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- The internet WWW is not even 30 years old. Youtube will be fifteen this year and Netflix as a TV production is less than ten years old. In this very short time the communicative references of humanity are structures and brands that did not exist, and the world is now unrecognizable. This vertigo is reflected in the world of audiovisual art. From a tribute to the figure of producer Enrique Miñano (1956-2017), a multidisciplinary conversation about a particular and global episode is established: the digital communication revolution has made nothing looks or looks like yesterday, or almost like today.
- In 1950 Tangier is an Internacional Zone where the people find the liberty they miss on their born countries. Billy (William Burroughs) crosses the the Strait and passes with Paul and Jane Bowles, Brion Gysin... The relations between these bohemians are creative, enjoyable, free and lysergic. They are at the doors of a terrible territory: the cerebral enigma that loves and destroys, adores and hates; the place of auto-armistice for some of them and the end of the hope for the other. The city of the inner mirrors. In Tangier his creativity (he writes there 'Naked Lunch') passes Jane Bowles' terrible creative mental block, Brion Gysin's cyclothymia and Paul Bowles' absences.
- "In the 80s, one of the most remarkable and little-known achievement of modern music takes place. A student, a designer and a prison officer create Esplendor Geométrico, a Spanish band that will have influence in the international electronic music picture for over three decades". Esplendor Geométrico is an industrial music Spanish band. The group was created in 1980 by Arturo Lanz, Gabriel Riaza and Juan Carlos Sastre, all of them old members of El Aviador Dro y sus Obreros Especializados. They took the name of the band from a Tommaso Marinetti poem:"The geometric splendor of the world's mechanic". In 1980 Riaza, Lanz and Sastre left Aviador Dro to start one of the most innovative, risky and transgressive projects of Spanish music scene. Esplendor Geométrico started the metal age in Spain. Using noise as guideline of their new music adventure, Esplendor Geométrico, destroy the music structure with cacophonous sequences, supercharged upheaval rhythms, abstract spaces and techno tribal percussion. Robotic, circular, hypnotic ryhtms... and above all things, noise. With them the post-industrial tribalism concept was born. Esplendor Geométrico are with out doubt the most international project in the electro-industrial music area and are part of a mythical legacy in Spain and in other countries. 35 years later, Lanz lives in Beijing and Evangelista in Rome. Esplendor Geométrico is still active and influences not only in the industrial music but also in the electronical field, especially in the sound of artist like Autechre and Pan Sonic. Esplendor Geométrico and its visual and music radicalism take part in a crucial moment of the Spanish and worldwide culture (1980-2015), a cross-wise vision of music as a cultural seed. The avant-doc documentary Geometría del Esplendor reflects the existence and creative direct influence cross-wise of the band Esplendor Geométrico. Even though Esplendor Geométrico is not a well known band in Spain, it is the most present Spanish band in the international music picture with over 35 years of grounding. The documentary does not only deal with the music matter, it also deals the cultural and social situation development of a specific time. Created and directed by the filmmaker and video artist José Ramón da Cruz, music, image and content make up a single structure of visual music.
- El fotógrafo más moderno del mundo decía Andy Warhol de Christopher Makos, uno de los más genuinos representantes del Pop americano, resistente del style-life ochentero y componente actual de The Hilton Brother, un comando fotográfico instalado en una forma de post-pop. Este documental recorre el itinerario de Makos, una máquina de crear y de provocar desde un estilo personal que suscita tanta admiración como menosprecio pero nunca indiferencia. It´s like Frankenstein, somepeople consider it´s a monters, other we consider like an art proyect. Makos dixit. --- The most modern photographer of the world was saying Andy Warhol of Christopher Makos, one of the most genuine representatives of the American Pop, resistant of the style-life eighties and The Hilton's current component Brother, a photographic command installed in a form of post-pop. This documentary crosses Makos's itinerary, a machine of creating and of provoking from a personal style that never provokes so many admiration as contempt but nonchalance. It´s like Frankenstein, somepeople consider it´s a monters, other we consider like an art proyect. Makos dixit.