WITH THE PRESENCE OF BRANDEN JOSEPH, HENNING LOHNER, JAMES PRITCHETT, LUIS CHITARRONI, PABLO GIANERA Y HUGO PETRUSCHANSKY

Fundación Proa and Teatro Colón / Colón Contemporáneo announce a symposium to be held on the occasion of the Tribute to John Cage. In the 100th anniversary of his birth. The encounter deepens on his work and legacy and invites personalities from the arts and theory fields covering the different aspects of Cage’s life and work.
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Director: Martín Bauer
Coordinator: Pablo Gianera
Producer: Juan Martín Ibarlucía

Thursday, September 13 & Friday, September 14, 2012
From 2 to 7 PM.
Auditorium of Fundación Proa

Special guests
: Branden W. Joseph, Henning Lohner, James Pritchett, Luis Chitarroni, Pablo Gianera, Hugo Petruschansky

In collaboration with Teatro Colón / Colón Contemporáneo
Supported by Tenaris

For further information and enrollment: coloquio@proa.org.
Open enrollment from Friday 24  august to monday 3 september.

Conferences:
Branden Joseph: HPSCHD in retrospective
Henning Lohner: John Cage and the visual music
James Pritchett: John Cage’s silent piece(s)
Luis Chitarroni: John Cage and Literature
Pablo Gianera: The recovery of the natural beauty in John Cage’s art
Hugo Petruschansky: John Cage and Marcel Duchamp within a historical context

Speakers:
Branden Joseph
Professor of Modern and Contemporary Art at Columbia University, where he specializes in practices that cross medium and disciplinary boundaries between the visual arts, film, and music. He is the author of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008); Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon; Steidl, 2005); Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press 2003); and, most recently, The Roh and the Cooked: Tony Conrad and Beverly Grant in Europe (August Verlag, 2011). Additional writings—which include numerous essays on Andy Warhol and John Cage, as well as writings on contemporary artists such as John Miller, Angela Bulloch, Lee Lozano, and Josiah McElheny—have appeared in a wide range of scholarly journals and museum catalogues and been translated into eight languages. Joseph is also a founding editor of Grey Room (MIT Press), a journal of architecture, art, media, and politics, which published the special issue “New German Media Theory” in 2007
Henning Lohner
The German composer and director Henning Lohner worked with John Cage during the 1990s, for the realization of one11, One hundred and three (the last work Cage) and “a film with out subject”. In 1993 he published The Revenge of the Dead Indians: In Memoriam John Cage, a documentary on Cage organized departing from chance techniques, which he begun producing with the composer and concluded as a tribute after his death in 1992.
Also, Lohner  made ​​over 100 films and 40 feature-length documentaries on influential contemporary artists and  scientists. His work wasshown internationally in numerous festivals and museums including the Centre Pompidou, the Guggenheim Museum (New York) and the Museum of Modern Art in San Francisco.

James Pritchett
American musicologist. Friend of John Cage since the 80′s, wrote in 1988 The Development of chance techniques in the music of John Cage, 1951-1956, the first study of the development of techniques of chance in the work of Cage, made from manuscripts, notes and scores of the composer. In 1992 he edited The Music of John Cage, to date, the only complete catalog of Cage’s work. In turn, Pritchett has written introductory notes for numerous recordings of works by John Cage, and published papers on the pianist and composer David Tudor.

Luis Chitarroni
Born in Buenos Aires in 1958. He is a writer, critic and editor. Contributed to several national and foreign media. He is the author of the novels El carapálida and Peripecias del no, of the collection of essays Mil tazas de té, and the anthology Siluetas. He trained as an editor in Sudamericana publishing house, with Henry Pezzoni, and worked there for over 20 years. Currently he is responsible for publishing the editorial catalog of La Bestia equilátera. He received the Editor of the Year Award 2012. He is a regular contributor to newspapers and cultural magazines.

Pablo Gianera
Born in Buenos Aires in 1971. He is a journalist writing critisim on music and literature. Works in cultural magazine AND , from La Nacion newspaper. Teaches at The Manuel de Falla Conservatory of Music  and also serves on the Executive Board of the Journal Diario de Poesía. He wrote Formas Frágiles, a  book of musical essays published in 2010.

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Hugo Petruschansky
Professor of History of Contemporary Art at Universidad de Buenos Aires and Instituto Universitario Nacional de Arte. He has taught at universities in Europe and the USA and has published numerous critical texts in books, magazines and catalogs. He is currently an independent curator and collaborates with “La Nación” and “Ámbito Financiero” and the magazine “Reporte Publicidad”, among other media.
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In collaboration with Teatro Colón / Colón Contemporáneo
Supported by Tenaris
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Tribute to John Cage in the 100th anniversary of his birth: Colón Contemporáneo

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In the centennial of John Cage’s birth, Fundación Proa participates in the celebrations organized in Buenos Aires by Teatro Colón / Colón Contemporáneo: The Tribute to John Cage in the 100th anniversary of his birth, coordinated by Martín Bauer, presents concerts, conferences, screenings and talks with the presence of international guests.

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From September 11 to 22, several activities will take place at Proa’s Auditorium as part of the Tribute’s programming: The International Symposium John Cage invites personalities from the arts and theory fields . The Concert 4’33′‘ presents the most celebrated work of John Cage, performed in this opportunity by Lucas Urdampilleta. And Proa Cine programs a series of documentaries and experimental films.

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Activities at Proa’s Auditorium:

International Symposium John Cage
Thursday, September 13 & Friday, September 14, 2012

Special guests: Branden W. Joseph, Henning Lohner, James Pritchett, Luis Chitarroni, Pablo Gianera, Hugo Petruschansky
Coordinator: Pablo Gianera

For further information and enrollment: coloquio@proa.org

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Concert: 4’33” Music for solo piano
Saturday, September 22

Sixty years after its release, Fundación Proa presents the most emblematic work of John Cage: 4’33´´. Performed by Lucas Urdampilleta.

Aug. 29. 1952 by John Cage
For piano by Christian Wolf
Extensions #3 by Morton Feldman
3 pieces for piano by Earle Brown
Premier Sonata by Pierre Boulez
5 Intermissions by Morton Feldman
For prepared piano by Christian Wolf
4 pieces by John Cage
4’33”
30”
2’23”
1’40”
The Banshee by Henry Cowell

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Proa Cine. Film program:
September 15-22

“John Cage” Dir. Klaus Wildenhahn (1965)
“one11 and 103″ Dir. Henning Lohner (1991-92)
“Chessfilnoise” Dir. Henning Lohner (1988)
“Cage/Cunningham” Dir. Elliot Caplan (1991)
“The Collaborators – Cage, Cunningham, Rauschenberg” Produced by KETC-TV (1987)
“Variations V” Dir. Stan Van der Beek (1965)

* The programming is subject to modification.
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Thanks to: John Cage Trust / Mode Records
In collaboration with: Teatro Colón/Colón Contemporáneo
Supported by: Tenaris

TWO SCREENINGS:
Saturday 25 august, 4 and 6 PM.
Q&A with the director

For more information and reservations please contact: auditorio@proa.org / 4104-1001
Admission: $15

Supported by Universidad Torcuato Di Tella

FILM CREDITS
Summer
Chile, 2011, 93 min.
Directed by: José Luis Torres Leiva
Written by: José Luis Torres Leiva
Produced by: La Ventura
Image: Inti Briones
Editor: Andrea Chignoli
Sound design: Roberto Espinoza
Starring: Julieta Figueroa, Rosario Blefari, Francisco Ossa, Ignacio Agüero, Mariana Muñoz, Rodrigo Lisboa

SYNOPSIS
On a hot summer day in the south of Chile, small events shape the lives of visitors and employees of an old thermal resort. The stories of Julieta, Francisco, Isa, Rodrigo, Ignacio, Mariana, Muriel, Gabriela, Eliseo, Norma, Alejandra and Claudio connect in moments of everyday life. While the visitors experience a contemplative break, the locals are merged in their routine. After enjoying long vacation hours in nature, learning how to drive, cleaning the house, kissing for the first time, swimming at night or just walking and talking, the day slowly unravels into fragments of happiness and discovery.

ABOUT THE DIRECTOR
José Luis Torres Leiva was born in Santiago, Chile, in 1975. He has
produced a large number of short and independent films, such as the
outstanding “Ningún Lugar en Ninguna Parte” (2004),”Obreras saliendo
de la fábrica”(2005),”El tiempo que se queda”(2007), “Trance (1-10)”
(2009), which have taken him to many international festivals. “El Cielo, la
Tierra y la Lluvia”, his first fiction full-length film, premiered
at the Rotterdam Film Festival 2008 where it won the FIPRESCI award.
He is currently preparing the documentaries “Ver y Escuchar” and “Los
Trabajos”.
2010- Tres Semanas Después (doc)
2008- El Cielo, la tierra y la lluvia (feature film)
2007- El Tiempo que se queda (doc)
2005- Obreras saliendo de la fábrica (cm)
2004- Ningún lugar en ninguna parte (doc)

The exhibitors

Gonzalo Aguilar
“El hombre en harapos: una genealogía de los márgenes en el arte de los sesenta” (A genealogy of the margins in the art of the 60′s)
Es doctor por la Universidad de Buenos Aires e investigador del CONICET. Profesor de literatura Brasileña en la Facultad de Filosofía y Letras de la Universidad de Buenos Aires. Ha sido profesor visitante en Stanford University, Harvard University y la universidad de Sao Paulo, Brasil. En 2005 recibió una beca Guggenheim. Es autor de Poesía concreta brasileña: las vanguardias en la encrucijada modernista (Beatriz Viterbo, 2003), Otros mundos: ensayos sobre el nuevo cine argentino (Santiago Arcos editor, 2005) y Episodios cosmopolitas en la cultura argentina (Santiago Arcos editor, 2009).

Rodrigo Alonso
Curador, junto a Paulo Herkenhoff, de Arte de Contradicciones. Pop, realismos y política. Brasil – Argentina 1960, exhibición con la que continúa investigando los vínculos entre el arte argentino y el arte internacional del periodo, trabajo que comenzó en el 2010 con la muestra Imán: Nueva York, y continuó en 2011 con Sistemas, Acciones y Procesos. 1965-1975, también en Fundación Proa. En 2011, fue curador del pabellón argentino en la 54ª Bienal de Venecia. Entre sus exhibiciones recientes como curador se incluyen Nuestra Hospitalidad, en el Espai d’Art Contemporani; Resplandores. Poéticas analógicas y digitales, en el Centro Cultural Recoleta; Tensiones públicas. Utopías domésticas, en el Centro Cultural Marcelo Patiño; Telefonías, en Fundación Telefónica; El futuro ya no es lo que era, en el Espacio Fundación OSDE. Licenciado en Artes por la Universidad de Buenos Aires, especializado en arte contemporáneo y nuevos medios, es profesor de la Universidad Nacional de Tres de Febrero, la Universidad del Salvador y el Instituto Universitario Nacional de Artes. También es profesor y miembro del Comité Asesor del Master en Comisariado y Prácticas Culturales en Arte y Nuevos Medios del MECAD, en Barcelona, y profesor invitado por importantes universidades, congresos y foros internacionales en América Latina y Europa. Es co-director del Taller de Arte Interactivo del Espacio Fundación Telefónica. Como escritor, crítico y colaborador en libros, revistas de arte y catálogos ha realizado numerosos trabajos entre los que se destacan: Muntadas. Con/Textos, Ansia y Devoción, Jaime Davidovich. Video Works. 1970-2000 y No sabe/No contesta. Prácticas fotográficas contemporáneas desde América Latina

María Amalia García
“Alberto Greco y el Brasil” (Alberto Greco and Brazil)
Doctora de la Universidad de Buenos Aires en el área Historia y Teoría del Arte, licenciada en Artes por la misma casa de estudios y profesora nacional de pintura de la Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón”, IUNA. Es investigadora del CONICET y su investigación está radicada en el Instituto de Teoría e Historia del Arte “Julio E. Payró” (FFyL-UBA). Se desempeña como docente en la Carrera de Artes (FFyL-UBA). Sus trabajos han sido difundidos en congresos y coloquios especializados nacionales e internacionales como así también en revistas y publicaciones especializadas. En 2003 obtuvo el primer premio en el VII Premio Fundación Telefónica a la investigación de la historia de las artes plásticas en la Argentina. Es autora de El arte abstracto. Intercambios culturales entre Argentina y Brasil (Siglo XXI, 2011), co-autora de Tomás Maldonado en conversación con María Amalia García (Fundación Cisneros, 2010) y de Arte argentino y latinoamericano del siglo XX: sus interrelaciones (FIAAR- Fundación Espigas, 2004).

Andrea Giunta
“Adiós a la periferia” (Goodbye to the periphery)
Doctora en Historia del arte, es Directora de la Cátedra en Historia del Arte Latinoamericano y Criticismo y Directora del CLAVIS, Center for Latin American Visual Studies, en la Universidad de Texas en Austin. Es autora de Vanguardia, Internacionalismo y Política. Arte Argentino en los años sesenta (2001, 2003 y 2008); Poscrisis. Arte Argentino después del 2001 (2009); Objetos Mutantes. Acerca del arte contemporáneo (2010); El Guernica de Picasso: el poder de las imágenes. Europa, Estados Unidos y América Latina (2010, autora y compiladora); Escribir las imágenes. Ensayos sobre arte argentino y latinoamericano (2011). Ha sido acreedora, en dos oportunidades, del premio Konex y recibió las becas Guggenheim, Rockefeller, Harrington y Paul J. Getty Foundation entre otras. Actualmente también dirige la colección Arte y Pensamiento en la editorial Siglo XXI.

Paulo Herkenhoff
Paulo Herkenhoff es historiador, crítico de arte y comisario independiente. Desde el 2003 al 2006 ha sido director del Museu Nacional de Belas Artes, Rio de Janeiro. Anteriormente a sido Curador Adjunto del Departamento de Pintura y Escultura del MOMA de Nueva York (1999-2002) y Curador en Jefe del Museu de Arte Moderna do Rio de Janeiro (1985–1990). Fue también director artístico de la XXIV Bienal de Sao Paulo (1998), dedicada a la antropofagia como estrategia de apropiación asi como también curador del Pabellón Brasileño de la 47 Bienal de Venecia (1997). Es autor de numerosos ensayos, como The Contemporary Art of Brazil: Theoretical Constructs (1993), The Theme of Crisis in Contemporary Latin American Art (1993), Cildo Meireles (2000), Beatriz Milhazes (2001) y Adriana Varejao (2002). Sus proyectos curatoriales más recientes, caracterizados tanto por el interés pedagógico como por la revisión histórica, han sido: The trajectory of light in Brazilian art (2001), Lucio Fontana (2001); Tempo (2002), Guillermo Kuitca (2003) y Manobras Radicais (2006).

Frederico Morais
Proyección film Um domingo com Frederico Morais, dirigida por Guilherme Coelho (2011) (Projection of the film Um domingo com Frederico Morais, directed by Guilherme Coelho)
Crítico e historiador de arte. Inició sus actividades como crítico de arte en Belo Horizonte, en 1956. En Rio de Janeiro fue titular de la columna de artes plásticas del “Diario de Noticias”(1966) y del diario “O Globo”(1975-1987). Fue profesor de la Escuela Superior de Diseño Industrial, de la Facultad de Arquitectura Santa Úrsula, de la Escuela de Comunicación de UFRJ, de la Pontifica Universidad Católica (PUC-Rio) y de la Facultad de Educación Artística (Niterói). Entre 1988 y 1989, dirigió la Escuela de Artes Visuales de Parque Lage. Trabajó 10 años en el Museo de Arte Moderno de Rio de Janeiro como coordinador de cursos y curador de exposiciones. Entre 1984 y 1987 dirigió la Galería Banerj. Integró el jurado de salones y bienales de arte en Brasil, Argentina, Uruguay, Colombia, Ecuador y México. Es autor de libros como Arte é o que eu e você chamamos de arte, Crônicas de amor à arte, Cronologia das artes plásticas no Rio de Janeiro: 1816-1994 e Antonio Henrique Amaral: obra em processo.

Manuel Neves
“Espectros de la realidad. Presencia formal de la nueva figuración y el pop-art en la pintura uruguaya 1962-1969″ (Spectra of the reality. The formal presence of the new figuration and pop-art in the uruguayan painting 1962-1969)
Crítico de arte y curador independiente. Miembro de la Asociación Uruguaya de Críticos de Arte, AUCA y de la Asociación Internacional de Críticos de Arte, AICA. Diplomado en Teoría y práctica del lenguaje y de las artes en la Escuela de Altos Estudios en Ciencias Sociales de Paris (EHESS). Colaboró con Revista Posdata, Semanario Posdata Folios, Diario Mundo Uruguayo, Semanario Brecha, TV-Ciudad, Revista ARTE; y en la actualidad escribe en la Revista Caras y Caretas. Ha realizado curadurías en Argentina, Uruguay y EEUU.

Cecilia Rabossi
“La Bienal de São Paulo en conflicto” (The biennial of São Paulo in conflict)
Licenciada en Artes, Facultad de Filosofía y Letras, Universidad de Buenos Aires. Curadora independiente, desarrolla tareas de investigación, producción y curaduría de exposiciones de artes visuales para diversas instituciones de Argentina y del exterior. Miembro de la Asociación Argentina de Críticos de Arte (AACA). Investigadora del Instituto de Teoría e Historia del Arte ‘Julio E. Payro’ (FFyL-UBA). Miembro del Grupo de Estudio sobre Museos y Exposiciones, que actualmente lleva adelante el proyecto Historia de las exposiciones: prácticas curatoriales y políticas culturales en el arte argentino y latinoamericano en la Universidad Nacional de Tres de Febrero y que contó en su inicio con un subsidio de la Fundación Antorchas (2002-2004). Se desempeño en el área de Programación General del Museo de Arte Moderno de Buenos Aires (noviembre de 1997 a diciembre de 2001). Realizó trabajos de investigación de las obras de la Coleção João Sattamini del Museu de Arte Contemporánea de Niterói, Niterói, Estado de Rio de Janeiro, Brasil (junio a septiembre del 2000). Participó de Symposium On the Edge of the World, integrado por curadores y artistas latinoamericanos, Edimburgo, Escocia, 14 – 17 Junio 2010. Curadora General del Encontro com América do Sul, Nitéroi, Estado de Río de Janeiro, Brasil (2011).

Suely Rolnik
“La súbita seducción del arte sudamericano de los años 60. Algunas pistas para develar el misterio” (The sudden seduction of the south american art of the 60′s. Some trails to reveal the mystery)
Es psicoanalista, investigadora de la cultura y del arte, curadora, profesora titular en el Posgrado en Psicología Clínica de la Pontificia Universidad Católica de São Paulo (PUC-SP), donde ha fundado el Núcleo de Estudios de la Subjetividad, y docente del Programa de Estudios Independientes (PEI) del Museu d’Art Contemporani de Barcelona (MacBa). Desde 2007 participa como investigadora de la Red Conceptualismos del Sur, de la cual ha sido una de las fundadoras. Rolnik se exilió en París entre 1970 y 1979, donde además de su formación psicoanalítica se diplomó en Sociología, Filosofía y Ciencias Humanas Clínicas (donde obtuvo también su maestría y D.E.S.S); obtuvo su Doctorado en Psicología Social en la PUC-SP. Es autora, entre otros, de “Micropolítica, Cartografías del deseo” en colaboración con Félix Guattari (1986), que se encuentra en su 11a edición en Brasil y ha sido publicado en 8 países (en castellano: por Traficantes de Sueños, Madrid, 2006; por Tinta Limón, Buenos Aires 2006). Es la creadora de un proyecto de activación de la memoria corporal de la obra de Lygia Clark y su contexto, en el marco del cual realizó 65 películas de entrevistas en Brasil, Francia, Inglaterra y EE.UU. El resultado es el Archivo para una obra-acontecimiento, que contiene 53 DVDs y un libreto, cuyos ensayos han sido publicados por Documenta 13 y por Manifesta 9 (Manifesta Magazine # 13 e # 14). El archivo fue el nervio central de una exposición de la cual Rolnik ha sido curadora junto a Corinne Diserens (Musée de Beaux-Arts de Nantes, 2005, y Pinacoteca do Estado de São Paulo, 2006). Exposiciones del archivo con curaduría de Rolnik han sido realizadas en varios países.

Sponsored by the Embassy of Brazil in Argentina and Tenaris / Techint

Rodrigo Alonso, curador de Arte de contradicciones. Pop, realismos y política. Brasil – Argentina 1960 junto con Paulo Herkenhoff, recorre la exhibición sala por sala y hace foco en los principales ejes curatoriales y las obras más destacadas: seis videos producidos por PROA TV que abordan los conceptos fundamentales de una muestra inédita.

En la primera parte de su visita guiada, Rodrigo Alonso presenta un conjunto de obras que dan cuenta de dos mitos de signos opuestos que surgen en el arte de Brasil y la Argentina en la década de 1960: el Che Guevara como símbolo del ideal revolucionario y la Coca-Cola como representación del imperialismo cultural norteamericano. En la Sala 1, el curador describe el contexto de producción de las obras de Cildo Meireles, Roberto Jacoby, Claudio Tozzi, Alberto Greco, León Ferrari y Rubens Gerchman.

Videos relacionados
- El curador Paulo Herkenhoff presenta la exhibición “Pop, realismos y política” Ver videos
- Entrevista con Carlos Alberto Chateuabriand, presidente del MAM de Río de Janeiro Ver video
- Entrevista con el artista Cildo Meireles Primera parte / Segunda parte
- La muestra “Pop, realismos y política” en Colectivo Imaginario (TN) Ver video
- Visita guiada del curador Rodrigo Alonso por la exhibición “Sistemas, acciones y procesos. 1965 – 1975″ Ver video

April
20 & 21 – 6 PM. Q&A with the director Grant Gee
28 – 6 PM. Screening
May
5, 12 & 19 – 6PM. Screening

For more information and reservations, please contact auditorio@proa.org / +54 11 4104-1001

Press:

Download Press kit in English (pdf)

Ariel Magnus. Página 12 / Radar. 15.04.2012
Alejandro Lingenti. La Nación. 21.04.2012
Federico Lisica. Página 12. 21.04.2012
Juan Pablo Russo. Escribiendo Cine. April 2012
Quintín. Perfil / Cultura. 07.05.2012

Patience (After Sebald)
United Kingdom, 2011, 82 minutes
Filmed and Directed by Grant Gee
Edited by Jerry Chater, Grant Gee
Produced by Gareth Evans, Di Robson, Sarah Caddy

Featuring Tacita Dean / William Firebrace / Dan Gretton / Barbara Hui / Arthur Lubow / Robert Macfarlane / Christopher MacLehose / Jeremy Millar / Katie Mitchell / Rick Moody / Andrew Motion / Chris Petit / Adam Phillips / Iain Sinclair / Bill Swainson / Lise Patt / Marina Warner / Christopher Woodward

Synopsis
A richly textured essay film on landscape, art, history, life and loss, Patience (After Sebald) offers a unique exploration of the work of internationally acclaimed writer W.G. Max Sebald (1944 – 2001) via a walk through East Anglia tracking his most  influential book, The Rings of Saturn.
The much anticipated new feature by  the Grierson Award-winning Director of Joy Division, Patience… is the first film about Sebald internationally, marking ten years since the writer’s untimely death, and with contributions from major writers, artists and film-makers.

Notes towards a film. By Grant Gee
W.G. Sebald has, in the ten years since his sudden death in a car crash (14.12.2001), begun to exert an almost uncanny influence over contemporary art and writing. He’s become one of those rarest of writers: the adjectival author, in the shortest possible time. ‘Sebaldian’ has entered the language. I wanted to find out why this is, and trace his influence through the zeitgeist.

Both my previous major long-form works – Radiohead’s Meeting People Is Easy and Joy Division – as well as the recent short film The Western Lands, examined iconic contemporary artists in the context of the landscapes they inhabited, respectively the ‘non-places’ of international touring, the post-industrial wreckage of late 1970s Manchester and the lethal cliff faces of the Orkney Islands. These artists could not be understood fully without an understanding of the landscapes and locations they occupied. The dialogue between personality and place is thus central to my own artistic investigations.

Rarely has the idea and importance of place been more prominent in culture and thought than it is at the moment. There are many reasons for this, not least the effect of globalization, with its spread of ‘sameness’ and the subsequent alienation and lack of belonging people feel. As things are erased, so they become even more significant.

This destruction of ‘place’ is a kind of catastrophe in our imaginative lives. It doesn’t have to take the form of explicit environmental or topographic change. Perhaps even more pernicious is the long-term psychological effect. Sebald’s body of work is profoundly aware of this and offers the richest statement I have come across about the importance of attention to place and the histories it holds and has made.

Properly to honour the associative nature of the book and the themes discussed, the ‘essay film’, a ‘genre’ employed to great effect by the likes of Chris Marker, Harun Farocki, Patrick Keiller and Chris Petit, seems a very helpful and productive means to explore such material. Such a form allows for multiple tones and textures, essential when considering Sebald and place. It is also a personal form, not governed by pre-ordained structures and templates. I am extremely glad to have had the opportunity to work with this approach, and hope in a small way to have done justice, on film, to the remarkable work of this most important and influential writer.

Biography

Grant Gee is a prolific cinematographer and film-maker, best known for directing definitive studies of music and musicians. He has been Grammy-nominated twice, for Meeting People Is Easy – about Radiohead – in 2000 and Demon Days – about Gorillaz – in 2006.
His recent feature length work Joy Division premiered at the 2007 Toronto International Film Festival in 2007 and won the Sound and Vision award for ‘Best Music Film 2007’ at the CPH:DOX festival in Copenhagen, and the Audience Awards for Best Film at the Gdansk film festival 2008 and ‘In-Edit’ festival in Barcelona 2008. It also won the prestigious Grierson Award 2008 for Best Cinema Documentary.
He also films and directs short, artists’ moving image works including City Symphony, 400 Anarchists and Mr. Fred Zentner’s. These have been shown internationally by the British Council, onedotzero and others. The most recent, The Western Lands, about climber and writer Jim Perrin’s climb of The Old Man of Hoy won best short film awards at the Banff and Vancouver film festivals.
He also shot, edited and made motion graphics for the acclaimed feature documentary Scott Walker: 30 Century Man, for director Stephen Kijak in 2006.
Gee was born in 1964 in Plymouth. He studied Geography at the Universities of Oxford and Illinois. He has worked in film / video since 1990. He lives in Brighton with his wife and son.

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With the support of Tenaris – Organización Techint

Tuesday to Sunday, from 11AM to 7PM (every 90 minutes)

During the exhibition Air de Lyon, Proa’s Auditorium presents every days a video program curated by Victoria Noorthoorn. The list of artists includes François Bucher, Aurélien Froment, Christoph Keller, Tracey Rose, Alexander Schellow and Javier Téllez.

Aurélien Froment. La tectonique des plaques, 2011. Courtesy of the artists, Motive Gallery, Amsterdam and Galerie Marcelle Alix, Paris. Co-produced Musée Departamental d’Art Contemporain de Rochechouart and Biennale de Lyon 2011

Tuesday / Thursday to Sunday: Program 1
Christoph Keller. Retrograd: A reverse chronology of the medical films made at the Berlin hospital Charité, 1999-2000 (32 minutes)
Alexander Schellow. Ohne Titel (Fragment), 2011 (5 minutes)
François Bucher. El hombre que desapareció, 2008 (5 minutes)
Aurélien Froment. La tectonique desplaques, 2011 (15 minutes)
Javier Téllez. O rinoceronte de Dürer, 2010 (41 minutes)

Wednesday: Program 2
Tracey Rose. In The Castle Of My Skin, 2011 (249 minutes)
Christoph Keller. Retrograd: A reverse chronology of the medical films made at the Berlin hospital Charité, 1999-2000 (32 minutes)
Alexander Schellow. Ohne Titel (Fragment), 2011 (5 minutes)
François Bucher. El hombre que desapareció, 2008 (5 minutes)
Aurélien Froment. La tectonique desplaques, 2011 (15 minutes)
Javier Téllez. O rinoceronte de Dürer, 2010 (41 minutes)

Javier Téllez. O Rinoceronte de Dürer, 2010. Courtesy of the artist and Peter Kilchmann Gallery, Zurich

François Bucher. El hombre que desapareció, 2008
Duration: 4min 36sec. Video HD, color, sound. Collection of the artist

About the artist
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Aurélien Froment. La tectonique des plaques, 2011
Duration: 14min 25sec. Video HD, color, sound. With Judith Plas and Laurent Talon. Courtesy of the artists, Motive Gallery, Amsterdam and Galerie Marcelle Alix, Paris. Co-produced Musée Departamental d’Art Contemporain de Rochechouart and Biennale de Lyon 2011

This film by Aurélien Froment documents an exhibition built on the same scale as its open-air setting. The two main characters traverse the countryside as though they were touring an exhibition: the universe has effectively become their gallery. Aurélien Froment’s fictional approach highlights behaviors, which are common in our reactions to both art works and landscapes, our tendency towards labeling the things we see and the time it takes us to properly appreciate them. About the artist
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Christoph Keller. Retrograd: A reverse chronology of the medical films made at the Berlin hospital Charité, 1999-2000
Duration: 32min. Video DVD. Courtesy of the artists and Esther Schipper Gallery, Berlin

From the very beginnings of film until the dismantling of its Film Institute, the Berlin Charité hospital produced approximately 1000 educational, medical, documentary and experimental scientific films. There is no cinematic footage of the Charité itself. There are scraps: fragments in the form of notes, articles, a few photos and the films that have survived. How can one tell a story that does not exist, that appears only intermittently in a context of images and documents full of gaps? About the artist
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Tracey Rose. In The Castle Of My Skin, 2011
Duration: 249min. Video color, sound. Creation 11th Biennale de Lyon. Collection of the artist

In residence in Feyzin as part of the Biennale de Lyon program, Tracey Rose creates a fictional cast featuring nearly thirty people. In what could be seen as a reality-show, the artist questions the assignment of individuals to compartmentalized cultural representations, according to a willfully xenophobic typology based on a chapter of Franz Fanon’s book Black Skin, white Masks, in which the author is terrorized by a small French boy who exclaimed upon seeing him: “Look, a Negro! Mama, see the Negro! I’m afraid!”. About the artist
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Alexander Schellow. Ohne Titel (fragment), 2011
Duration: 5min 21sec. Video HD, 16:9, b&w. Production Films de Force Majeure / Alexander Schellow. Courtesy of the artist

In his drawing practice, Schellow reconstructs from memory specific encounters seen in everyday urban settings several days, or even months, previously. At Air de Lyon, we present one of his most ambitious animation projects. Untitled (Fragment) is a work in progress based on several visits to a 96-year-old woman who lives at a clinic for Alzheimer’s patients in Berlin. In his studio the artist meticulously recreates the subtle movements of her face after-the-fact. Overall, Schellow’s work is the result of a combination of what remains of the seen and an obsessive attempt to recover what the consciousness shields from us, thus challenging the usual process of memory in which specific details sink into oblivion forever. About the artist
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Javier Téllez. O Rinoceronte de Dürer, 2010
Duration: 41min. Digital film to HD video transfer, color, stereo sound. Fundación Calouste Gulbenkian – CAM (Centre de Arte Moderna), Lisbon, 2010. Courtesy of the artist and Peter Kilchmann Gallery, Zurich

O Rinoceronte de Dürer was filmed entirely on location at the panopticon of the Miguel Bombarda Hospital in Lisbon and made in collaboration with psychiatric patients of the outpatient’s clinic, who form the main cast of the film. Built in 1896 on the grounds of the largest Psychiatric Hospital in Lisbon, the panopticon was designed as a prison for the criminally insane, following the original plans of Jeremy Bentham.
The fragmentary narrative of O Rinoceronte de Dürer was written by the patients in a series of workshops conducted prior to the shooting of the film, where they imagined themselves as inhabitants of the former insane asylum and acted out fictional scenarios within their assigned cells. This reconstruction of the everyday life of a mental institution is complemented by voice-overs quoting texts such as Jeremy Bentham’s letter presenting the Panopticon, Plato’s Cave, and Kafka’s short story The Burrow. About the artist

Christoph Keller. Retrograd: A reverse chronology of the medical films made at the Berlin hospital Charité, 1999-2000. Courtesy of the artist and Esther Schipper Gallery, Berlin

COLLOQUIUMS
Scenes from the 80s. The early years
Proa launches Scenes from the 80s. The early years, a catalog including texts by curator Ana María Battistozzi and scholars Roberto Amigo and Lucas Fragasso. Along with the book presentation, a series of conferences and seminars will be organized in order to contribute with the study on a key period of art scene in Buenos Aires.

Pop, Realisms and Politics. Brazil – Argentina
Coordinators: Paulo Herkenhoff y Rodrigo Alonso
International scholars will present their latest developments in their research on the cultural relationship between both countries during the 60s and the 70s, a central topic in the history of Latin American art.

John Cage. 100 Years
Coordinator: Martín Bauer
In the centenary of his birth, Proa organizes special events, conferences and presentations coordinated by Martín Bauer. A unique tribute to the artist, composer and essayist John Cage, a central figure in 20th Century music.

Alberto Giacometti
Coordinator: Véronique Wiesinger
The most relevant scholars and specialists on Giacometti’s work will present their recent researchs in dialogue with local experts. A necessary meeting within the framework of a unique exhibition to be presented at Proa on October 2012.

CINEMA
February / December
Guest programmers
Two relevant Argentine filmmakers are in charge of 2012 cinema program. Each Saturday, they present the films, reflecting and discussing the works selected.
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April
BAFICI – XIV Edition
Proa hosts the Buenos Aires International Independent Film Festival, one of the most significant cultural events in the city, with screenings and dialogues with international filmmakers.
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THEATRE
Compañía de Funciones Patrióticas
The theater company directed by actor and playwright Martín Seijo presents new productions, always with a unique performance during holidays or national days. As in 2010 and 2011, the company updates and adapts texts of the Argentine repertoire, discussing the national values, political traditions and economic history of the country.

MUSIC
November
Contemporary Music Concerts – 16th Edition (Teatro San Martín)
A new season of the prestigious festival directed by Martín Bauer will be hosted at Proa. Renowned international musicians present their works in the Auditorium.
John Cage. 100 Years

LITERATURE
September
International Festival of Literature of Buenos Aires
In this edition, Proa invites one of the most personal and compelling voices of contemporary literature in Latin America.
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FNPI + Proa
For over ten years, Proa co-organizes cultural journalism workshops with the Ibero-American New Journalism Foundation (FNPI), inviting the most relevant writers and journalists from the region.
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PROA TV
Proa’s official YouTube channel presents exclusive contents such as guided visits by the curators, interviews and audiovisual documentation.
youtube.com/proawebtv

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More information:
2012 Complete Program (PDF)
2012 Exhibitions

Only 4 screenings
Saturdays, September 17 & 24 / October, 1 & 8

Admission: The Autobiography of Nicolae Ceausescu: $25
Videograms of a Revolution: $15
Information and revervations: auditorio@proa.org / (011) 4104-1000/1001

"The Autobiography of Nicolae Ceausescu". Dir. Andrei Ujica. Romania, 2010. 180'

THE AUTOBIOGRAPHY OF NICOLAE CEAUSESCU
Original title Autobiografia lui Nicolae Ceausescu
Romania, 2010. 180 min. Color – B&N
Director / Writer Andrei Ujica
Film Editing Daba Bunescu
Produced by Velvet Moraru
Icon Production
www.the-autobiography.com

VIDEOGRAMS OF A REVOLUTION
Original title Videogramme einer Revolution
Germany, 1992 106 min. Color – B&N
Directors / Writers Harun Farocki, Andrei Ujica
Film Editing Egon Bunne
Produced by Harun Farocki
Harun Farucki Filmproduktion, Bremer Institut Film / Fernsehen Produktionsgesellschaft
Narrator Thomas Schultz

"Videograms of a Revolution". Dir. Harun Farocki/Andrei Ujica. Germany, 1992. 106'

Press:
Ciclo Alan Pauls en Fundación Proa. Carolina Quintana. 18.09.2011
El arte de dejar hablar y escuchar al dictador. Por María Luján Picabea. Revista Ñ. 16.09.2011
La única verdad que mostraba Ceausescu. Por Paraná Sendrós. Ámbito Financiero. 16.09.2011
Se estrena en PROA “Autobiografía de Nicolae Ceausescu”. Escribiendo Cine. 16.09.2011
Ciclo de Alan Pauls en Fundación Proa. Por Gabriela Schevach. Juanele. 15.09.2011
Proa Cine. Cuisine & Vins. 15.09.2011
Autobiografía de Nicolae Ceausescu de Andrei Ujica – Ciclo Alan Pauls. Arte en la red. 14.09.2011
Ciclo Andrei Ujica en Proa Cine. Haciendo Cine. 14.09.2011
Proa Cine presenta “Autobiografía de Nicolae Ceausescu” y “Videogramas de una revolución”. Pandorama. 14.09.2011
Proa Cine. Autobiografía de Nicolae Ceausescu y Videogramas de una revolución. Ramona Web. 13.09.2011
Ceausescu en PROA. Por Horacio Bernárdez. La espada vengadora. 12.09.2011
Ascenso y caída del imperio rumano. Por Diego Rojas. Página 12 / Radar. 11.09.2011
Proyectan en Proa dos documentales del rumano Andrei Ujica. Agencia Télam / Yahoo! Noticias / Terra Noticias. 09.09.2011
Proyectan en Proa dos documentales del rumano Andrei Ujica. El Comercial (diario de Formosa, Chaco). 09.09.2011
Ciclo Alan Pauls: Nicolae Ceausescu X 2. Puesta en Escena .com.ar. 09.09.2011
Andrei Ujica por dos. Otros Cines. Septiembre 2011

"The Autobiography of Nicolae Ceausescu". Dir. Andrei Ujica. Romania, 2010. 180'

Every Saturday until October 8, the critic and writer Alan Pauls presents The Autobiography of Nicolae Ceausescu, directed by Andrei Ujica, and Videograms of a Revolution, directed by Ujica and Harun Farocki.