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
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
We published the rapporteurships and reflections that emerged from the last Laav_18 Meetings, in which we deal with a common Museum-University space for research and creation.
Relatorías. Elena Sánchez Nagore, Coral Bullón, Zoe Hernández and Pablo Coca.
Meetings Laav_2018. Museums and University: research on a hybrid space. Lorenzo Bordonaro.
The submerged part of the iceberg. Audiovisual Education between the museum and the university. Javier Fernández Vázquez.
Practicing experimentation linked to audiovisual anthropology.
Sara Sama Acedo.
The new issue of Concreta, the research journal about image, dedicated to the project Cine por venir (“Cinema to come”), includes an article about Laav_: An experience of creation and social research in the educational department of a contemporary art museum. An image of the latest production of La Rara troupe, La humana perfecta, illustrates the cover. The presentation of the journal takes place on Thursday November 29 at the Filmoteca of Valencia, with Pere Portabella, Nuria Enguita Mayo (Concreta), Sonia Martínez (Cine por venir) and Sofía Asencio (Sociedad Doctor Alonso).
After screening at the Ethnographic Film Festival of Ecuador (Quito), Alcances (Cádiz), La Cabina (Valencia), LAN- Audiovisual Festival Obrero (Bilbao) and Etnovideográfica (Zamora), you can watch the film on Filmin platform.