Fundación Proa - Auditorium » Auditorium

International Seminar “Art and Social Integration”

Tue, 18 Sep 2012 21:47:21 +0000

1, 2 y 3 October 2012
Auditorium Fundación Proa

The Picasso Museum from Málaga, Fundación Cisneros and Fundación Proa present the International Seminar ¨Art and Social Integration II¨, with the objective of continuing and deepening the critical spirit of the first edition held in the Picasso Museum in September 2011.
This edition takes place on 1, 2 and 3 October in the Auditorium of Fundación Proa. This time, the proposal is enriched by incorporating “EN RED“, A one day conference of linkage and projects consultancy, on October 4, an optional day dedicated to the analysis and evaluation of projects, in collaboration with Fundación TyPA.

A unique opportunity to share and reflect with distinguished artists, researchers, educators and cultural managers from the top international institutions about the connection between artistic practices and the communites in Europe, USA and South America.

The seminar brings the debate to the complex territory where theory and practice meet, discussing and nourishing each other, creating a space of infinite creativity. Governments, institutions and artists rethink concepts, generating methodological tools and designing art projects that reflect and respond to issues in today’s world: life in the big cities and their peripheries, economic crises, migration, cultural diversity, the dissolution of established social bonds and the search for a sustainable world.

The contributions of constructivist theories of education, Urban pedagogy, Education through Art and the civil rights enrich the analysis from an interdisciplinary perspective. While, original projects designed for specific contexts challenge this concepts from the practice field.

Participating institutions: Fundación Cisneros – Fundación Proa – Inhotim Brazil – MoMA New York – Picasso Museum – Tate Modern

Speakers: Américo Castilla – Maria de los Angeles Gonzalez – Pia Landro – Rafael Emilio Yunén

Artists and projects: a77 / Centro Cultural Nómade (Argentina) – Fernanda Laguna y Mariela Scafati / Escuela de belleza y felicidad (Argentina) – Fundación ph15 (Argentina) – Marina de Caro / Artistas en disponibilidad, Bienal del Mercosur (Brasil) – mARTadero (Bolivia ) – Más Arte Más Acción (Colombia) – Ministerio de Cultura – Ciudad de Buenos Aires.

Areas of Work:
1- Discussion about the terms “social integration” and “art”
2- Methodologies, monitoring and evaluation of projects
3- Difficulties analysis and possible solutions

“EN RED”, A one day conference of linkage and projects consultancy (optional activity)
October 4, 2012
Auditorium of Fundación Proa

In the context of the International Seminar ¨Art and Social Integration II, Fundación TyPA and Fundación Proa will organize a day of intensive practical work, with the goal of building a network of collaboration and resource sharing; bringing together creative management tools that will help to realize projects in the best possible way. The workshop is addressed to participants who develop projects that promote social inclusion through art and that wish to receive expert advice and connection with colleagues.

For further information and enrollment:
Download the registration form and send it to coloquio@proa.org.

Open enrollment until September 21st.
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The participants

Museo Picasso de Málaga:
- José Lebrero Stals
- Lucía Vázquez

Fundación Cisneros:
- María del Carmen González
- Luis Camnitzer

Fundación Proa:
- Paulina Guarnieri

Inhotim (Brasil):
- María Eugenia Salcedo Repoles

Museum of Modern Art, MoMA (EEUU):
- Juliet Kinchin

Tate Modern (Reino Unido):
- Walney Virgilio
- Synthia Griffin

Speakers:

- Américo Castilla
- María de los Ángeles González
- Pía Landro
- Rafael Emilio Yunén

Artists and projects:

Artistas en disponibilidad, Bienal del Mercosur (Brasil):
- Marina de Caro

Centro Cultural Nómade (Argentina):
- Gustavo Diéguez y Lucas Gilardi / Estudio a77

Centro Cultural mARTadero (Bolivia):
- Claudia Andrea Michel Flores

Escuela Belleza y Felicidad (Argentina):
- Fernanda Laguna
- Mariela Scafati

Fundación ph15 (Argentina):
- Moira Rubio Brennan y Miriam Priotti

Más Arte Más Acción (Colombia):
- Silvia Ojeda

Ministerio de Cultura de la Ciudad de Buenos Aires (Argentina):
- Silvia Pritz
- Valeria Kovadloff

International Symposium John Cage in the 100th anniversary of his birth

Tue, 28 Aug 2012 15:12:48 +0000

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

PROA CINEMA: “Santiago” by João Moreira Salles (2006)

Wed, 03 Nov 2010 15:07:58 +0000

Premiere: Saturday September 18, 7PM
Screenings:
Saturday September, 18, 25 – 7PM
Saturday October 2, 9, 16, 23, 30 – 7PM
Saturday November 6 – 7PM – Last screening

Proa’s Auditórium
For more information: auditorio@proa.org / 4104-1000/1001

About the film

Proa Cinema presents SANTIAGO (Brazil, 2006, 80’), João Moreira Salles’ most acclaimed production. The film will screen each Saturday until November 6, at 7PM.
Since it was launched, SANTIAGO has received many awards from different film festivals, obtaining a great international acclaim. In Argentina, it was screened at the 2007 edition of BAFICI film festival and was considered as one of the most distinguished documentaries.
João Moreira Salles is one of the most acknowledged documentary filmmakers of Brazilian contemporary film. He began writing scripts for television in 1985. Since then, he has directed ten documentaries, many of them awarded internationally. “Entreatos” (2004), “Nelson Freire” (2002), “Notícias de uma Guerra particular” (1999, co-directed by Kátia Lund) and “Jorge Amado”(1995).

Overview
SANTIAGO, Brazil, 2006. 80 minutes
Direction: João Moreira Salles
Executive producer: Mauricio Andrade Ramos
Photography director: Walter Carvalho, A. B. C.
Producer in chief: Beto Bruno
Sound producer: Jorge Saldanha
Editors: Eduardo Escorel and Livia Serpa

About the filmmaker

João Moreira Salles is a documentary filmmaker. Since 2006, he is editor for Piauí magazine. He began his carreer in 1985 as script writer for the five episodes sitcom “Japão, uma Viagem no Tempo”.
In 1987, he wrote the script for “Krajcberg o Poeta dos Vestigios”, film for which he received the awards for best investigative documentary at the Festival dei Popoli (Florence, Italy); best documentary film at the New Latin American International Film Festival, in La Habana (Cuba) and the Golden toucan for the best TV show from Río de Janeiro at Rio’s V Festival (Brazil).

In 1987, he directs “China, o Império do Centro”, special prize from the Paulist Association of Art Critics and the Award for best TV reportage from the brazilian association for literary critic.

In 1989, he shot the documentary “Poesia é uma ou duas linhas e por tras uma imensa paisagem” on the poet Ana Cristina César, winning the Grand Prize at the Fotoptica Festival. That same year he also directed América, a series of five documentary episodes on North American culture, shot at the US and broadcasted by TV Manchete. It was considered by the critics as one of the best productions for Brazilian television.
In 1990, he produced “Blues” a special episode on North American black music, which was awarded the special jury prize at the International Art Film Festival from the Centre Georges Pompidou in Paris.
From 1991 until 1996, he devoted to advertisement and won several awards. In 1995 he directed alongside Jorge Amado a one-hour documentary film on the racial issues in Brazil, based on the writer’s work. Co-produced with Continental Cameras (France) and broadcasted by France 3 and GNT (Brazil) stations.
In 1998, he premiered the documentary series “Futebol”, co-directed with Arthur Fontes. Filmed in a two years period throughout Brazil, this project is a portrait on Brazilian football, a chronicle of the athletes lives in different moments of their careers: the beginning, the fame and the players anonymity. The three-episodes sitcom was nominated for that year’s Emmy awards under the international documentary section, and was selected in the International Documentary Film Festival from Amsterdam. He also participated in New York’s Film Festival where he was amongst the Latin American runners-up.

In 1999, Moreira Salles co-directed alongside Katia Lund “Notícias de uma guerra particular” a documentary film on street violence in Brazil. Rio de Janeiro is the film scenario. Policemen, drug dealers and favela inhabitants are the characters. They take part in a daily war with no victories. The film won the 2000 award for best documentary film at the É tudo verdade Festival of São Paulo and was runner-up for the Emmy Awards and the New York Film Festival.

In 2000, Videofilmes launched a documentary series “6 Historias Brasileiras”. Moreira Salles co-directed with Marcos Sá Corrêa the episodes “O Vale” (on the ravaging of the Atlantic forest of the Paraíba Valey) and “Santa Cruz” (on the birth of the evangelist church in Rio de Janeiro’s suburbs).

In 2003, Moreira Salles premiered Nelson Freire, a feature film on the Brazilian pianist’s career. Shot during the artist’s 2000 European and Russian tour, the film captures images of his concerts and the intimacy of rehearsals and his home studio. The film contains Nelson Freire’ s delectable musicality, acclaimed worldwide.

In November 2004, his documentary film “Entreatos” showing the most intimate moment of Luiz Inácio Lula da Silva’s 2002 presidential campaign. The film reveals the behind the scenes of an historical moment using exclusive material, private conversations, strategic meetings, phone calls, transfers, discourse recordings and electoral programs. In 2006 he finished Santiago, a documentary feature film on his family’s former butler. The film was awarded best documentary at the Alba Film Festival, in Italy and the Festival du Réel, in Paris in 2007.

Press

Casa con fantasmas / Juan Forn. Página 12. 03.09.2010
João Moreira Salles. Estuche Freak. 03.09.2010
Santiago. Cine Búho. Septiembre 2010
Santiago de João Moreira Salles. Librosgratis. 03.09.2010
Santiago de João Moreira Salles. EsLiteratura.com. 04.09.2010
Santiago! Seminario Gargarella. 09.09.2010
PROA Cine estrena una joya del documental: Santiago Impulso Baires. 18.09.2010
Santiago, de João Moreira Salles Yahoo Noticias 22.09.2010
Santiago de João Moreira Salles El Amante 18.09.2010
Estreno PROA CINE: Santiago, de João Moreira Salles El Reverso
Santiago Guyazi 16.09.2010
PROA CINE : “Santiago”, de João Moreira Salles EraMusical Enterarte Cultural 18.09.2010
Proa Cine presenta: Santiago de Joao Moreira Salles Moda Fusión Arte 18.09.2010
PROA Cine estrena una joya del documental: Santiago Otros Cines 18.09.2010
Santiago Fotografías 18.09.2010
Santiago de João Moreira Salles (2006) Bamarte 18.09.2010
Proa Cine presenta ‘Santiago’, un film documental dirigido por João Moreira Salles Arte en la Red 13.09.2010
La seducción del valet -SANTIAGO documental del cineasta brasileño Joao Moreira Salles Cine al Sur 27.09.2010
Santiago, el magnífico documental de Joao Moreira Salles Taller La Otra 25.09.2010
La seducción del valet Página 12 24.09.2010
Dos grandes documentales Hipercrítico
SANTIAGO, DE JOAO MOREIRA SALLES Terra 22.09.10
Hoy sábado: PROA Cine estrena una joya del documental: Santiago Impulso Baires 18.09.10
Cae la noche tropical Radar 26.09.10
Continua El Documental Brasileño SANTIAGO Revista Llegás 18.10.10
“Santiago” de J. Moreira Salles Weblog Clarín 18.10.2010

Saturday August 14. Artist Eduardo Costa

Thu, 12 Aug 2010 16:56:07 +0000

Next Saturday Eduardo´s Costa films Names of Friends: Poem for the deaf-mute (1969) and You See a dress (1970) will be previewed at the Auditorium. At 6.30PM, the artist will be available for a conversation with the audience.

Eduardo Costa
Names of Friends: Poem for the deaf-mute
New York, 1969
Super 8mm/DVD, 40x500cm, edition of 6
Colour, silent, 2’13
Script Writer/ Performer/ Director: Eduardo Costa
Camera: Hannah Weiner

Eduardo Costa, Names Of friends: Poem For The deaf-Mute
Presentation text, MAMba, Buenos Aires, 2007

This groundbreaking work was conceived by artist Eduardo Costa in 1968 and filmed in super 8mm in 1969. The script, direction and performance are by Costa, the camera is by noted US poet Hannah Weiner, then a friend of Costa’s and collaborator with him and John Perreault in the noted Fashion Show Poetry Event of the same year. A 2 1/2 m conceptual film, the silent Names of Friends was lost in New York shortly after completion, and reappeared in Buenos Aires in 2007.

The Museum of Modern Art of the city of Buenos Aires presented Names of Friends May 16-June 24, 2007 in its digital and still versions. The face of the young Costa is shown from the tip of the nose down as he pronounces 53 names of his US, Latin American, and European friends. The names included are the first names of well-known artists and writers: Vito Acconci, Scott Burton, Marisol Escobar, Rubens Gerchman, John Giorno, Dan Graham, Lucy Lippard, Bernardette Mayer, Hélio Oiticica, Octavio Paz, John Perrault, Roberto Plate, Susana Salgado, Robert Smithson, Marjorie Strider, Anne Waldman, Lewis Warsh, Hannah Weiner and Luis Wells, amongst other who are or not in the art world.

Only those who read lips can fully understand the work. The regular audience instead is denied access to part of the information, which invites it to focus on the usually neglected movement of lips, tongue, teeth, jaw and saliva. Both the moving and still versions of the film present visually arresting images derived from a conceptual platform. The digital transfer of the original footage was projected at the museum’s auditorium. Frame-by-frame still and TV versions were in the exhibition room nearby.

You See a dress (1970)
9’’22; sonido; inglés
Eduardo Costa

From literature to performances, Scott Burton. Wadsworth Athemeun, April 14, 1970.

These tour pieces have their genesis in literature but seek to extend that medium. Although the writers’ individual intentions vary, all move beyond not only the printed page but further, beyond the word itself as the unit of expression. An important, often necessary, verbal element remains – whether in the formulation of the intention or the concept, or as an adjunct or a parallel to the performed part of the work- but in no case is there the verbal self-sufficiency of traditional writing, even that in non-traditional styles. These works are not in new style but in new mode. Their visual and/or aural aspects are at the least as important as the activity of reading, and usually more important.

Of equal importance here, and more innovatory, is the use of time. Other forms of literature, such as concrete poetry, have dealt with words as one more kind of visually apprehended information but the new “performed literature” incorporates as wall the element of duration. Their existence in time is essential to the very conception of these pieces. They are this categorizable as “theatre”, for they can only be experienced in extension, as processes or sequences in time, and they control the audience’s length and rate of exposure (the opposition is true of reading a book or looking at a painting). But these works for the theatre are unlike traditional dramatic art because they exist explicitly in the same, actual time as that of the viewer instead of offering fictive times and places. These are not illusionist but literalist theatre pieces.

For this reason they have a relation to the chief form of “abstract” theatre, the dance, and especially, recent dance styles which mix genres or substitute one for another. Also related are the two dominant tendencies now in the plastic art: “process” art, which changes or is changed throughout a span of time; and “conceptual” art; which replaces purely visual with verbal modes. However, the works on this program, whatever their genesis or esthetic parallels, exist first and last in the medium of live performances and explore systematically its characteristics.

You see a dress, Eduardo Costa

My piece does not imply a strong belief in the importance of physical objects or in the importance of visual over other kinds of perception. Also, it brings theatre closer to Hypnotism and Fashion.

Futurist Cinema Marathon

Wed, 26 May 2010 23:04:56 +0000

Sunday 30th May, 2.00 – 8.00 pm

Admission: $ 10
auditorio@proa.org
More information >>

Program:
2.00 pm:
Come Cretinetti paga i debiti. André Deed. 1910, 6′
Come fu che l’ingordigia rovino il natale di Cretinetti. André Deed. 1910, 11 ‘
Amor Pedestre. Marcel Fabre. 1914, 8′
Das Stahltier. Willy Zielke. 1935, 15′
L’Uomo meccanico . André Deed . 1921, 25′
Pacific 231 . Jean Mitry . 1949, 12 ‘

3.30 pm:
Velocità (Vitesse). Tina Cordero, Guido Martina, Pippo Oriani. 1930, 16′
Ballet mécanique. Fernand Léger, Dudley Murphy . 1923,18′
Jeux des reflets et de la vitesse. Henri Chomette. 1933, 7′
Thais. Anton Giulio Bragaglia. 1916, 35 ‘

5.00 pm:
Come Cretinetti paga i debiti. André Deed. 1910, 6′
Come fu che l’ingordigia rovino il natale di Cretinetti. André Deed. 1910, 11 ‘
Amor Pedestre. Marcel Fabre. 1914, 8′
Das Stahltier. Willy Zielke. 1935, 15′
L’Uomo meccanico . André Deed . 1921, 25′
Pacific 231 . Jean Mitry . 1949, 12 ‘

6.30 pm:
Velocità (Vitesse). Tina Cordero, Guido Martina, Pippo Oriani. 1930, 16′
Ballet mécanique. Fernand Léger, Dudley Murphy . 1923,18′
Jeux des reflets et de la vitesse. Henri Chomette. 1933, 7′
Thais. Anton Giulio Bragaglia. 1916, 35 ‘

Films synopsis

Amor Pedestre (Love afoot), 1914. Dir. Marcel Fabre. 10′
Illustrates the story of an accidental love triangle from a peculiar point of view: the feet. During his morning walk, Robinet (main character played by Fabre himself) encounters a young girl and decides to court her. Despite her rejecting him, Robinet slips a note on his shoe imploring to meet him later on. Back home, the note slips out of her shoe and is found by her angry husband who decides to show up at the date to meet Robinet.

Ballet mécanique (Mechanic ballet), 1923. Dir. Fernand Léger and Dudley Murphy. 14 ‘
Is a caleidoscope of images paired up with an electric soundtrack. The film accounts for a constantly moving world dominated by mechanic and repetitive images combined with moments of solitude spent in a garden. A young girl swings in a garden; another girl smiles. The takes alternate rotating cylinders, turbines, and kitchen objects arranged in a concentric form. Over and over again, a woman climbs a flight of stairs carrying a bag over her shoulder. An art-deco figure appears, dancing.

Come Cretinetti paga i debiti (How Foolshead pays his debts), 1909. Dir. André Deed. 6’
Interpreted by director André Deed, Cretinetti (Foolshead) is the main character in a series of entertaining futurist short films; in which this buffoon sets himself to destroy everything that steps in his way. This time, Cretinetti is a compulsive debtor, persecuted by collectors that invade his apartment floor forcing him to pay his debts. The film focuses on Foolshead’ s adventures when he tries unsuccessfully to get rid of them and escape the law.

Come fu che l’ingordigia rovinò il Natale a Cretinetti (Foolshead’s Christmas), 1910. Dir. André Deed. 11’
In this take of André Deed’s comic saga, Cretinetti gets in trouble when he tries to post his Christmas party invitations in the mail. Because of him taking so long, a furious crowd waiting in line behind him calls the police to kick him out. Cretinetti purchases a tree to attack a public building and clumsily sets it on fire. He walks back to his house with the blazing tree where his family and friends await.

Das Stahltier (The Steel animal), 1935. Dir. Willy Otto Zielke. 15’
The railway workers wait outside for the factory doors to open and for another workday to begin. Inside, engineer Klaassen staid overnight working on some drafts for a new locomotive. As a result of the team’s hard work, the project comes together and Klaasen gets a promotion. Before leaving for his job, he meets up with his co-workers and has second thoughts regarding his decision. Their conversation revolves around the stories of the evolution of the railway industry and its pioneers.

Jeux des reflets et de la vitesse (Games on reflection and speed), 1933. Dir. Henri Chomette. 6’
Captures the impressions on the city of Paris; experimenting with light and movement through the camera lens.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 24′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Pacific 231 , 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′
Narrates the adventures of Bianca, a “femme fatale” that plays and uses his admirers to satisfy her whims and selfish purposes. The highlight of the film is the final scene: a tragic finale where the heroine is punished for her wrongdoings.

Velocità (Velocity), 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 12 ‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

Futurist Cinema III

Mon, 17 May 2010 19:17:08 +0000

Duration: 60 minutes

Sunday 23th May, 5.00pm

Ballet mécanique, 1923. Dir. F. Léger y D. Murphy. 18′
Jeux des reflets et de la vitesse, 1933. Dir. H. Chomette. 7′
Thaïs, 1916. Dir. Anton Giulio Bragaglia. 35′

Films synopsis

Ballet mécanique (Mechanic ballet), 1923. Dir. Fernand Léger and Dudley Murphy. 18′
Is a caleidoscope of images paired up with an electric soundtrack. The film accounts for a constantly moving world dominated by mechanic and repetitive images combined with moments of solitude spent in a garden. A young girl swings in a garden; another girl smiles. The takes alternate rotating cylinders, turbines, and kitchen objects arranged in a concentric form. Over and over again, a woman climbs a flight of stairs carrying a bag over her shoulder. An art-deco figure appears, dancing.

Jeux des reflets et de la vitesse (Games on reflection and speed), 1933. Dir. Henri Chomette. 7’
Captures the impressions on the city of Paris; experimenting with light and movement through the camera lens.

Thaïs, 1916. Dir. Anton Giulio Bragaglia. 35′
Narrates the adventures of Bianca, a “femme fatale” that plays and uses his admirers to satisfy her whims and selfish purposes. The highlight of the film is the final scene: a tragic finale where the heroine is punished for her wrongdoings.

Admission: $ 6
auditorio@proa.org
More information >>

Futurist Cinema II

Tue, 11 May 2010 17:03:50 +0000

Duration: 72 minutes

Sunday 16th May, 5.00pm

Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 35′
L’Uomo meccanico, 1921. Dir. André Deed. 25′

Films synopsis

Pacific 231, 1949. Dir. Jean Mitry. 12′
Pacific 231 is both the name of the leading role locomotive and the critic and cinema theorist Jean Mitry’s short film. If the engine is the star of the action, the Swiss French composer Arthur Honegger’s music play is the protagonist of the soundtrack. This particular conjunction of cinema, music and machine produces a masterpiece, given the passion for engines that the director and composer share.

Velocità, 1930. Dir. Tina Cordero, Guido Martina, Pippo Oriani. 35‘
Captures the city dynamism combining rotating views, whirling machines, articulated mannequins and the homage to several 20th century artists such as Boccioni, Mondrian, Léger and Kandinsky. All these elements are brought together by futurist painter Oriani and the collaboration of writers Cordero and Martina.

L’Uomo meccanico (The mechanic man), 1921. Dir. André Deed. 25′
This film is a parody of serials; more precisely of one: “Master Mystery”, a thriller premiered a year before. Driven by an evil but beautiful women, the mechanic man tears down doors and walls obsessed with destroying everything that sets in its way. Saltarello, a marginal but loveable character that spends his time escaping the police, fights him. Scenes like the one where the robot persecutes a car or the duel between two robots which ends with dancing, have a very kitsch sense of humour.

Admission: $ 6
auditorio@proa.org
More information >>

Futurist Cinema

Fri, 30 Apr 2010 23:01:36 +0000

From May 9th, Sundays 5.00 pm

Accompanying The Universe of Futurism. 1909-1936 exhibition, Proa presents a Futurist Cinema series, that shows the diversity of disciplines experimented by the avant-garde Italian movement, to be held every Sunday from May, 9th at Proa’s auditorium.

auditorio@proa.org / info@proa.org
Admission: $6

May
Sunday 9, 5.00 pm
Come Cretinetti paga i debiti, 1910. Dir. André Deed. 6′
Come fu che l’ingordigia rovinò il Natale a Cretinetti. 1910.
Dir. André Deed. 6′
Amor Pedestre, 1914. Dir. Marcel Fabre. 10′
Das Stahltier, 1935. Dir. Willy Otto Zielke. 15′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 16, 5.00 pm
Pacific 231, 1949. Dir. Jean Mitry. 12′
Velocità, 1930. Dir. T. Cordero, G. Martina, P. Oriani. 12′
L’Uomo meccanico, 1921. Dir. André Deed. 24′

Sunday 23, 5.00 pm
Ballet mécanique, 1923. Dir. F. Léger y D. Murphy. 14′
Jeux des reflets et de la vitesse, 1933. Dir. H. Chomette. 6′
Thaïs, 1916. Dir. Anton Giulio Bragaglia. 54′

Sunday 30, 2.00 – 8.00 pm
Futurist Cinema Marathon

The Futurist Cinema

The Futurist Cinema Manifest, signed in 1916, proclaims the movement’s rejection towards both narrative and theatrical language: “The cinema is an autonomous art. The cinema must therefore never copy the stage. The cinema, being essentially visual, must above all fulfil the evolution of painting; detach itself from reality, from photography, from the graceful and solemn. It must become anti-graceful, deforming, impressionistic, synthetic, dynamic, free-wording.”

The series will include an extraordinary selection of films from the first decades of the 20th century. They reveal the futurist artists´s will to disrupt and experiment through diverse disciplines. One of its most distinguished directors, Anton Giulio Bragaglia – also author of the book The New Argentinean theatre – will be present with one of the most relevant works in Cinema history: Thaïs (1916). André Deed (director of buffoon Cretinetti’ s saga) and Marcel Fabre’s Amor Pedestre (1914) will offer a unique outlook on the birth of experimental cinema. The programme will also include a synthesis on the post-war period with films such as Velocità (1930), Pacific 231 (1949) and Das Stahltier (1935), which deal with the exalting views of the modern city, industrial labour and the machine.

Films synopsis

Futurist Concert: Ho veduto volare. Trittico per Boccioni. Only show

Wed, 21 Apr 2010 18:13:22 +0000

Wednesday April 28th, 7:00 pm, at Fundación Proa’s Auditorium
Entrance free of charge. Limited capacity

In the context of The Universe of Futurism. 1909-1936 exhibition and as part of the related activities designed by Proa to document the reach that Italian Futurism has had in the diverse artistic disciplines, Giancarlo Schiaffini’s concert will explore the impact that Luigi Russolo’s Ruidisimo revolution has had on musical composition.

Inspired by the life and work of artist Umberto Boccioni, Schiffiani composes Ho veduto volare, with vocal works by Silvia Schiavoni. This distinguished composition is a synthesis of diverse languages in dialogue: writing, images, voices and the live performance of both musicians. The images are old photographs, paintings and fragments that reflect the thoughts of the movement-action present in Boccioni’s work.

The Futurist concert Ho veduto volare is the first in a series of events that will take place at Fundación Proa in relation to The Universe of Futurism. 1909-1936 exhibition. From May, Proa will present a programme of Futurist cinema and guided tours of the show conducted by Art specialists.

The performer
Giancarlo Schiaffini (Rome, 1942) is a music composer, trombone and tube player. He improvises and plays mainly contemporary music and jazz. He collaborated in different compositions with musicians such as John Cage, Karole Armitage, Luigi Nono and Giacinto Scelsi.

Organization and production
Istituto Italiano di Cultura de Buenos Aires

Information and reservations
auditorio@proa.org / [54 11] 4104 1000

More information on The Futurist Universe. 1909-1936 exhibition >>

Martín Rejtman’s “Copacabana”. Last screening: April, 10th

Mon, 15 Mar 2010 13:07:31 +0000

Martín Rejtman’s “Copacabana” had a great audience and press success consolidating Proa’s will to contribute in broadening Argentine independent cinema scene. The documentary tells the story of Bolivian community in Buenos Aires. The city becomes strange, unrecognizable and the climax of the film is reached at the choreography of the dances.

Last screening: Saturday 10th, April – 7:00 pm.

Information: auditorio@proa.org
General Admission: $10 / Students and retired $8
Limited seats
By telephone with American Express: [54.11] 4104.1000

©Martín Rejtman

Synopsis
Every year in mid October the Bolivian community in Buenos Aires celebrates its most important Patronal festivity: the party of Nuestra Señora de Copacabana. Groups from all over the country, some even arriving from Bolivia, get together in the Buenos Aires neighborhood of Charrua for a big parade, in a celebration that transcends religion.

Press releases:

“Copacabana” de Rejtman, nuevas funciones
http://www.demasiadocine.com/agenda/copacabana-de-rejtman-nuevas-funciones/

Nuevas funciones de Copacabana en Fundación Proa
http://ar.news.yahoo.com/s/17022010/40/n-entertain-presentan-malba-sexta-edicion-quot.html

Martín Rejtman: “Nunca me corrí del lugar de observador
http://www.lacapital.com.ar/ed_senales/2010/2/edicion_70/contenidos/noticia_5031.html

Copacabana, un documental con la impronta de Martín Rejtman
http://uol.elargentino.com/nota-77122-seccion-114-Copacabana-un-documental-con-la-impronta-de-Martin-Rejtman.html

Copacabana
http://www.leedor.com/notas/3411—copacabana.html

Hoja de ruta
http://www.estoesunbingo.com.ar/2010/02/copacabana/

Se agregaron nuevas funciones para ver el documental Copacabana
http://www.buenosairesladob.com.ar/?p=4494

Cuando Rejtman se asoma
http://www.subjetiva.com.ar/subjetiva/view_article.php?id=2158

Hago mal a los artistas
http://asieslavanguardia.blogspot.com/

Argentina: Película Copacabana sobre comunidad boliviana
http://la-opinion-argentina.blogspot.com/2010/01/argentina-pelicula-copacabana-sobre.html

Se proyecta Copacabana de Martín Rejtman
http://weblogs.clarin.com/agenda-n/archives/2010/01/se_proyecta_copacabana_de_martin_rejtman.html

El documental de Martín Rejtman sobre la fiesta patronal de la comunidad boliviana en Argentina
http://cine.argentina.ar/contenidos/127-Copacabana/

Copacabana, una película de Martín Rejtman en la Fundación Proa
http://revistaarchivosdelsur.blogspot.com/2010/01/copacabana-una-pelicula-de-martin.html

New Argentina Cinema
http://www.drclas.harvard.edu/revistaweb/its_film/aguilar

Fuera de todas las convenciones
http://www.clarin.com/diario/2010/01/22/espectaculos/c-02124668.htm

Martín Rejtman estrena hoy su primer documental

http://criticadigital.com/index.php?secc=nota&nid=36449

Con Rapado, Silvia Prieto y Los guantes mágicos, Martín Rejtman se transformó en uno de los directores más importantes del cine argentino
http://www.revistadebate.com.ar/2010/01/22/2597.php

Copacabana, lo nuevo de Martín Rejtman

http://www.cinelatinoamericano.org/texto.aspx?cod=8425

Festividad boliviana en imágenes
http://www.culturar.com/notas.php?id=2409&PHPSESSID=5700779214e67706f8d513c5d207fe29

Martín Rejtman cuenta cómo hizo “Copacabana”
http://lentecreativo.wordpress.com/2010/01/25/martin-rejtman-cuenta-como-hizo-copacabana/

Distante como el altiplano

http://www.escribiendocine.com/criticas/distante-como-el-altiplano

El extraño recorrido del film Copacabana
http://www.lanacion.com.ar/nota.asp?nota_id=1224928

Cine: Entrevista al cineasta Martín Rejtman
http://www.pagina12.com.ar/diario/suplementos/espectaculos/5-16733-2010-01-23.html

Ciclo: Estreno exclusivo del documental “Copacabana”, de Martín Rejtman
http://www.elreverso.com.ar/index.php?campo=ciclo&valor=2784

Copacabana
http://www.variety.com/review/VE1117934098.html?categoryid=31&cs=1

“Copacabana”, de Martín Rejtman
http://www.wipe.com.ar/agenda/detalle/28528/2010-01-30

Copacabana, de Martín Rejtman

http://www.otroscines.com/criticas_detalle.php?idnota=3757

3 preguntas. Martín Rejtman
http://www.losinrockuptibles.com/alocables.htm

Entrevista a Martin Rejtman. A propósito de Copacabana
http://lafuga.cl/entrevista-a-martin-rejtman/39

Las estéticopoliticas
http://lafuga.cl/las-esteticopoliticas/37

Cine Argentino 2010: Todos los estrenos del año
http://www.escribiendocine.com/noticias/cine-argentino-2010-todos-los-estrenos-del-ano

Copacabana, lo nuevo de Martín Rejtman
http://observadorglobal.com/momentos-revelados-n4967.html

Informe Especial: Todo los Estrenos de Cine en 2010
http://cubaout.wordpress.com/2010/01/08/informe-especial-todo-los-estrenos-de-cine-en-2010/

Un verano de película

http://www.lanacion.com.ar/nota.asp?nota_id=1216339

Lo que vendrá
http://www.revista-noticias.com.ar/comun/notaseccion.php?ed=1722&art=1064

Copacabana, filme sobre fiesta boliviana, debuta en Argentina
http://www.laprensa.com.bo/noticias/03-01-10/noticias.php?nota=03_01_10_cult1.php

Estreno “Copacabana”, de Martín Rejtman
http://cineconmcfly.com.ar/2009/12/estreno-copacabana-de-martin-rejtman.html

El cine resistió con el cuchillo entre los dientes
http://www.criticadigital.com.ar/index.php?secc=nota&nid=35236

Informe Especial: Todo los Estrenos de Cine en 2010
http://www.escribiendocine.com/articulos/informe-especial-todo-los-estrenos-de-cine-en-2010

COPACABANA, de Martín Rejtman. LA MAGIA DE TUS BAILES
http://www.leercine.com.ar/nota.asp?id=230

Copacabana
http://www.revistawatt.com.ar/webs/agenda/8

Copacabana, de Martin Rejtman, se estrena en Fundacion PROA
http://ahoracine.com.ar/blog/2010/01/copacabana-de-martin-rejtman-se-estrena-en-fundacion-proa/

On the director

Martin Rejtman was born in Buenos Aires in 1961 and studied cinema in the New York University (NYU). Then worked as a assistant of assembly in Cinecittá, Italy. Its feature films are “Rapado” (1992), “Silvia Prieto” (1999) and “Los Guantes Mágicos” (2003). In the 2007 he finishes “Copacabana” and in the 2009 codirects with Federico León, “Entrenamiento elemental para actores”, TV movie premiered commercially in El camarín de las musas in September of 2009.

Director Martín Rejtman created a universe with his fictions. You know it, you’ve seen it (if not, you should know you’re missing out on something). Now then, the world, such as it is out there (far away from screenplays), has just created a director: the Rejtman who, with Copacabana – his debut in the field of documentaries-, gives us not only the most luminous Argentine film in a long time, but also a new version of himself, in which his usual powers of observation return, but hand in hand with extraordinary freedom, warmth and joy. Rejtman, combining modesty and fascination, tells a happy tale with a sad ending, or a story which, while unable to reach complete happiness, offers countless wonder-moments of those that deserve to happen in front of a camera; tells of the Bolivian community in Buenos Aires and the festivities of Our Lady of Copacabana, and manages to carry the spirit of the prodigious scene of the dance under the rain in Shara (Kawase Naomi) to a fifty-five minute running time. Marcelo Panozzo

On his work

Fragments of the book “Martin Rejtman: the waning movies”, by David Oubiña:

“Before it existed the ‘new Argentine cinema, “Rapado” existed;. (….) Although it was not conceived as the manifesto of a new movies movement, that debut was -in definition of its director- ‘a militant movie’ that denounced with all that the movies of the 80´s ignored.

Which was the news of this movie? It would be able to summarize: Rapado takes the plot motive of Thieves of bicycles (the famous film of Vittorio de Sica), but that is only a pretext because the sobriety of its style it’s been learned in the films of Ozu and Bresson. Rejtman said: ‘My movies do not present a problems, the movies are the problem’. In both works, each element is despoiled of the value that had before entering to the universe of the film, where it will be assigned a new function and will establish new relations.

“Si Doli regresa a casa” and “Rapado” present a cut with the previous movies at the same time that establishes the bases of a poetics, “Silvia Prieto” and “Los Guantes Mágicos” suppose an inflection that is so much a deepening as a development of that program. The sever narrative of the first one Rejtman is channeled finally in a form of desolate comedy.

In “Silvia Prieto” and “Los guantes mágicos”, Rejtman works with a microcosm of characters that reappear, from a minimum of situations circulate of as unstoppable as impassive way. The differences, in every case, are in the order of the excess. Los Guantes Mágicos irritates the style of the previous film: is more openly choir, more extravagant, more scatterbrained and, also, more inconsolable.

In its perfect rationality and in its luminous order, these films constitute a utopian community, as if they were small films whose mission would not be to reproduce our world, but to denounce it as a coarse copy. The people, the places and the things, enter new relations and return more surprising exactly there where they turn out to be recognizable.”

List of credits

Direction: Martin Rejtman
Produced by: Ruda Cine and Martin Rejtman
Associated producer: Alta Definición Argentina
Producing: Violet Bava, Rosa Martínez Rivero and Martin Rejtman
Executive production: Rosa Martínez Rivero
Photography and Camera: Diego Poleri
Sound: Jessica Suarez and Javier Farina
Assembly: Martin Mainoli
Investigation: Nico Chausovsky
Assistance of production: Iván Eibuszyc
Graphic design: Germán Ruiz
Duration: 56 minutes – Argentina, 2007