Tuesdays and Saturdays from 15 to 19.20 hs.

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

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

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

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

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

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

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

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

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

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

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

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

On Saturday September 13 at 18 pm, Javier Daulte opens the Direccionario: Programa of Performing Conference

How a play is conceived?
Where is the figure of the director, their gestures, their practices, their gestures and speeches, when the work takes shape and is released?

Direccionario propose opening a window into that uncatchable time theater and rescue the missing actions of contemporaries and iconic directors as Javier Daulte Buenos Aires, Mauricio Kartun and Ricardo Bartis.

The series intends to reflect on the figure of the theater director and his actions as an artist. Once a month, the director starring a cross between performance art and theater, to present their universe of reference, ideas, emotions and stories that put in minimum words and gestures so ephemeral, intangible as private and theatrical conception .

Programming: four games, one Saturday a month from September to December 2014 in the Auditorium.
Curated by Mercedes Halfon
Production: Martin Ferro Carolina

Direccionario I – Javier Daulte
Saturday, September 13 – 18 pm

Direccionario II – Mauricio Kartun
Saturday, October 25 – 18 pm

Admission: $ 20 / Students with valid certification: $ 15
auditorio@proa.org / 4104-1001
For more images and / or interviews: prensa@proa.org or call 4104-1043 / 44.

Javier Daulte

Mauricio Kartun

During September, ProaCine presents Three interpretation exercises, by romanian director Cristi Puiu. Based on Three dialogues and The story of the Antichrist, books written in the late nineteenth century by the russian philosopher and theologian Vladimir Soloviev; and freely inspired in the series of films Six Moral Tales, by french director Eric Rohmer; Puiu’s film an amazing and hypnotic acting exercise and a deep reflection on the nature of morality and religious faith.

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

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

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

ADMISSIONS
auditorio@proa.org

Press Kit

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

SINOPSIS

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

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

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

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

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

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

In August, ProaCine presents a series of films dedicated to the iranian director Abbas Kiarostami. For three consecutive Sundays, a fiction, a discussion and a mediometraje where the author displays his most poetic, philosophical and cinephile profile, and unmistakable style that established him as a figure of international independent cinema. In addition to the premiere in a new digitized Shirin version,  the mediometraje Roads of Kiarostami is presented for first time in Spanish dialogue between Kiarostami with the director of the Cinémathèque Suisse, Frédéric Maire.

FUNCTIONS

Sundays 17, 24 and 31 August - 

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

18 pm.
Shirin (2008 92`)

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

Press Kit

ROADS TO KIAROSTAMI (2006, 32`)

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

DIÁLOGO EN LA CINEMATECA SUIZA (2012, 45`)

SHIRIN (2008, 95`)

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

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

The films chosen by Richard Peña, program director of the Lincoln Center Theater since 1988, New York Film Festival programmer and cycle prestigious New Directors / New Films. Being one of the greatest popularizers of independent film in the United States, was invited by Proa to select films that are part of the 2014 schedule.

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

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

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

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

Tuesday 8 July 2014 – 10 to 19 hrs. Fundación Proa Auditorium
Free activity. Space is limited. Certificate of attendance will be given to those who can prove participation in the whole day.

Open until July 4 Registration.
Download form and send coloquio@proa.org

m.a.m mujeres artistas en movimiento, Despenalización del Aborto, 2003 Documentación fotográfica de intervención urbana realizada en la Plaza 1º de Mayo, Montevideo, Uruguay. © m.a.m artistas en movimiento

Beginning Saturday, July 5 at 17 pm, Fundación Proa presents Urgent Action, a South American panorama of artistic interventions in urban space from the 90s to the present. The exhibition brings together the work of groups and artist collectives from Argentina, Bolivia, Brazil, Chile, Paraguay, Peru and Uruguay taking the city as a stage and support of him production.

As part of the exhibition, on Tuesday July 8th Urgent Action Meeting, a day that proposes a mapping of the various forms and intervention strategies that take the city as a stage from clusters and groups of artists that presents the display. The day in Proa offers the opportunity to learn the history of each of the participating groups, as well as a tour of their actions and the ability to talk directly with the players.

The exhibition includes records of urban interventions carried out by artists from multiple disciplines challenged by political, social and economic reality launched art to make visible issues like women’s rights actions, political corruption, impunity, racism the ecology and indigenismo, among other topics.

Curated by specialists and researchers Rodrigo Alonso y Cecilia Rabossi, the exhibition has the support of Ternium and Tenaris and Techint Group divisions and continued the series of exhibitions planned by Proa deepen the reflection on its relationship to contemporary art with the city, like City Editings (1999) Urban Spaces (2009) and Buenos Aires (2013).

Participating in Urgent Action Meeting

Arte correo: Clemente Padín
Colectivo Sociedad Civil: Gustavo Buntinx
Cuadernos de Movilización: Nadinne Canto Novoa – Diego Parra Donoso – Juan Pablo Torrealba
Escombros: Luis Pazos
Etcétera: Federico Zukerfeld – Loreto Garín
Frente 3 de Fevereiro: Daniel Lima – Felipe Brait
Iconoclasistas: Julia Risler – Pablo Ares
Javier López – Erika Meza
Mujeres Artistas en Movimiento: Ana Aristimuño – Andrea Sica – Victoria Martínez
Mujeres Creando: Danitza Luna – Carolina Ottonello
Mujeres Públicas: Magdalena Pagano – Fernanda Carrizo – Lorena Bossi
Opavivará: Daniel Bastos
Viva Laura Pérez: Javier Soria Vazquez