{"id":567,"date":"2018-05-06T19:13:55","date_gmt":"2018-05-06T17:13:55","guid":{"rendered":"https:\/\/labandanegra.net\/?page_id=567"},"modified":"2023-01-16T12:54:29","modified_gmt":"2023-01-16T10:54:29","slug":"curaduria-curatorial-projects","status":"publish","type":"page","link":"https:\/\/labandanegra.net\/?page_id=567","title":{"rendered":"Curadur\u00eda \u00b7 Curatorial projects"},"content":{"rendered":"

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A imagen y semejanza<\/strong><\/h3>\n

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\u00b7 2021 \u00b7 Material Sensible \u00b7 Organizado por Mal de Archivo \u00b7 TEA (Tenerife)<\/p>\n

(English below)<\/p>\n

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\u00abHasta fines del siglo XVI, la semejanza ha desempe\u00f1ado un papel constructivo en el saber de la cultura occidental. En gran parte, fue ella la que guio la ex\u00e9gesis e interpretaci\u00f3n de los textos; la que organiz\u00f3 el juego de los s\u00edmbolos, permiti\u00f3 el conocimiento de las cosas visibles e invisibles, dirigi\u00f3 el arte de representarlas. El mundo se enrollaba sobre s\u00ed mismo: la tierra repet\u00eda el cielo, los rostros se reflejaban en las estrellas y la hierba ocultaba en sus tallos los secretos que serv\u00edan al hombre\u00bb<\/p>\n

Michel Foucault.\u00a0Las palabras y las cosas<\/em><\/p>\n

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El camino que une las construcciones culturales y el territorio es de direcci\u00f3n \u00fanica. Desde los viajes de los conquistadores y los primeros naturistas que recorrieron el mundo tratando de aprehenderlo, la pulsi\u00f3n productivista ha creado la historia natural del mundo bajo una perspectiva europea. Esa idea europea, que Hegel denominar\u00eda \u201cesp\u00edritu\u201d y que llegar\u00eda a Am\u00e9rica para desintegrar un territorio del que el mismo Hegel dec\u00eda que se encontraba fuera de la historia por su exceso de naturaleza, orbita en torno a las pel\u00edculas que componen este programa. Desde la idea de civilizaci\u00f3n \u2014por el intento de vivir fuera de ella\u2014 que se plantea como fuera de campo en Two Years at Sea, a los v\u00ednculos l\u00edricos, violentos o imposibles entre significantes y significados que pueblan Messeges, Occidente y Landscape (for Manon).<\/p>\n

La \u00faltima sesi\u00f3n del programa avanza en el devenir de ese \u201cesp\u00edritu\u201d a trav\u00e9s de la vida y muerte de un ic\u00f3nico barco frente al que la figura humana ha dejado de ser el centro de gravitaci\u00f3n y que se erige como una monumental met\u00e1fora del progreso en At Sea. Y, finalmente, la \u00faltima de las pel\u00edculas, de cuyo t\u00edtulo en espa\u00f1ol toma nombre este programa, avanza en el devenir de ese \u201cesp\u00edritu\u201d. En Those That, at a Distance, Resemble Another, el gesto, la reproducci\u00f3n, la museificaci\u00f3n y la t\u00e9cnica se al\u00edan en torno a unas manos que tocan, manipulan y cuidan una materia liminal que conformar\u00e1 la r\u00e9plica de un colmillo de elefante.<\/p>\n

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https:\/\/teatenerife.es\/actividad\/ciclo-a-imagen-y-semejanza\/2204<\/a><\/p>\n

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\"\"<\/a> \"\"<\/a> \"\"<\/a> \"\"<\/a> \"\"<\/a><\/p>\n

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The image and likeness<\/strong><\/h3>\n

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\u00b7 2021 \u00b7 Sensitive Material \u00b7 Produced by Mal de Archivo \u00b7 TEA (Tenerife)<\/p>\n

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\u00abUntil the end of the 16th century, likeness played a constructive role in the knowledge of Western culture. To a large extent, it guided the exegesis and interpretation of texts; it organised the play of symbols, allowed the knowledge of visible and invisible things, and directed the art of representing them. The world rolled up on itself: the earth repeated the sky, the faces were reflected in the stars and the grass hid in its stems the secrets that served man\u00bb<\/p>\n

Michel Foucault,\u00a0The Order of Things.<\/span><\/p>\n

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The path linking cultural constructions and territory is a one-way street. Since the voyages of the conquistadors and the first naturists who travelled the world trying to apprehend it, the productivist drive has created the natural history of the world under a European perspective. This European idea, which Hegel would call \u00abspirit\u00bb and which would arrive in America to disintegrate a territory that Hegel himself said was outside history because of its excess of nature, orbits around the films that make up this programme. From the idea of civilisation – through the attempt to live outside of it – that is posed as an out-of-field in Two Years at Sea, to the lyrical, violent or impossible links between signifiers and meanings that populate Messeges, Occident and Landscape (for Manon).<\/p>\n

The last session of the programme advances in the evolution of this \u00abspirit\u00bb through the life and death of an iconic ship in front of which the human figure has ceased to be the centre of gravitation and which stands as a monumental metaphor of progress in At Sea. And, finally, the last of the films, from whose Spanish title this programme takes its name, moves forward in the evolution of this \u00abspirit\u00bb. In Those That, at a Distance, Resemble Another, gesture, reproduction, museification and technique are allied around hands that touch, manipulate and care for a liminal material that will form the replica of an elephant’s tusk.<\/p>\n

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TRAS UNA PUERTA NEGRA \u00b7 ALDO TAMBELLINI <\/strong>
\nBEHIND A BLACK DOOR \u00b7 ALDO TAMBELLINI<\/strong><\/h4>\n

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(English below)<\/p>\n

TRAS UNA PUERTA NEGRA<\/strong><\/em> fue un programa dedicado a la obra de Aldo Tambellini<\/em> (Siracusa, Italia, 1930), comisariado por Helena Gir\u00f3n y Samuel M. Delgado en el marco de la 9\u00aa edici\u00f3n del (S8) Mostra de Cinema Perif\u00e9rico<\/em> en A Coru\u00f1a, 2017.<\/p>\n

Aldo Tambellini lleg\u00f3 al empobrecido y olvidado Lower East Side de Nueva York en 1959, cuando sus calles a\u00fan ard\u00edan gracias a los fuertes movimientos sociales y culturales que entend\u00edan lo cotidiano como un espacio pol\u00edtico y emancipador del que hab\u00eda que ser conscientes para, as\u00ed, reapropiarse y luchar desde \u00e9l. De lo microsc\u00f3pico a la inmensa negritud del espacio exterior, como en la obra de Tambellini.<\/p>\n

En aquellos a\u00f1os se dedicaba principalmente a la pintura y a la escultura, por lo que, de forma natural, comenz\u00f3 a aplicar diferentes t\u00e9cnicas sobre la fisicidad de la pel\u00edcula, siendo un pionero del cine sin c\u00e1mara, pero tambi\u00e9n en la utilizaci\u00f3n de nuevos medios como el v\u00eddeo o la experimentaci\u00f3n con los tubos cat\u00f3dicos de la televisi\u00f3n.<\/p>\n

Su trabajo huye de simbolismos, traslad\u00e1ndonos al espacio de la inmersi\u00f3n y de la experiencia entendida como una forma de conocimiento a la que todxs tenemos acceso, pudiendo abarcarla desde lo individual, pero siempre desde un engranaje colectivo, pues \u00e9sta cambia al ser compartida en el espacio p\u00fablico.<\/p>\n

Las Black Film Series abarcan una primera etapa de experimentaci\u00f3n con celuloide y video entre 1965 y 1969 en la que realiza pel\u00edculas caracterizadas por la centralidad del color negro y por una profunda exploraci\u00f3n sensorial del medio.<\/p>\n

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BEHIND A BLACK DOOR<\/strong><\/em> was a program dedicated to the work of Aldo Tambellini (Syracuse, Italy, 1930), curated by Helena Gir\u00f3n and Samuel M. Delgado during the 9\u00aa edition of the (S8) Mostra de Cinema Perif\u00e9rico in A Coru\u00f1a, 2017<\/p>\n

He arrived at the impoverished and forgotten Lower East Side of New York in 1959, when its streets still burned due to the strong social and cultural movements that thought that everyday life was a political and emancipatory space of which people had to be conscious to reappropriate and fight from it. From the microscopic to the immense blackness of outer space, as in the work of Tambellini.<\/p>\n

In those years he was mainly engaged in painting and sculpture, so he naturally began to apply different techniques on the film\u2019s physicality. He became a pioneer of the cinema without camera, but also of the use of new media as video or experimentation with cathode ray tubes for television.<\/p>\n

His work flees from symbolism, driving us to the space of immersion and experience seen as a form of knowledge to which we all have access, being able to embrace it from the individual, but always from a collective mechanism, as this changes when shared in the public space.<\/p>\n

The Black Film Series<\/em> includes a first stage of experimentation with film and video between 1965 and 1969 in which he makes films whose main characteristic is the use of black color and a deep sensorial exploration of the medium.<\/p>\n

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