i>\u00a0(2022).\u00a0<\/span>La misi\u00f3n del comandante Ashtar Sheran<\/span><\/i>\u00a0[<\/span>The Mission of Commander Ashtar Sheran<\/span><\/i>] (2012) is his first \u2018found footage\u2019 film, made using images from the internet. He has also made several short films, including <\/span>Locomoci\u00f3n<\/span><\/i> [<\/span>Locomotion<\/span><\/i>] (2015) and <\/span>Atrapado en el sue\u00f1o del otro<\/span><\/i> [<\/span>Trapped in Each Other\u2019s Dreams<\/span><\/i>].<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Experimental cinema and video cycle \u201cY se abrir\u00e1 todo el cielo\u201d [\u201cAnd the whole sky will open up\u201d] The sky as paradise, as the home of gods and the abode of angels. The sky as salvation, a place for eternal life. The sky: a scientific challenge, an instrument for divination, a tool to accurately navigate […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-34412","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/34412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/comments?post=34412"}],"version-history":[{"count":21,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/34412\/revisions"}],"predecessor-version":[{"id":50001,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/34412\/revisions\/50001"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=34412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=34412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=34412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}