Four projects developed by LAAV_ are taking part of the exhibition Five Tours, One Point of View. MUSAC exhibition that will open its doors on January Saturday the 25th in MUSAC. In this exhibition, created on the occasion of the 15th anniversary of MUSAC, LAAV_ is located within the section Relational Dynamics. Context and situated action, curated by Manuel Olveira. Four timelines will be arranged to show the creative processes behind of which the projects La rara troupe, Teleclub, Damn Mine (Puta Mina) and Libertad have been realized. This is a space thought to stimulate dialogue, which will be activated with different actions throughout the time of the exhibition (until September the 20th 2020).
Adriana Vila Guevara, anthropologist and filmmaker, writes in this text a meditation derived from the creative process surrounding her film Belén(2016). In this text she reflects on the contradictions of a creative process (that of a cinematic process) that comes from a context that somehow limits its own creative independence, more so if it is to be compared to the previous freedom of an ethnographic work.”I was entering into the mechanics of the cinematic industry, which would give me some benefits and learnings but also would imply sacrifices, involving a whole range of duties, obligations and limitations. It had already started. The initiation had begun, there was no turning back”.
This text is part of our series About the impossibility of anthropological cinema.
Puta Mina is being shown between October the 24th of 2019 and January the 12th of 2020 in Centro de Arte y Naturaleza (CDAN, Huesca) in a collection of works produced by more than thirty artists. This exhibition reflects on the impact that the mining industry has on the landscape, environment, society and earth. In doing so it offers a point of view on the relation between nature and technology, ecology and science and between past and future.
22nd and 23rd of November, 2019
The meetings of LAAV_ are proposed as an space of exchange between researchers, educators and artists in which to share processes and work methodologies. As part of the meetings we will have with us some of the projects that are being produced under the Open LAAV_ fund. Additionally we will have external researchers as well as a presentation of the processes of LAAV_’s own works Hostal España and Libertad.
From LAAV_ we would like to thank Fundación Daniel y Nina Carasso for the support and backing offered for four years. This support helped to create and consolidate a space that is now a reference not only to other museums, but to the film sphere.
With the creation of LAAV_, the museum was proposing new ways of collaborative practice in which to join production, research, arts and action on communities. In short, to transform the way we create culture from the institutions.
For that, support from MUSAC, museum in which the laboratory is located, has been capital. However, without the support and collaboration from Fundación Daniel y Nina Carasso this adventure would not have started on the first place.
From Hitchcock and Cassavetes being projected on Cinema Doré, to open-source films projections on open spaces in Lavapiés neighborhood, film critique and curator Ana Useros proposes a reflection on the poetics and politics of participation. Having as a reference the differentiation between painting and window filmmakers proposed by Serge Daney. This is part of our collective reflection-project About the impossibility of anthropological cinema.
(Picture taken from 11ª Muestra de Cine de Lavapiés).
After months of work we are introducing the interactive map in which the process behind Libertad project is detailed. The interactive map was designed, executed and conceptualized by Daniela Martagón. Web design by solserpiente. We are introducing the interactive map along with the film in the National Museum of Anthropology (Madrid) on Saturday the 14th of September at 12:00. Furthermore, on the 20th of September the same project will be discussed on the International Producers Meeting Encuentro 3XDOC , promoted by DOCMA. Click here to access the interactive map.
“Experiencing shared learning could also involve approaching that point at which one stops creating work, of wanting a product, where cinema no longer attains images, as suggested by Peter Pál Pelbart with regard to Fernand Deligny. Attaining things as a process or as an event, wherever they emerge, occur and are repeated by being different, without the aim of encapsulating them in a mould for their dissemination in the media.. The value of the document today could lie instead in generating a debate or an interrogation, that of representing an invitation to participate in this process, not that of a witness of a supposed truth to be disseminated.” Continue reading
Olatz González Abrisketa, anthropologist and filmmaker, considers in this text, in the section About the impossibility of an anthropological cinema, for “a cinema that is lagging behind, a cinema that supports, that attends to the detail of the reality of others (or of his own as if it were another) to find what he did not know what he was looking for, fundamentally because he did not exist.”
“How to avoid the domestication of difference, of the other, of that on whose distance anthropology is founded and in whose access lies the fascination for cinema? How to generate with a camera or through the screen the encounter that allows us to invent ourselves mutually and significantly? How to see? How to decolonize the thought… and the look? “. Continue reading
Jorge Moreno, anthropologist and filmmaker expert in memory and repression, reflects about the film Libertad on how audiovisual anthropology can face the use of materials from the past, a complex exercise that involves both thinking the cinematographic language and the interpretation of sensitive materials or the limits of representation.
“The control exerted by concepts in the analysis of reality when we write a text is not transferable to film language. “Closing of concept” does not work well with “opening by film” […] The interesting thing about this dialogue is precisely to understand that the marriage of anthropology and cinema works in the sense that concept is renounced and context embraced; those situations that, selected cinematographically, remind us that one of the ways to produce knowledge in this discipline lies in offering a place from which to look at reality”. Continue reading