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Del 15 de octubre de 2020 al 31 de enero de 2021
Centro de Arte DA2 (Salamanca), Sala 5
pdf hoja de sala Unas/prácticas/curiosas

Contra una respiración propia muestra la totalidad de los proyectos realizados por el LAAV_ hasta la fecha. La investigación “en” y “de” los propios procesos de trabajo es una de las bases fundamentales del LAAV_, por encima incluso de los propios resultados, y es eso precisamente lo que Contra una respiración propia muestra a través de un diseño expositivo que marca cinco líneas de tiempo que describen el devenir de cada uno de los proyectos.

La exposición incluye dos espacios diferenciados pero complementarios para entender el funcionamiento del laboratorio. En el primer espacio de la sala se explican los cinco procesos de trabajo llevados a cabo por el LAAV_ utilizando recursos gráficos y cronológicos diferentes para cada uno de ellos. En el segundo espacio, convertido en una sala de cine, se pueden visionar las cuatro películas que actualmente forman parte de la Colección MUSAC, además de una selección de trabajos del colectivo La rara troupe.

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La La humana perfecta, de La rara troupe, ha sido seleccionada para participar en la 11 edición de Berlin Biennale for Contemporary Art, en el marco de la exposición The Crack Begins Within (La grieta comienza dentro). La temporada expositiva ha sido retrasada por causa de la pandemia al periodo 5 septiembre-1 noviembre. Los comisarios de esta edición son María Berríos, Renata Cervetto, Lisette Lagnado y Agustín Pérez Rubio. 

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).

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Rodando el límite: autogestión y disparate es un nuevo proyecto de La rara troupe que ha sido apoyado por la convocatoria Art for Change de La Caixa. El proyecto plantea convocar a un grupo de personas con intereses combinados tanto en el audiovisual como herramienta (de expresión, creación e investigación) como en el malestar psicosocial. El propósito es hacerlo extensible a colectivos y personas que se sitúan en “los márgenes” de lo que se entiendo por normalidad, tanto en lo referido a cuestiones de salud mental como a cuestiones físicas, laborales o sociales en sentido amplio.

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.

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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.

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