FICXLAB focuses on the perception of artistic vanguard universe
The interrelationship between films and other artistic disciplines has again aplace at the FICXLAB. In its fourth edition, this section will explore the aesthetic and narrative possibilities of the moving image through the works ofnine artists, representatives of the most avant-garde trends of experimental films and video art.
FICXLAB will offer a kaleidoscopic view of these current trends, showing works by contemporary artists whose works have been exhibited in museums such as the Reina Sofia, the Guggenheim, the Tokyo Palais in Paris, the Centre for Contemporary Culture in Barcelona, or the Sensory Ethnography Lab of Harvard University and participated in festivals such as Berlin, Rotterdam, Toronto,New York or FIDMarseille.
Through scenarios as a mine, a mountain range, a cave carved by deep time or a cave painted by our ancestors, the series of visions, dreams, memories, plastic speculations and emanations of the hidden that shape this section emphasize theneed to develop a new relationship with nature, as well as another way to account the complexity and richness of the mental processes of human life.
FICXLAB is composed of video projection sessions grouped in 3 sets and a 16 mm program. On the one hand, it is a series of films of the last year that refer to the ability toproduce images as a phenomenon where imagination is facing the necessity toincarnate in matter.
Another program is dedicated to the filmmaker John Price, who uses the photochemical process to tell us how we perceive the world around us and its variations. The Pricefilms program has been conducted in collaboration with CINEINFINITO, CantabriaFilm Library, and the Dialogue Group on contemporary cinema from Leon MUSAC.
FICXLABwill offer the following spotlights:
Volva, by Edouard Decam
2016. Film 16mm transferred to HD / 4:3 /colour / sound / 24´ 39''
Edouard Decam (Libourne, France, 1978). Architect by the School of Architecture and Landscape of Bordeaux, his practice focuses on the relationship between spaceand time through the prism of art and science. Volva is the name the German astronomer and mathematician Johannes Kepler gave the Earth seen from space in his book Somnium, considered the first science-fiction work. Observatories study a distant past, suspended indefinitely without hardly pay attention to the surrounding territory. Focused on the astronomical observatory of the Pic du Midi de Bigorre in the Pyrenees,this movie recorded on 16mm reflects on the spatio temporal relationship established between architecture, science and landscape.
Las bocas, by Carlos Martín Rodríguez
2016. HD / 16:9/ colour / sound/ 33´
Carlos Martín Rodríguez (Zamora, 1988).After earning the Masterin Research in Art and Creation of the Complutense University of Madrid,between 2013 and 2014, he worked in the Benveniste Contemporany workshop-gallery,where he worked as an assistant in projects of several national and international artists. His work is related with the construction of complex fictional experimental and poetical devices, around the language, speech, text, voice and its various implications related to the production of images.
The title of the film, Las Bocas, is due to a medieval hermitage carved on a limestone wall, just beyond one of the moors of the Castilian plateau. The problem that presents a place destined to be silent called Las Bocas, in the margin of the plateau, makes it an interesting starting point in relation to post-structuralist theories about language and the construction of meaning. The intent of the film lies in finding a speech of indeterminacy that unfolds as a system of resonances and analogies, trying to affirm the difference itself, without subordination to the representation or identity.
La part maudite, by David Ferrando Giraut
2016. HD / 16:9 / colour / sound / 35'
David Ferrando Giraut(Negreria, A Coruña, 1978). Master in Fine Arts from Goldsmith University of London, his work, focused primarily on video, sound and installation format, is located at the intersection of several conceptual threads as the hybridization of natural elements, technology and socio-political organization is.
There was, in the origins of pure or analytical conceptual art, an explicit will to get rid of the aesthetic dimension of the art work, with the intention of creating a purely intellectual art. This attempt ultimately failed, but there was a change in theontology of the artwork. La Part Maudite questions this suspicion towards the aesthetic level of art since the 1960s, in what has been called post-conceptualart, and links it to the progressive colonization of the aesthetic realm by capitalism. The narration is structured around the reflections of a historian of art, in the near future. She stops narrating in five distant historical moments, analyzing different aspects of the image: his birth in the Upper Paleolithic, Classical Greece and the depth of the pictorial surface, the search of display tools in the Enlightenment; the rise of the conceptual in the 60s and their rejection of the aesthetic aspect of the work of art, and the aesthetic cult of the individual today.
ELDORADO XXI, by Salomé Lamas
2016. HD / color / sound 125’
Salome Lamas (1987,Lisbon). After studying film in Lisbon and Prague, Salome Lamas got formed in the Gerrit Rietveld Academie. His work develops a space between fiction and documentary, where the story, based on the memory recovery, works to rescue certain historical traumas which make the invisible visible.
ELDORADO XXI is developed as a form of ethnographic story filmed in La Rinconada and Cerro Lunar, at more than 5000 meters high in the Andes ofPeru. There, human illusion faces destruction, fear and violence, with a background which mixes the struggle for resources and the mastery of nature.
Montañas ardientes que vomitan fuego, by Samuel M. Delgado y Helena Girón
2016. HD / 4:3 / colour / sound / 15' DCP
The works of Samuel M.Delgado (S / C de Tenerife, 1987) and Helena Girón (Compostela, 1988) have traveled to some reputed international festivals like Toronto International Film Festival, New York Film Festival, Mar del Plata, FIC Valdivia, Curtas Vila do Conde, Ann Arbor or Media City Film Festival, where they have been awarded.They have also won awards at the Festival des Cinémas Différents et Expérimentaux of Paris, in Alcances and the Curtocircuito International Film Festival where it received the award for Best Film and the Audience Award. His films have been exhibited in art centers and museums such as the CCCB(Barcelona) or TEA (Tenerife) which have also recently exhibited a video installation.
The interior of the earth becomes the shelter from the threat which is approaching the island. The volcanic tubes are communicating vessels between space and time. In them, you can experience the endurance.
Nuestra amiga la luna, by Velasco Broca
2016. HD. / 4:3 / colour / sound / 15´
Velasco Broca (Amurrio, 1978). He made his first short film, Footsy in Super-8, about the story of mating of two dead horses. This opens the door to more ambitious projects like power making short films in 16 mm. Settled as one of the most interesting short filmmakers of the decade, he is charged with a sex education video project that eventually ends up becoming his new short film: Der Milchshorf in English “The Milky Crust”, which has a great reception and keeps the constants of his work: fetishism, folkloric Spain, and the aliens.
Hadjiis a Hindu young man with physical limitations who lives humbly by the Ganges.After losing all he had, he is accepted as a disciple by a spiritual leader of Russian origin. This alliance will lead to some bizarre episodes that will haveits impact through a synchronous principle, in other parts of Europe. Thisshort film is inspired by the Gnostic text of the third century Hymn of the Pearl.
Sol negro (Black Sun), by Laura Huertas Millán
2016. HD. / 16:9/ colour / sound / 42´
Franco-Colombian artist and filmmaker living in Paris, his work focuses on the description of his immediate environment, in a sense that includes colonial and personal issues, ie,political and affective issues. Since 2014 he participates from the Sensory Ethnography Lab in the University of Harvard. His work has been shown at the Guggenheim Museum, the Palais de Tokyo in Paris and at festivals like FIDMarseille, Curtas Vila do Conde, Doclisboa, Tampere or L'Alternativa, among others.
Antonia is a lyrical singer with a particular beauty. Recovering from a suicide attempt in a rehabilitation institution, her family ties seem completely broken. His sister remains deeply affected by what happened. Black sun moves in a middle ground between the interview fiction, ethnography and music:a portrait of an artist who tries to comes back from hell. Its title refers to a symbol of melancholy described by Hippocrates and more widespread during Romanticism.
Programme 4. John Price
Fire #3 - 2:45 (2004)
Remembrance Day Parade - 2:45 (2005)
Crossings - 9:00 (1994-2000)
Sunset - 2:45 (2005)
Wreck / nation - 10:00 (1197)
Beati mundo corde - 8:00 (2002)
Eve - 6:00 (2006)
Naissance - 11:00
The Sounding Lines Are Obsolete - 10:00 (2004)
John Price has produced experimental films, dance and filmed diaries since 1986. His love for analogue photography has led him to the world of alchemy and experimentation, where he has developed photochemical emulsions and image formats. Dedicated to this task of revealing reality and with other means, the film pays great attention to textures that he, subsequently communicates with a series of texts and pictures.
His work has been supported by The National Film Board and the Canada Council for the Arts. This program covers many parts of its production in 16 mm and aims to create an overall picture of his work as a director of perception.
The FICXLAB section of Gijon International Film Festival (19 to 26 of November) is organized by the Town Hall of Gijón, by Gijón Divertia Inc., and Laboral Ciudad de la Cultura. Sponsored bythe Ministry of Culture, the Regional Ministry of Education and Culture of the Government of the Principality of Asturias Also with collaboration of Cineinfinito, Filmoteca de Cantabria and the Grupo de diálogo sobre cine contemporáneo del MUSAC.