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

]]> http://proa.org/eng/events/2012/01/643/feed/ 0 http://proa.org/eng/events/2011/09/proa-cinema-alan-pauls-series-the-autobiography-of-nicolae-ceausescu-by-andrei-ujica-and-videograms-of-a-revolution-farockiujica/ http://proa.org/eng/events/2011/09/proa-cinema-alan-pauls-series-the-autobiography-of-nicolae-ceausescu-by-andrei-ujica-and-videograms-of-a-revolution-farockiujica/#comments Tue, 20 Sep 2011 20:35:12 +0000 http://proa.org/eng/events/?p=633 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'

]]> http://proa.org/eng/events/2011/09/proa-cinema-alan-pauls-series-the-autobiography-of-nicolae-ceausescu-by-andrei-ujica-and-videograms-of-a-revolution-farockiujica/feed/ 0 http://proa.org/eng/events/2011/09/proa-tv-alan-pauls-presents-andrei-ujicas-films-the-autobiography-of-nicolae-ceausescu-and-videograms-of-a-revolution/ http://proa.org/eng/events/2011/09/proa-tv-alan-pauls-presents-andrei-ujicas-films-the-autobiography-of-nicolae-ceausescu-and-videograms-of-a-revolution/#comments Mon, 19 Sep 2011 21:15:16 +0000 http://proa.org/eng/events/?p=638 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.

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

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.

Next Saturday Leandro Katz’s films Splits (1978) and The visit (1986) will be previewed at the Auditorium. At 6.30PM, the artist will be available for a conversation with the audience.

Program
3 PM. Splits (1978) / The visit (1986)
4 PM. Splits (1978) / The visit (1986)
5 PM. Artists + Critics: Leandro Katz and Ana Longoni visit Imán: Nueva York exhibition (+ info>>)
6.30 PM. Splits (1978) / The visit (1986) projection and conversation with Leandro Katz.

Splits, 1978. 16mm/DVD, colour
With Lynn Anander, Kathy Gales and John Levin
Cinematography: Viktor Vondracek
Concept, montage and direction: Leandro Katz
Script based on Jorge Luis Borges’ short story ‘Emma Zunz’

“Splits”, 1978. 16mm/DVD, colour, sound. Dir. Leandro Katz

The visit, 1986. 16mm/DVD, black and white
With Mark Boone Junior and José Rafael Arango
Cinematography: Viktor Vondracek
Concept, montage y direction: Leandro Katz

“The visit”, 1986. 16mm/DVD, black and white, sound. Dir. Leandro Katz

Plot: “The visit” is a suspense dark comedy recreating film noir’s mysterious atmosphere and surrounding the classic topic of the unwanted guest. Without any intelligible dialogue, the film emphasizes on the importance of sound effects to the point where the action acquires a radio broadcast quality to it. The narrative space slowly turns into a labyrinth and the film becomes a kafkian haunt in the dark.
“The visit” ’s plot could be reduced to the following: a man buries a secret parcel in a field. However, there is something else there. The climate of hysteria accelerates from the beginning of the film; and later on (when the film starts over), one can wonder: is this film about the power relationships between men? Does it deal with capitalism, with the relationship between the self and the others or more likely with narrative interpolations that try to squeeze from the audience all the traditional codes and erase all trace incredulity to then inculcate a more perverse, fair ideology where men are not only created equal but identical? ]]> http://proa.org/eng/events/2010/08/saturday-august-7-artist-leandro-katz/feed/ 0 http://proa.org/eng/events/2010/08/proa-cine-presented-edgardo-cozarinskys-film-last-screening/ http://proa.org/eng/events/2010/08/proa-cine-presented-edgardo-cozarinskys-film-last-screening/#comments Mon, 02 Aug 2010 18:12:35 +0000 http://proa.org/eng/events/?p=431 During July, Proa Cinema presented Edgardo Cozarinsky’s last film: “Apuntes para una biografía imaginaria”, which was very well received by the audience. In its four screenings, the film’s director discussed with renowned cinema personalities.

Cozarinsky wrote the following words as a conclusion to the program, which Proa Cinema was proud to have presented:

‘There is a “camera cinema”, which does not want to interact with its audience. It doesn’t request numerous viewers, more to the contrary. An adequate ambiance for listening to one of Mahler’s symphonies differs greatly from one suitable for Haydn’s quartet.
The ideal receiving space for what I call “camera cinema” is intimate; I dare say, confidential. This is the reason why Proa’s Auditorium seemed ideal to present my “Apuntes para una biografía imaginaria”. At this place, the spectator could listen to Ulises Conti’s music and immerse himself in the game of fiction versus document, hinted by the images and few texts on the film, away from the noise of popcorn chewing, so familiar to cinema theaters. This chosen space enabled a casual approach with the audience after each screening. If the legitimate seduction of industrial cinema is based upon the splendor behind the show, the “camera cinema” introduces a different way of establishing a conversation with the audience.’

Edgardo Cozarinsky

Proa Cine presents a new screening of Edgardo Cozarinsky’s film Apuntes para una biografía imaginaria.

Last Saturday, Cozarinsky attended the screening and was interviewed by scriptwriter and director Santiago Palavecino, in an enriching dialogue with the presence of the audience.

Last screenings: Saturday July 24 and 31, 7.00pm

More information >>

Proa Cinema will show, for a second time, “Apuntes para una biografía imaginaria”, Edgardo Cozarinsky’ s latest cinematographic essay. The film premiere was a great success. The director attended the screening and talked with the audience after the show. Several well-known cinema, literature and art personalities also attended the screening.

Screenings only on Saturday July 17, 24, 3, at 7PM.

+ información >>

Press releases

Presentan “Apuntes para una biografía imaginaria”. Diario Hoy. 12.07.2010
Un viaje por una vida. La Prensa. 11.07.2010
Autorretrato de Cozarinsky. Página 12. 11.07.2010
Sábados de superac(c)ión. Linkillo. 09.07.2010
Apuntes para una biografía imaginaria. Blog La Espada Vengadora. 07.07.2010

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