Screens are the battleground of a symbolic conflict that dates back to the beginnings of modernity. Every image that appears in them (big and small) has the potential to change the world, for better or for worse. With its multiplication, with the ubiquity of the audiovisual and with the exponential growth of the capitals associated with this industry, our society requires pieces that dispute the hegemonic, normative and industrial discourse. Today, cinema and audiovisual art become “experimental tactics of war” for activists committed to their aesthetic and political context across the planet.
We have then divided the exhibition into three concentric moments related to the place from which the discourse is produced and its area of influence: “HERE”, for projects that are concerned with micro-politics, “THERE” for those who dare to look at the Regional political junctures and “BEYOND” for those who analyze global problems.
The powerful manifest images – at the local, regional and global levels – that are part of this selection, seek to be facilitating agents of important and urgent struggles and social and political changes in contemporary society.
DANIEL MONJE, JULIÁN MEDINA
6 SHORT FILMS
1h. 23min. 27s.
“Leaborte is a self-portrait of the 8A record of 2018, where the word/image is immortalized by bringing abortion out of a past based on the culture of concealment and death.
8A: Senate debate on the approval of the bill for legal, safe and free abortion in Argentina.”
2019, Colombia – Argentina | 11min. 45s.
Juan Felipe Moreno Betancur
A brief metaphorical account of one of the different types of violence to which the Colombian people have been subjected for decades. Paramilitaryism, which is driven by the state and private companies, takes the lives of thousands of people for economic and ideological interests.
Direct animation with charcoal in the book.
2020, Colombia | 0min. 14s.
Los Ex – Colectivo
“Special Coverage” makes a review of the audiovisual language of the most watched news in Colombia. The video puts in evidence characteristics that are codified in the production and imperceptible with the naturalization of this language.
The high and meticulous care with which this televisual production covers up its production methods, jumps to the light with inadvertent events like the errors of the teleprompter. The play picks up on these carelessness and repairs, in a ironic way, the high level of control over this device.
In dialogue with the above, the second section of the video gives an account of the opaque, blurred and diffuse quality of the language of the newsreels, making their presumption of clarity paradoxical. This alleged veracity is diluted in suggestive and hypothetical images where substitutability removes all singularity, making them insignificant pixels uniformed in a green chroma.