As part of the exhibition Fabio Mauri will be screened 8 documentary films with the records of its most important performances and an interview with the artist.

PROGRAM
‘Che cos’è il fascismo, 1971
(¿What is Fascism?) Length: 8’ 27’’

It was presented on April 2, 1971 in Film Studies Safa Palatino in Rome., with the participation of students from the National Academy of Dramatic Arts “Silvio D’Amico”, at the end of the seminar “gesture and behavior in today’s art”, by Giorgio Pressburger. The starting point of the performance was the memory of Hitler’s visit to Florence in 1938 (…) and the action is to rebuild the starring of the ‘Ludi Juveniles’: gymnastics, meetings, exhibitions fencing, skating, hymns and discuss about Mysticism Regime. In the performance, all the action happened in a rectangular red carpet with the symbol of the swastika in the center, including black forums divided by occupations: Artists, Agricultural Contractors, Engineers. There are also two small stalls bearing the Star of David, symbol of the racial discrimination of the fascist era. (…) (Dora Aceto, in Studio Fabio Mauri)

Ebrea, 1971
(Jewess) Length: 5’
Alongside Che è il fascism, Mauri prepares a completely different performance. Ebrea is set in a haunting installation and its introduced for first time in 1971 in Venice, in the gallery Barozzi, and then will repeated several times, though not always with the presence of all elements. A female figure habits a small space organized as the museum of concentration-camp sculptures made ​​of objects which, in the words of Maria D’Alesio, “simulate a human source.” Here the performance is combined with the installation Maurizio Calvesi define as “an inventory of tragic silences and ultrasound.” One of the more interesting aspects of the work is also a chilling example of corrosive critical analysis of the design: “It hinders the escape of secular security contemporary design, so confident in the progress” in the words of Mauri in the text accompanies the exhibition. In the center of the space a Horse Camping SS Harnesses harnessed Jewish skin and surrounded by other objects made ​​with the Jewish Stroller family Modigliani 1940; Anna Cittterich real shoes Warsaw, made ​​to itself; Ski gloves made ​​with Oswald and Mirta Rohn, captured in Davos-Brzezinka – Ospedale Maggiore; Brushes, organic pigments and Jewish parchment – Oswirgin. Birkenau in 1940; Soap true Jew bait; Chair of Jewish skin – Nuremberg 1941; Samuel Morpurgo, first guest of the Treblinka camp in the same frame, made by Attila Rengstorf – Treblinka 1943; Ippolito March; Black Racket; Priscilla-glove; Bean bags; Jewelry-Laiback; Jewish Family. Facing a locker with mirror, scissors and a hair Haarschneidemaschine slicer is young nude, strands of hair that is cut up and with them the mirror image of the Star of David, also written on his chest next to the number lager than the Nazis replaced the name, and with it, all signs of identity. The Star of David also appears amplified three times on the walls around a phrase in Hebrew prophet Jeremiah: “A voice was heard in Ramah, wailing and loud lamentation: Rachel is weeping for her children and refusing to be comforted because no longer exist. “It is the banality of evil staging through a macabre collection of objects. Among them, the bag alludes to a more stable identity, endangered, threatened. The wall of suitcases presented at the Venice Biennale in 1993 (under a new proposal Ebrea), takes up the theme of dramatic divisions of the world and presented in Muro d’Europe. The facility is clearly linked to the tragic Jewish history as not only indicate the title, Muro Occidentale or Pianto and indications images Ebrea within the single open trunk, but also the artist’s biography, by the tragedy of their friends departed, never to return. However, the work becomes a universal symbol of all migration, exile all, everything, “World Pain”. If Ebrea, with the only female among dumb objects, performance is a melancholy solitude, Che è il thing fascism and Futuristic Gran Serata 1909-1930, are performances of the crowd, where the emphasis is on the public side and less intimate, where the brand’s vitality (real in the second, apparent at first), where not only many performers gorge scene, but many collaborate. A solitary female figure is the protagonist of Natur and culture, presented at the Galleria 2000 in Bologna in 1973, and then return to be several times under the title of Ideology and nature. (Laura Cherubini, 2012)

Il televisore che piange, 1973
(The television crying). Length: 2’ 41’’
The proposed action is within the transmission ‘Happening’, curated by Enrico Rossetti for the Italian Radio and Television (…) The author’s image appears in front of a screen with the words “The End”. Then, the transmission is interrupted, as a transmission failure, leaving about 60 seconds vacuum. Under white image feels a painful scream. (…) Many people called the RAI because of the curious and prolonged fault: someone crying in the empty screen. Mauri’s intention was political, saddened by the contradictions of everyday life in Italy. (Dora Aceto, in Studio Fabio Mauri)

Ideologia e Natura, 1973
(Ideology and Nature). Length: 6’ 11’’
It is a performance held at the Galleria Duemilda, Bologna. A young fascist uniform “little Italian” undresses and gets to wear many times. Initially standing in front of a white cube performs this operation undress and re-dress in a natural way, and then at marks of a metronome, still does, but without logical order. Variations in the mode of dress with the same clothes change the ideological value of the uniform, prompting the viewer to reflect on the reasons for this mode of dress as anomalous. From the ingenuity of the performer and the combination of casual garments, the image changes and goes looking alternatively to the Ku Klux Klan, Harlequin, a character from an equestrian circus. This journey into the symbolic nakedness shows that the only fact of reality is the idea of ​​nature, an idea that dominates over all clothing imposed by culture and by the ideological imaginary. (Dora Aceto, in Studio Fabio Mauri)

Intellettuale, 1975
(Intellectual). Duración: 2’
The performance was presented on the occasion of the inauguration of the new Galleria Comunale d’Arte Moderna in Bologna in 1975, with the participation of Pier Paolo Pasolini, a close friend of Fabio Mauri. The action takes place on the steps outside the gallery. Pasolini, in a booster seat, becomes a “human shield” projected on him his film ‘The Gospel according to St. Matthew’. (…) (Dora Aceto, in Studio Fabio Mauri)

Gran serata futurista, 1981
(Great futuristic evening). Length: 9’ 49’’
The performance made ​​his debut at the Teatro Municipal de L’Aquila, with students and teachers at the Academy of Fine Arts (…) The program follows a tripartite structure in order to highlight the many different languages ​​used by futurism before the First World War (intervention), during the conflict, 1915-18 (experience on the front) to the post-war period (the disappointment and the dispersion of the Futurists). Aware of the historical avant-garde innovations, Mauri takes an analytical assessment of Futurism. (Dora Aceto, in Estudio Fabio Mauri)

Che cos’è la filosofia. Heidegger e la questione tedesca. Concerto da Tavolo, 1989 (What is the philosophy? Heidegger and the German question. Concerto Table). Length: 8’ 57’’
“It takes place on a large square table served with beer and sauerkraut. Actors, with the tone of the highclass debate society, recite the verses of German poetry. Suddenly, the sound you hear in Italian, but with German accent, a real document based on the trial of Eichmann, related to the economic use of certain parts of the Jewish body (hair, gold teeth …) (…) the contrast is very strong; Germany generates one of the highest cultural and philosophical traditions, but also creates an inhuman abyss of death. Combining German folk songs and documents on Nazi radio torture of Jews, shakes inevitably awareness of these “ (Dora Aceto, in Studio Fabio Mauri)

Omaggio al Gutai, 1990
(Tribute to the Gutai). Length: 11’ 10’’
Conducted in 1990 in the central hall of the Gallery of Modern and Contemporary Art of Rome for the opening exhibition Japan Vanguard: The Gutai Group in the fifties. An initial concert piano, percussion and motorcycles is the backdrop of a mime dressed in red holding dance ‘Sanbaso supermodern’ created by Kazuo Shiraga in 1957; followed by the simulation of a kendo match. The eastern and western cultures relate here with particular reference to the elements in Futurism.
(Dora Aceto, in Studio Fabio Mauri)

Ricostruzione della memoria a percezione spenta, 2004
(Reconstruction of memory in perception off). Length: 11 ’

http://www.fabiomauri.com/en/proiezioni/ricostruzione-della-memoria-a-percezione-spenta.html)

Author of The Death of Doctor Lazarescu, Cristi Puiu was invited to conduct an intensive acting workshop three weeks in France, for which decided to work on the texts of Soloviev as a way to access the aesthetics of Rohmer, “The Soloviev`s book was published in 1900, and asked them to turn him into a 2011 text. They could improvise as they wanted, but they could´t lose the sense of the text. When I watch movies, sometimes I have problems, because I feel that the actors are pretending. For more correctly say his texts warn that their minds are elsewhere, only through the observation of their corporeality. I do not care about the specific words that the actors, I worked with were saying, as long as the saying them were mentally emotionally and spiritually present. “

Three interpretation exercises is part of the selection of films made ​​by the international programmer Richard Peña during ProaCine 2014.  The program of Peña seeks to study the relationship of performance as an expressive medium in contemporary cinema through a set of films centered primarily on the human figure.

FUNCTIONS
SUNDAY 7, 14 and 21 SEPTEMBER – AT 18 pm.

ADMISSIONS
auditorio@proa.org

Press Kit

FICHA TÉCNICA
Three Interpretation Exercises / Tres ejercicios de interpretación
Director: Cristi Puiu
País: Francia, Rumania/ Año 2013
Duración: 157 min
Formato: Digital
Producción: Nathalie Rizzardo, Anca Puiu
Productora: Chantier Normandes, Mandragora production
Cámara: Luchian Ciobanu, Edición: Dragos Apertri; Sonido: Jean-Paul Bernard;
Director de obra: Stephanie Hubert
Actores: Ludovine Anberree, Marion Bottolier, Ugo Broussot, Anne-Marie Charles, Anne Courpron, Perrine Guffroy, Hillary Keegin, Nathalie Meunier, Barnabe Perrotey, Jean-Benoit Poirier, Diana Sakalauskaite, Patrick Vaillant.

SINOPSIS

Cinema and philosophy –this thesis is not mine– create concepts. A concept gives some order to experience, and filmic shots allow seeing experience in a different way. In Three Interpretations, Puiu adapts the books Three Conversations, and A Short Tale of the Antichrist, by Vladimir Soloviov, which were written in the early 20th century. Everything began with an interpretation workshop given by the Rumanian director in Chantiers Nomades, Toulouse. This extraordinary film elliptically dedicated to Eric Rohmer began there, as actors were invited to use this philosopher’s ideas and to establish a dialogue with them in various places and situations; here¸ concepts are present over the filmic staging and, actually, they are the true main characters.

Divided in three different chapters (“The Mouse Is under the Table,” “The Cat Is on the Chair,” and “The Cat Is on the Bough”), in each of them four characters argue about love, death, the presence or absence of a deterministic character over our actions, freedom, the Antichrist, political pacifism, and Weerasethakul’s Syndromes and a Century. A not often quoted Biblical passage appears in the three episodes and, beyond the exegesis proposed in each occasion, this repetition suggests the way in which concepts live in people and have an influence over their points of view.

http://www.ficunam.unam.mx/en/index.php/programacion/pelicula-2014/trois-exercices-dinterpretation

Three films based on Three Conversations by Russian writer and philosopher Vladimir Solovyov.The actors’ ‘exercises’ develop into a minimalistic trilogy on cinema and literature, social and spiritual life, acting in film and in real life.

This trilogy (consisting of the films The Cat is On the Chair, The Mouse is Under the Table and The Monkey is On the Branch) is the result of a workshop at the French artists’ studio Chantiers Nomades. Puiu was inspired by Three Conversations, the masterpiece by 19th-century Russian philosopher Vladimir Solovyov. The treatise, subtitled ‘About War, Morality and Religion’, is embedded in refined character studies. In his subdued cinematography, Puiu always puts the acting first.
In The Cat… Anne-Marie and her daughter Ludivine receive their old friends Diana and Bernabé for lunch. In The Mouse… the academic Ugo takes his childhood friend Jean-Benoit, a soldier, out to lunch with Patrick and his wife Marion. In The Monkey… we see the girlfriends Hillary, Perrine, Anne and Nathalie talk as they have lunch. All discuss life, friendship, war and faith. In the evening, all the groups meet in a light-footed scene in which they hold a séance.

http://www.filmfestivalrotterdam.com/en/films/trois-exercises-d-interpretation/

FUNCTIONS

Sundays 17, 24 and 31 August - 

16 pm. 
Roads of Kiarostami (2006 32`)
Dialogue in the Swiss Cinematheque (2012, 45 ‘)

18 pm.
Shirin (2008 92`)

For admissions: auditorio@proa.org / 4104-1001

Press Kit

ROADS TO KIAROSTAMI (2006, 32`)

In this short experimental film, which Kiarostami made en passant as it were, it looks as if the master wanted to take a philosophical break, in order to catch his breath. He has put together the elements from his own culture that he admires: photography, poetry, classical music and film. Leitmotif is the road, in a literal and metaphorical sense.
(http://www.filmfestivalrotterdam.com/en/films/roads-of-kiarostami/)

DIÁLOGO EN LA CINEMATECA SUIZA (2012, 45`)

SHIRIN (2008, 95`)

In 2008, Kiarostami directed the feature Shirin which features close-ups of many notable Iranian actresses and French actress Juliette Binoche as they watch a film based on a part mythological Persian romance tale of Khosrow and Shirin with themes of female self-sacrifice. The film has been described as “a compelling exploration of the relationship between image, sound and female spectatorship.” The film depicts the audience’s emotional involvement with the story. The story is read between the tragic and kitsch by a cast of narrators led by Manoucher Esmaieli and is accompanied by a historical “film score” by Morteza Hananeh and Hossein Dehlavi.

Acknowledgement: Cinémathèque Suisse, Festival Internacional de Cine de Cartagena y  Festival Internacional de Cine de Hong Kong

AUGUST
Shirin (2008), Abbas Kiarostami
Features: Sundays 17, 24 and 31

SEPTEMBER
Three exercises of interpretation (2013), Cristi Puiu
Features: Sundays 7, 14, 21 and 28

OCTOBER
First on Moon (2005), Alexei Fedorchenko
Features: Sundays 5, 12, 19 and 26

NOVEMBER
A Spell to Ward off The Darkness (2013), Ben Rivers and Ben Russell
Features: Sundays 2, 9, 16 and 23

Wildness (2012 ) is a documentary that captures the creativity and conflict born of an unlikely but significant alliance vanguard artists and performers with Latino immigrants transgender community. Everything happens in the Silver Platter, a historic gay bar in Los Angeles since 1963 is an important safeguard for space trans youth migrating from Mexico and Central America.

A story about resistance, contemporary art and dance music. In three acts, the film traces the rise and fall of the club, the explanatory relations between young artists , bar owners and the community of transgender women. Wildness – critically – celebrated creativity, nightlife, ethnicity, class, gentrification and social movements, ultimately, an examination of the political party .

Wu Tsang is a filmmaker, artist and performer. His projects have been presented at the Tate Modern (London), the Whitney Museum, the Museum of Modern Art and the New (New York ) Museum , ICA (Philadelphia) , MOCA and REDCAT (Los Angeles) . In 2012 , she participated in the Whitney Biennial and Three (New York ) Museum , Gwangju Biennale (South Korea) , and Liverpool Biennial (UK) .

Trailer

FUNCTIONS
Thursday, 10 April: Frank Henenlotter
17 hours. Frankenhooker (1990)
19 hours. Master Class by Frank Henenlotter. Moderator: Axel Kuschevatzky.

Saturday, April 12: New Romanian Cinema: Tudor Giurgiu
17 hours. Everybody in our family (2012), Radu Jude – tickets available only BOW -
19 hs.Of snails and men (2012), Tudor Giurgiu, with the presence of the director.

Sunday, April 13: New Romanian Cinema: Tudor Giurgiu
17 hours. I’m and old communist hag (2013), Stere Gulea
19 hs.Of snails and men (2012), Tudor Giurgiu (2012), with the presence of the director.

Press Kit

Frank Henenlotter

This time, Proa will host celebrated American director Frank Henenlotter cult. Master Class B horror film, directed classic movies of the genre, as the saga Basket Case (1982, 1990 and 1991) Brain Damage (1988). This year, Bafici dedicated a complete retrospective of his work, a series of blown, hilarious and terrifying films.

On Thursday, April 10, at 17 pm., May be Frankenhooker (1990) A bizarre rewriting of Frankenstein is considered his most successful film. After the screening, moderated by Axel Kuschevatzky, the director will provide a Master Class for the audience.

New Romanian Cinema: Tudor Giurgiu

On Saturday 12 and Sunday, April 13 will be the turn of the New Romanian Cinema. A 17 pm. can be seen that two recent productions filmography: Everybody in our family, and I’m Radu Jude and old communist hag, Stere Gulea.

Both days, at 19 pm, with the presence of its director Tudor Giurgiu, will present Of snails and men, a portrait of the nineties in Romania noted filmmaker, also creator of Transylvania Film Festival and one of the leading names held renovation of Romanian cinema.

Frankenhooker (1990 ) , De Frank Henenlotter .

SYNOPSIS After an accident with a lawn mower , Elizabeth Shelley literally transforms into a puzzle which some pieces disappear. His feverish boyfriend, Jeffrey Franken, keeps with devotion, determined to restore life . In a friendly session self trepanation ( !), The idea appears clear: a selection of pieces, involuntary courtesy of Fox, the ” pimp ” in turn, serve to reassemble his beloved. Although , yes , it may fail …

Besides being probably his best film , Frankenhooker is the highest point in the silent and passionate quest to achieve the perfect Henenlotter film exploitation , without missing a single element: the sex as the main axis, the nocturnal underworld a mad scientist who reevaluates his dubious morality , visual violence, bad jokes , exploding bodies , porn stars , cameos of worship, and so on . An unforgettable fable uncontrolled , with the best of the bad taste. (Source : Pablo Conde, BAFICI)

BIOGRAPHY Frank Henenlotter . Born in 1950. Writer , director and film historian . Despite being known for his horror comedies , he prefers to be classified as a genre filmmaker ” explotaiton ” . “I never felt I was doing horror movies. I always felt it was ` films ` exploitation ( exploitation films ) . The ‘ exploitation films ‘ have more attitude than anything else, an attitude that is not in the mainstream Hollywood productions. They’re a little ruder , a little lewd, they deal with material people do not usually play either sex drugs or rock and roll . “

Films Henenlotter are inspired by the films exploitation and sexploitation I loved watching as a kid , the kind of films which were projected on 42nd Street in New York during the 60s and 70s. Their films , low budget and full of gore and special effects , were considered by many B-movie best known are The Basket Case , Brain Damage and Frankenhooker .

ENLACES DE PRENSA

Mondo Bizarro, por Mariano Kairuz (Radar – Página 12)
Exploitation: An Interview with Frank Henenlotter, por Alan Bett (The Skinny)
A fist in the face of god meets… frank henenlotter, por Dylan Hughes (Vice)
Is Frank Henenlotter a horror genius or a sick man?, por Simon Abrams (Indiewire)

OF SNAILS AND MEN (2012), TUDOR GIURGIU
(Of Snails and Men )

SYNOPSIS A group of desperate workers comes up with the crazy idea of donating sperm to save his car factory from bankruptcy and therefore it is privatized . The official story is that some French investors are going to take the floor and become a factory of canned snails. But the hard truth is that the plan is to sell the huge machines for a lot of money and disappear . What follows is a hilarious ending crusade leaving no room for dreams . Which is ironic because, in the early nineties and having just come out of Communist rule , Romanians believed that anything was possible. This bittersweet comedy with several points in common with The Full Monty is based on a true story of that era, at the exact moment the King of Pop visited Romania , made a huge show and never returned , which implies the absence of an American Dream feasible to support the faith of those who tried to succeed in those years. (Source: Lincoln Center Film Library – http://www.filmlinc.com/films/on-sale/of-snails-and-men )

BIOGRAPHY Tudor Giurgiu born in 1972 in Cluj- Napoca , Romania, and graduated from the Film Academy of Bucharest in 1995. Worked as first assistant director directors like Lucian Pintilie and Mihaileanu . He founded and directs the International Film Festival of Transylvania. Member of the European Film Academy from 2005 to 2007 was the director general of the Romanian national TV . His first feature, Love Sick ( 2006) , was selected for the Berlinale Panorama section in 2006 and received numerous awards in international festivals.

His second feature , Of Snails and Men , was the highest grossing film in Romania in 2012 and won the Special Jury Prize at the International Film Fesival Warsaw ( Poland) , Best Picture of the Meeting Point section of the Festival of Valladolid and Best Film at SEE Film Festival of Los Angeles (U.S.) .

ENLACES DE PRENSA
¿Será este el tan esperado éxito de taquilla rumano?, por Stefan Dobroiu (Cineuropa Film Focus)
Entrevista con Tudor Giurgiu: “Rumanía es un territorio extraño”,por Stefan Dobroiu (Cineuropa Film Focus)
Of Snails and Men: Film Review, por Neil Young (The Hollywood Reporter)

I‘ M COMMUNIST AND OLD HAG (2013 ) , DE STERE Gulea

SYNOPSIS Starring Luminita Gheorghiu (Child ‘s Pose) , Stere Gulea film (Weekend with My Mother ) tells the story of Emilia , a woman of 60 who lives alone with her husband Tucu , in a small town . The couple is happy to receive a call from Canada: her daughter , Alice, go to visit with Alan , her American fiance. Things could not be better for Emilia , who hopes to enjoy the happiness of the young couple. Furthermore, Emilia, famous in the neighborhood for his communist nostalgia, they asked to be part of a documentary about the extensive festivities held on August 23 , prior to the Revolution of ’89 national holiday. The family reunion gets complicated when questions about memory and history demand answers . Adaptation of the novel published in 2007 by author Dan Lungu .

BIOGRAPHY Stere Gulea born in Constanta , Romania, in 1943 he directed the feature film The Green Grass of Home ( 1978) , Castle of the Carpathians (1981 ) , The Bear’s Eye ( 1983) , The Moromete Family (1988 ) – . Their work better known – Fox – Hunter (1993) State of Things (1996 ) , Weekend with My Mother ( 2009) , Roots (2013 ) and the documentary University Square – Romania (1991 ) .

EVERYBODY IN OUR FAMILY ( 2012) , Radu Jude

SYNOPSIS Marius wakes up in his apartment. There seems to be a great awakening . From there it goes to their parents , there seems to be great harmony. But Marius shorts as a child will be nothing compared to what is to come : the arrival of his former home Marius looking for Sofia , his daughter, who lives with his ex-wife, his mother and ex boyfriend of his ex-wife. The intention is to bring Marius Sofia the sea. But sometimes plans collide with the relationships between people. Everybody in Our Family is a film that builds tension to levels (such as nervous laughter ) that are usually associated only with a few thrillers or police . Well , strictly speaking, this is a familiar suspense film , and if the director Radu Jude manages to build tension and never lose your stake is nothing arbitrary, real time, fluid handling spaces, capacity their actors to play the most difficult and the household , these apparent heights of contemporary Romanian cinema capacity for starkest fights everyday realism . (BAFICI – 2012 )

AWARDS

2012: Sarajevo Film Festival , The Heart of Sarajevo Award for Best Film
2012: CinEast , Grand Prix CinEast
2012: Anonimul film festival, Grand prix award for best feature film

BIOGRAPHY Radu Jude was born in Bucharest , Romania, in 1977. Graduated as filmmaker Media at the University of Bucharest. He directed the short Wrestling (2003 ) , The Black Sea (2004 ) , The Tube with a Hat (2006 ) , In the Morning and Alexandra (both 2008), in addition to the feature film The Happiest Girl in the World (2009 , ’10 Bafici ) .

ENLACES DE PRENSA

Entrevista: “La relación entre niños y padres divorciados”, por Stefan Dobroiu (Cineuropa)
Everybody In Our Family, por Vladan Petkovic (Cineuropa)

With the support of the Romanian Embassy in Argentina

Schedule for Saturdays and Sundays:

• 11.30
• 12.30
• 13.30
• 14.30
• 15.30
• 16.30
• 17.30
• 18.30

El bono de acceso se solicita en recepción. Se recomienda presentarse en el Auditorio 15 minutos antes del inicio de la proyección.

Acceso libre.

Duración de la proyección: 48 minutos.

Durante 18 meses, el fotógrafo y cineasta Gautier Deblonde filmó diariamente a Ron Mueck trabajando en su estudio, mientras preparaba las tres piezas creadas especialmente para su exhibición en Fondation Cartier: “Young couple”, “Couple under umbrella” y “Women with shopping”. En silencio, acompañado apenas por dos o tres asistentes, vemos a Mueck absorbido en su trabajo, desarrollando cada una de sus etapas con extraordinaria paciencia, concentración y cuidado.
“Es una película sobre el tiempo”, dice Deblonde. “Sobre el tiempo y sobre el involucramiento de Ron Mueck en su trabajo”.

Trailer:

MASTERCLASS y ESTRENOS con la presencia del director
Viernes 18
11 hs - Masterclass con JP Sniadecki

Sábado 19
17.00 – “People’s Park” (estreno)
17.20 – Diálogo con JP Sniadecki

19.00 – “Yumen” (estreno)
20.10 – Diálogo con JP Sniadecki

Sábado 26
17.00 – “People’s Park”
19.00 – “Yumen”

Descargar Press Kit

Doc Buenos Aires y Fundación Proa presentan al antropólogo y cineasta John Paul Sniadecki, que estará presente en Proa para dictar una masterclass el viernes 18 y que comentará sus dos últimas películas, “People’s Park” y “Yumen”, el sábado 19.

Miembro del Sensory Etnography Lab de Harvard, Sniadecki se ha consolidado como uno de los cineastas más originales de la actualidad con películas que transitan los límites del género documental, desafiando sus convenciones y desarrollando nuevos formatos. “People’s Park” retrata un gigantesco y concurrido parque a través de un plano secuencia de 78 minutos y “Yumen”, un experimento audiovisual y narrativo que semeja más una ficción poética que un documental, explora las ruinas y los fantasmas de un pueblo petrolero abandonado. Ambos filmados en China, donde Sniadecki vivió durante los años en que hacía su doctorado, estos films buscan ampliar el vocabulario de la antropología visual.

Las películas se proyectan en el marco de la 13va edición del Doc Buenos Aires.

John Paul Sniadecki. "People's Park", 2012.

“PEOPLE’S PARK”
Una sola toma sumerge al espectador en un viaje sin ininterrupción por un famoso parque urbano de Chengdu, en la provincia de Sichuan. La película explora la variedad de modos, ritmos y comportamientos que conviven en estrecha proximidad dentro del espacio social del parque, captando parejas bailando el vals, cantantes de karaoke y el zumbido de las cigarras entre poderosos sicomoros que se yerguen hasta el cielo. People’s Park es una reflexión sensorial en tiempo y espacio cinematográficos que ofrece una mirada fresca a la interacción pública, el ocio y la auto-expresión en China.
En palabras de Shelly Kracier, programadora del Festival Internacional de Cine de Vancouver: “Una recreación documental de la realidad o mejor dicho una producción de algo súper real que estimula nuestra mirada comprensiva y participación exultante”.

Ficha técnica
China/Estados Unidos, 2013. 78 min.
Idiomas: sichuanés, chino mandarín
Directores: JP Sniadecki y Libbie D. Cohn
Asistente de producción: Ouyang Xiaodong
Posproducción de imagen: Julien Bisschop
Posproducción de sonido: Ernst Karel
Con el apoyo de Steve Burwell, Jeffrey Coomes y Zhang Jingqing, Obio Ntia, la familia Sandri Family, Joan Sniadecki, Brian y Letha Tawney, Harvard Film Studies Center, Sensory Ethnography Lab

Links
www.peoplesparkfilm.com
www.blogsandocs.com/?p=4754
www.kickstarter.com/projects/222886276/peoples-park-0
twitchfilm.com/2012/10/viff-2012-review-peoples-park-is-a-single-take-marvel.html

John Paul Sniadecki. "Yumen", 2013

“YUMEN”
Situada en un pueblo casi fantasmal, que alguna vez prosperó gracias al petróleo en el árido noroeste de China, “Yumen” es una atrapante y fragmentada historia de almas hambrientas, jóvenes impacientes, un artista errante y una mujer solitaria, todos en busca de una conexión humana en medio del paisaje desmoronado del pueblo. En parte “pornografía de la decadencia”, en parte “historia de fantasmas”, y filmada por completo en 16mm, esta cinta junta performances, gestualidad narrativa y realismo social no solo para jugar con las convenciones y desafiar los géneros, sino también para rendir homenaje a una cosmovisión y a un medio que se desvanecen.

Ficha técnica
China/Estados Unidos, 2013. 65 min.
Directores: J. P. Sniadecki, Huang Xiang y Xu Ruotao
Con: Chen Qi, Zhou Qian, Chen Xuehua, Huang Xiang, Xu Ruotao
Guión: Xu Ruotao, Yinyan
Fotografía: J.P. Sniadecki, Huang Xiang
Edición: Xu Ruotao, J.P. Sniadecki, Huang Xiang
Sonido: J.P. Sniadecki, Huang Xiang
Voces en off: Xu Ruotao, Chen Qi, Zhou Qian, Chen Xuehua
Edición de sonido: Ernst Karel
Producida en asociación con el Film Study Center de Harvard University

Links
artforum.com/film/id=39520
www.moma.org/visit/calendar/film_screenings/18245
www.ficunam.unam.mx/index.php/programacion/pelicula/yumen
mubi.com/notebook/posts/berlinale-2013-impressions-3

J. P. Sniadecki

SOBRE EL DIRECTOR
J.P. Sniadecki es cineasta y estudiante del Doctorado en Antropología de los Medios de Comunicación en la Universidad de Harvard, en el Sensory Ethnography Lab (SEL). El SEL es un lugar de experimentación dirigido por otro notable realizador, Lucien Castaing Taylor, de quien se han conocido en Buenos Aires, en el BAFICI, obras como “Sweetgrass” (2009) y “Leviathan” (2012). Este laboratorio se ha transformado en pocos años en una usina creativa de experiencias cinematográficas que atraviesan el cine, la investigación antropológica y el arte. El prestigioso festival de cine de Viena, la Viennale, le dedica por estos mismos días una retrospectiva completa a los trabajos del SEL, demostración del enorme interés cinematográfico que ha sabido despertar en poco tiempo. Desde el SEL, Sniadecki ha desplegado estos últimos años toda su obra. Sus películas se han proyectado en distintas partes del mundo y han recibido premios como el Joris Ivens, del festival Cinéma du Réel (Francia), por su documental Demolición (2008), que compitió en la sección oficial Punto de Vista 2010, o el Leopardo de Oro y el premio especial del jurado en el Festival de Cine de Locarno (Suiza) por “Foreign Parts”, codirigida con Véréna Paravel (Gran Premio Punto de Vista 2011).

Sniadecki es además el fundador y curador principal de Emergent Visions, un proyecto cinematográfico permanente en el que se exhiben películas independientes de la República Popular China. Las dos obras que presentamos este año, nos descubren nuevos aspectos de esa sociedad en la que Sniadecki ha posado sus ojos y su cámara.

El sábado 5, la protagonista y directora MEGAN BOYLE dialogará con el público luego de la película.

Además, el domingo 6 a las 16 hs en Librería Proa, Dakota Editorial presentará el libro de Boyle “antología de entradas inéditas del blog de un empleado mexicano de panda express” (2012), y la propia autora leerá fragmentos junto a Fernando Montes Vera, autor de “La masacre de Reed College”, ganador del Premio Dakota de Novela 2012 (Jurados: Pola Oloixarac, Romina Paula y Oliverio Coelho). Luego los autores realizarán una sesión de escritura interactiva – liveblogging – junto al público.

Sábado 5
15.30 – “Mumblecore”
17.00 – Diálogo con Megan Boyle

18.00 – “Mumblecore”
19.30 – Diálogo con Megan Boyle

Sábado 12

15.30 – “Mumblecore”
18.00 – “Mumblecore”

Más información: auditorio@proa.org

Descargar press kit:

“Mumblecore”, 2011

En octubre, Proa Cine presenta “Mumblecore” (2011), la última producción cinematográfica de Tao Lin y Megan Boyle, dos de los escritores más destacados de la nueva literatura norteamericana. Filmada enteramente con una MacBook, el film es una de sus primeras incursiones en el cine independiente, un registro original y espontáneo de su relación y, a la vez, la radiografía de una generación de jóvenes nacidos a comienzos de los ochenta, verdaderos “nativos digitales” que emplean las nuevas tecnologías como una forma de expresión despreocupada de los géneros clásicos.

“Mumblecore” toma su nombre de un nuevo género cinematográfico que, desde comienzos del año 2000, ha generado un puñado de films caracterizados por el bajo presupuesto de las producciones y una voluntad narrativa intimista, anclada en los afectos y la vida cotidiana. Se trata de un género que abre el juego a una nueva deriva del cine independiente norteamericano.

Links:

Tao Lin

Página oficial
Twitter
Facebook

Megan Boyle

Twitter editado
Twitter sin editar
Tumblr
Blog
Facebook
MUMBLECORE (TRAILER 1) from MDMAfilms on Vimeo.

Para admisiones: auditorio@proa.org / 4104-1001

PROYECCIÓN EN CUATRO PARTES
Sábado 7 – 1º Era – parte 1 (149′)
Sábado 14 – 1º Era – parte 2 (117′)
Sábado 21 – 2º Era – parte 1 (142′) – Dialoga con el público: Daniel Rafecas.
Sábado 28 - 2º Era – parte 2 (142′)

Descargar Press Kit:

Press Kit

Función del Sábado 21, con el comentario de Daniel Rafecas

________________________

Proa Cine presenta una nueva versión restaurada y digitalizada del clásico documental de Claude Lanzmann sobre el Holocausto. El film, que fue estrenado en 1985, reconstruye a través del relato de los sobrevivientes la tragedia que implicó el genocidio nazi.

Prefacio de Simone de Beauvoir
Extractos de “La mémoire de l’horreur”, publicado en el guión de Shoah (Gallimard, París, 1985)

“No es fácil hablar de ‘Shoah’. Hay magia en ese film y la magia no puede explicarse. Después de la guerra hemos leído cantidad de testimonios sobre los guetos, sobre los campos de exterminación: estábamos conmovidos. Pero al ver el extraordinario filme de Claude Lanzmann nos damos cuenta de que no sabíamos nada. A pesar de conocerla, la horrorosa experiencia seguía distante de nosotros.
Por primera vez la vivimos en nuestra cabeza, nuestro corazón, nuestra carne. Pasa a ser la nuestra. Ni ficción ni documental. ‘Shoah’ logra esta recreación del pasado con una sorprendente economía de recursos: lugares, voces, caras. El gran arte de Claude Lanzmann es hacer hablar a los lugares, resucitarlos a través de las voces y más allá de las palabras, expresar lo indecible por los rostros.”

Filmado a lo largo de doce años, Shoah es un épico documental sobre el Holocausto realizado a partir de entrevistas a sobrevivientes, testigos y victimarios. El film no recurre a ningún material de archivo, sino que busca “reencarnar” la tragedia judía presentando el testimonio de sus protagonistas y visitando los lugares en que aconteció. Lanzmann decidió filmarlo tras ver cómo, luego de apenas cuarenta años, el genocidio comenzaba a desdibujarse en la bruma del tiempo, cómo la atrocidad pasaba a ser neutralizada por la Historia. Su enorme tarea –épica e íntima, inmediata y definitiva– es un triunfo de forma y contenido que, a la vez que revela verdades ocultas, reescribe las reglas sobre el cine documental.

Comentario de Claude Lanzmann
Bastaría quizá formular la pregunta más sencilla, preguntar: “¿Por qué han asesinado a los judíos? Ésta ya desvela de entrada su obscenidad. Hay una obscenidad absoluta en el proyecto de comprender.
El no comprender fue mi ley de hierro durante todos los años de elaboración y realización de Shoah: perseveré en esa negativa como la única actitud posible, ética y operativamente a la vez. Esa guardia alta, esas orejeras, esa ceguera fueron para mí la condición vital de la creación.
Ceguera debe entenderse aquí como el modo más puro de la mirada, la única forma de no desviarse de una realidad literalmente cegadora: la clarividencia misma. Dirigir sobre el horror una mirada frontal exige que se renuncie a las distracciones escapatorias, la primera de ella, la más falsamente central, la cuestión del por qué, con la sucesión indefinida de frivolidades académicas o de canalladas que no cesa de inducir. “Hier ist kein Warum” (“Aquí, no hay porqués”): Primo Levi relata que la regla de Auschwitz le fue de esta forma enseñada a su llegada al campo por un guardia SS. “No hay porqué”: esta ley es también válida para aquel que asume la carga de una transmisión semejante.
Pues el acto de transmitir es el único que importa y no hay inteligibilidad, es decir, saber verdadero, que preexista a la transmisión. La transmisión es el saber mismo. La radicalidad no se divide: no hay porqué, pero tampoco hay respuesta al porqué del rechazo del porqué bajo pena de volver a inscribirse en la obscenidad en el instante mismo de la enunciación.”

Claude Lanzmann (1925, Francia) fue uno de los organizadores de la Resistance en el liceo Bliase Pascal en Clermont-Ferrand en 1943. Participó ahí de la resistencia clandestina y luego se unió a la resistencia maquisen el centro de Francia. Recibió la Medalla de Honor de la Resistencia, fue nombrado Comandante de la Legión de Honor, Gran Oficial de la Orden Nacional del Mérito, Doctor Honoris Causa en Filosofía en la Universidad de Jerusalén, la Universidad de Ámsterdam, la Universidad de Adelphi en Estados Unidos y de la European Graduate School. Lanzmann trabajó como profesor de Filosofía y Literatura en la Freie Universität Berlin, durante el bloqueo a esa ciudad (1948-1949). En 1952 conoció a Jean-Paul Sartre y Simone de Beauvoir y comenzó su larga colaboración con Les Temps Modernes, revista de la que actualmente es director. Hasta 1970, dividía su tiempo entre la revista y el periodismo, escribiendo artículos y crónicas de primera mano y permaneciendo coherentemente fiel tanto a su lealtad a Israel (país que visitó por primera vez en 1952) como a su compromiso contra el colonialismo. En 1970, abandonó el periodismo para dedicarse al cine. Su primera película fue “Israel Why”¸ que retraba el país con sus verdaderos colores, evitando la simplificación del blanco y negro. Se estrenó en el New York Film Festival, el 7 de octubre de 1973, apenas unas horas antes de que estallase la Guerra de Yom Kippur. En 1973 comenzó a trabajar en Shoah, a la que se abocó a tiempo completo durante doce años. Cuando fue estrenada en 1985 fue inmediatamente reconocida como un acontecimiento capital, tanto histórico como cinematográfico.

Dijo la prensa:

La reconstrucción de un genocidio, por Horacio Bernardes. Página 12 | Espectáculos.

Hacer historia con la historia, por Diego Batlle. La Nación | Espectáculos.

Exhiben la magistral Shoah en copia completa y restaurada. Otroscines.com

Proa Cine presenta Shoah, de Claude Lanzmann. Arteenlared.com