Open Program 2019
Curator: Eduardo Bonito
A project by: RCR BUNKA Fundació Privada
In collaboration with: Labea – Laboratorio de Arte y Ecología
Graphic and Exhibition Design : Andrea Buchner, Marc Valero
Date/ Hours: From July 15 to August 2, 2019. From Monday to Friday, on reservation.
Place: RCR BUNKA Private Fundation, Room 1, Carrer Fontanella 21, 17800 Olot (Girona). Spain
Forest Matter is a selection of eleven works of videodance and video art that explore the aesthetic power of the forest through body, image and movement. It is an initiative of RCR BUNKA Private Foundation with curator Eduardo Bonito in collaboration with Labea – Art and Ecology Laboratory. The idea of Forest Matter has been inspired by the intimate link that the work of RCR Arquitectes has with trees as raw material for the construction of living spaces. The tree is an essential element of the landscape that, in addition, gives us shade, food, medicine, firewood, wood, peace and future; but if we learn to look at it, it becomes another living being with whom we share territory, we collaborate, we talk and we dance.
Thanks to REDIV – Iberoamerican Videodance Network, Dança em Foco, Fiver, Simon Whitehead, Brisa MP, and all the lecturers of the 2019 Open Program conferences that have inspired us with their work.
Gravity of Center
Canada (2011), 13 min
Director: Thibaut Duverneix y Victor Quijada
Choreography: Victor Quijada
The space of nature and the architectural space coexist in “Gravity of Center” as parallel universes that symbolize the conflict between social assimilation and the need for individualism; the dichotomy between abundance and scarcity, and the herd mentality versus the flock mentality. The work features the sophisticated choreography of Quijada and is the result of his collaboration with the director of cinema and interactive projects Thibaut Duverneix to adapt the original scenic choreography to the screen
Concept, direction and edition: Thibaut Duverneix and Victor Quijada / Choreography: Victor Quijada / Director of Photography: Christophe Collette / Music and Sound Design: Jasper Gahunia / Dancers: Elon Höglun, Emmanuelle LePhan, Daniel Mayo, Anne Plamondon, Victor Quijada / Co-Production with Natalie Galazka, Sach Baylin-Stern, the group RUBBERBANDance and ANTLER Films, with the support of BravoFACT, the Canada Council for the Arts, Société de la Place des Arts de Montréal, and Conseil des arts et des lettres du Québec.
Four solos in the wild
United Kingdom (2016), 18 min
Director: Ray Jacobs
Choreography: Mervyn Bradley, Erika Juniper, Graham Busby and Andrew Kelly
Truth and depth in art is often evoked by non-professional artists. The interpreters Mervyn Bradley, Erika Juniper, Graham Busby and Andrew Kelly spent two weeks in the forest of Tycanol in Wales and, from this experience, they created four dance solos where they play with their physical and perceptive limits to surrender to an absolute symbiosis with nature. “Four Solos in the Wild” is a community project carried out together with Arty Party, an association that works with adults with functional learning diversity to explore, express and celebrate their creativity.
Solo performers: Mervyn Bradley, Erika Juniper, Graham Busby and Andrew Kelly / Project Performers: Chloe Shepherd, Dean Warburton, Georgie Dawson / Creation Support: Anna Belyavin, Fran O’Boyle, Tara Rutter / Choreographic Mentor: Rachel Liggitt / Music: Deuair / Sound Design: Jonah Brody / Residence Facilitator: Simon Whitehead / Costume Design and Design: Wren Miller / Catering: Derw Robertson Jacobs / Camera Assistant: Callum Barre / Photography Director: Jonathan Tritton / Edition: Jonathan Tritton y Ray Jacobs / Mezcladores de doblaje: Andrew Wilson y Rob Edwards / Photography: Chris Nash and Ray Jacobs / Directed by Ray Jacobs / Produced by Arty Party.
One floor above they sing until someone swims with dolphins
Russia (2017), 10 min
Director and Choreography: Vik Laschenov
The heroes of this contemporary fable work in large corporations. They are successful and elegant but they seem unhappy. They are trying to make sense of their lives and, almost unconsciously, they end up escaping to the forest treated here as a space where everything is possible. The video art “One floor above they sing until someone swims with dolphins” uses irony, paradoxes and nostalgia to accompany that search. Vik Laschenov has studied film and dance, and works with mass culture, pop, kitsch and the aesthetics of error.
Director and Screenwriter: Vik Laschenov / Dancers: Alexey Kirsanov, Vladimir Ermachenkov, Emil Agaev, Yuriy Kordas, Alexey Tsurkan, Alexandr Margorin, Roman Finogeev, Boris Borisov, Vasiliy Korneev, Konstantin Kuzmin, Andrey Glazov, Pavel Smirnov, Iliya Silaev, Ivan Kashin, Thomas Clark, Serj Tubash. / Sound (music): Vik Laschenov / Camara: Nikita Lychev, Sergey Kuznetsov, Lena Artemenko, Alexey Kurbatov, Vik Laschenov / Editor: Vik Laschenov / Productor: Vik Laschenov.
Degrau em grau
Portugal (2015), 8 min
Director: Hugo França
Choreography: Carolina Rocha
The Azores Islands is the territory that Hugo França and Carolina Rocha have chosen to create this work that transits intermittently between the artifices of architecture and the spaces of nature that support them. In the work, the creators encourage us to experience the island where they were born and to submit to their games of shapes and perspectives. In “Degrau em grau” the body, architecture and nature become bridges between heaven and earth. Real places are transformed into parallel worlds devoid of narrative but full of utopia, spontaneity and freedom.
Direction: Hugo França / Choreography and Interpretation: Carolina Rocha.
Direction: Hugo França / Choreography and Interpretation: Carolina Rocha.
Sweden (2011), 10 min
Director: Tove Skeidsvoll & Petrus Sjövik
Coreography: Tove Skeidsvoll
What is real and what is scenic? Tove Skeidsvoll’s impeccable performance in “Outside In” shows that the verisimilitude of a performative body can infect the stage space, making it real. In the work, the forest acts as an inductor space of dreams and the being that inhabits it will have to use the force of the imagination to overcome all kinds of interferences and follow its own path.
The film is a collaboration of the dancer and choreographer with the photographer Petrus Sjövik and was recorded at Norrlands-Opera in Umeå, Sweden.
Concept, script, direction and choreography: Tove Skeidsvoll & Petrus Sjövik / Choreography: Tove Skeidsvoll / Director of Photography: Peter Sjövik / Edition: Nils Moström / Interpretation: Tove Skeidsvoll / Music: Johannes Burström / Produced by Norrlands Operan in collaboration with Film i Västernorrland.
Motus Gravis / Concrescence
Italy (2013), 1 min
Director: Michele Ragni
Canada (2017), 2 min
Director: Dan Browne
Two short works that, together, tell us about the grace and elegance of the movement of the world. “Motus Gravis”, by Italian filmmaker Michele Ragni, is a 60-second art video that captures the hypnotic and sophisticated dance of trees. On the other hand, in “Concrescence” Dan Browne achieves, from the collage in movement, to highlight the brightness of the dark colors of the winter nature. Michele Ragni is an Italian video artist with extensive experience in the creation of videodance. Dan Browne is a video artist and multimedia artist who explores the patterns of nature through kinetic and dense forms.
Credits Motus Gravis. Director and Editor: Michele Ragni / Original Music: Andrea Rellini, cello / Interpretation: La Natura.
The Wind Telephone
USA (2016), 6 min
Director: Jody Stillwater
Choreography: Nicole Klaymoon
“The Wind Telephone” is a trip to the imaginary world of a girl who has just lost her mother. Playful, emotional and, sometimes, macabre, the work builds an intimate and timeless landscape in which the protagonist tries to find her place. Choreographer Nicole Klaymoon founded the Embodiment Project, an urban dance company that works with narratives silenced by social inequality to inspire critical dialogue and a healthier society. For his part, the director, Jody Stillwater is a writer, director and creative technologist whose projects are based on the logic of dreams and tactile reality, with a transformative approach to visual semiotics.
Director / Editor: Jody Stillwater / Choreographer: Nicole Klaymoon / Producer: Lindsay Gauthier / Director of Photography: Michael Epple / Performers: Micah Head, Rama Mahesh Hall, Amber Julian, Jon Lee, Valerie Troutt / Executive Producer: Judy Flannery & Suzanne Oberlin / Post-Sound: Patrick Shaffer / Original Music: Valerie Troutt and Kool Kyle / Original Score: Patrick Shaffer and Jody Stillwater / Wardrobe: Jarred Garza / Production Management: Lauren Finerman & Genevieve Hand / First Assistant Director: Alex Irwin & Clare Schweitzer / Gaffer: Chris Galdes / Grip: Tandy Kyne / AC: Lawrence Abad / DIT: Ben Estabrook & Dylan Love / Sound: Alex Irwin & Clare Schweitzer / Photography: Aleksey Bochkovsky / PA: Terrence Paschal & Steve Merlo / Location Assistant: Anza Jarsche, Rewa Bush & Tom Shean / Catering: Dan Tosh / Sculptural Art: Peter Müller / Acknowledgements to Djerassi Resident Artists Program & Margot H. Knight, The Little Giant Lighting and Grip Co. and Videofax / This work has been possible thanks to the collaboration of the Kenneth Rainin Foundation, Zellerbach Family Foundation and the Fleischhacker Foundation.
Materia - Substance
Brazil (2012), 9 min
Director: Allison Moore
Choreography: Aline Bernardi
“Materia – Substance” is a visual poem made from the choreographic study of the poetry of the Brazilian poet Manoel de Barros. Directed by the artist Allison Moore, with texts and choreography by Aline Bernardi, the work investigates the games of scale and perspective of the landscape showing how our senses of distance and proportion change in spaces of nature. Subject – Substance is the result of an international collaboration program carried out during a residence in an Eco Vila in Brazil.
Script and Conception: Aline Bernardi and Allison Moore / Direction, photography and edition: Allison Moore / Performance, Text and Choreography: Aline Bernardi / Sound Recordings: Fernando Godoy / Sound Editing: Allison Moore / Acknowledgments: Luis Bernardo Guzmin, Domingos Guimaraes and Jairo dos Santos / Produced during the Artistic Residence Interacciones Urbano-Rural  in the Eco Vila Terra Una, Minas Gerais, Brazil.
Spain (2018), 3 min
Director: Derek Pedrós
Choreography: Daniel Morales
The word “Zenit” comes from the Arabic expression “direction, course” and, in Derek Pedrós’s videodance, the interpreter’s address, and the trees that surround it, always point to the sky. In the forest to grow tall you have to be well rooted. Daniel Morales is a dancer and choreographer trained in Urban Dances who has developed his own language through exploration in contemporary dance. For his part, director Derek Pedrós is a photographer and author of several videodances with natural scenes of great beauty.
Director and Camara: Derek Pedrós / Choreographer and Dancer: Daniel Morales / Sound effects: fonotecadecanarias.org. In collaboration with the Cabildo de Tenerife.
Belgium (2002), extract of15 min
Director: Thierry de Mey
Choreography: Anne Teresa De Keersmaeker
“Fase” is the adaptation to the screen of “Fase, Four Movements to the Music of Steve Reich”, directed by the filmmaker and musician Thierry de Mey twenty years after its premiere on stage In “Fase”, De Keersmaeker invokes the performative power of Steven Reich’s minimalist work and he draws with his feet the rose that inspired his company’s name, Forest Materia shows “Violin Phase” one of the four phases of the work together with “Piano Phase”, “Come Out” and “Clapping Music”, filmed by De Mey in other spaces.
Choreography: Anne Teresa De Keersmaeker / Interpreter: Anne Teresa De Keersmaeker with support in creation from Michèle Anne De Mey. Anne Teresa De Keersmaeker and Tale Dolven since the late nineties; Cynthia Loemij and Tale Dolven alternatively / Music: Steve Reich (Piano Phase, Violin Phase, Come Out, and Clapping Music, interpreted by Edmund Niemann and Nurit Tilles at the piano, and Shem Guibbory to the cello / Light: Remon Fromont y Mark Schwentner / Costume Design: Martine André and Anne Teresa De Keersmaeker / Production: Schaamte (Design) and Compagnie Rosas & De Munt/La Monnaie / Production: Avila, Sophimages, in co-production with Rosas, NPS, ARTE France, RTBF Brugge 2002, La Monnaie and in collaboration with La Loterie nationale, VRT, CSales.
Ciclo de conferencias
All conferences will be recorded and broadcasted in streaming with the Arts Santa Mònica
Program Architecture and Landscape
Videodance Gravity of Center, Canada, 2011, 13’ · Trailer
Lecture Static. Praise of slowness
Monday, July 15 · 7:00 pm – 9:00 pm
Irene Pérez Piferrer (Barcelona, Spain, 1976) has an Architecture Degree from the Vallés School of Architecture (ETSAV-UPC, 2001). Jaume Mayol Amengual (Mallorca, Spain, 1976) has an Architecture Degree from the Vallés School of Architecture (ETSAV-UPC 2000) and a Ph. D. from the Catalonia Polytechnic University (UPC, 2010). They both also studied at the Rome Tre School (1999) and have two children: Aina and Biel.
TEd’A arquitectes have been jury members and visiting lecturers at several international universities including Cornell University in Ithaca (New York), Accademia di Architettura di Mendrisio (Switzerland), Kingston School of Art (London), ETSA Madrid, Lund Universitet (Sweden), KTH Stockholm (Sweden), Architecture School, University College, Dublin (Ireland), Fakultät für Architektur TU, Munich (Germany), ETSA Barcelona and HEIA, Fribourg (Switzerland), amongst others. Jaume Mayol has taught at the Vallés School of Architecture (Barcelona), IE School (Madrid) and ETSALS (Barcelona). Irene Pérez and Jaume Mayol were Directors of one of the workshops at the Porto Academy in 2017 (Portugal). They are currenly teaching at the Fakultät für Architektur TU Graz (Austria) and at the Stuttgart Universität (Germany).
The work of TEd’A arquitectes was exhibited in the Spanish Pavilion at the 2016 Venice Architecture Biennale 2016 (winner of the Golden Lion), the Catalan-Balearic Pavilion at the 2012 Venice Architecture Biennale, and the itinerant exhibition ‘Sensitive Matter: Young Catalan Architects, 2010-2012’.
Josep Maria Mallarach
PhD in Biology and Environment
Program Architecture and Landscape
Videodance Four Solos in the Wild, United Kingdom, 2016, 16’ · Trailer
Lecture The Movement of Life: Respect and Restore the Flow of the Natural Environment
Tuesday, July 16 · 7:00 pm – 9:00 pm
Videodance One floor above they sing until someone swims with dolphins, Russia, 2017, 10’ · Trailer
Lecture Understanding innovation
Wednesday, July 17 · 4:00 pm – 7:00 pm
Ferran Adrià Acosta (Hospitalet de Llobregat, Barcelona, Spain, 1962) attends school in Barcelona, while living with his parents, Ginés, a plasterer, and Josefa, a housewife, and his brother Albert. Ferran marries Isabel Pérez in 2002. They do not have any children.
In 1977 he starts administrative studies at Virgen de la Merced Polytechnic Institute, as a prelude to a degree in Business Studies. Without a specific reason, in 1980, he gives up his studies and begins his culinary career in a modest way, by chance, going to work as a dishwasher at the Playafels hotel in Castelldefels, near L’Hospitalet. There, chef Miquel Moy helps him to become familiar with basic culinary techniques. In 1981, he starts to work at the Club Cala Leña, in Es Canà, Ibiza. He returns to Barcelona, performing varied tasks in establishments such as El Suquet, Castell Arnau and Martinique, and in 1982 he starts in the prestigious Finisterre restaurant. During his military service in Cartagena, he forms part of the team working in the Admiral’s kitchen. Following a suggestion from Fermí Puig, another Catalan recruit, who works at elBulli, Ferran spends his month’s leave in the summer of 1983 at the restaurant in Cala Montjoi, joining the team occupying the position of Chef de Partie in 1984 until his appointment by the director, Juli Soler, as joint Head Chef with Christian Lutaud. Juli Soler encourages Ferran to travel around France and learn more about the world of Haute Cuisine. Ferran undertakes two stages in the kitchens of Georges Blanc and Jacques Pic. In 1986, Christian Lutaud leaves elBulli and Ferran assumes sole responsibility. From 1987 Ferran decides to pursue his own ideas in the kitchen, leaving aside the Nouvelle Cuisine style of the restaurant. He begins by using ingredients, techniques, and local and regional elaborations, interpreting them through his vision of Haute Cuisine. Until 1993 this “Mediterranean style” defines the cuisine of elBulli and exerts an important influence on the Catalan and Spanish cuisine of this period.
In 1990 elBulli S.L. is created, a company founded by Juli Soler and Ferran Adrià, developing different lines and models of business. In the early 90s a change in the cooking of Ferran and elBullirestaurante begins to take place, and a series of new concepts, elaborations, techniques and service formats appear alongside the “Mediterranean” dishes, reaching their full expression in 1994. From that time on, a series of constants characterizes the style of elBulli, outlined in the 23-point synthesis of elBulli’s cooking. At the end of 1987 Ferran and Juli decide to make an organisational change, dividing the restaurant season into two parts: six months of restaurant service and six months of closure. Throughout the 90s, the team seeks a successful formula for creating a workshop during the six months of restaurant closure, the first in the history of haute cuisine.
elBullitaller is opened in 2000, in Carrer Portaferrissa, Barcelona, establishing a model of creativity. In place of creating a dish based on an idea, hundreds of ideas for concepts, techniques and elaborations are introduced during the closed season in elBullitaller, which lead to finished recipes and menus in elBullirestaurante. At the same time all the variables and resources of the process are subjected to a creative audit offering a high level of efficiency and effectiveness, which is key to determining elBulli’s creative longevity.
In 2011 elBullirestaurante closes its doors to become elBullifoundation. In 2012 it is confirmed that Juli Soler is suffering from a neurodegenerative disease ―a blow for his family, including the elBulli team― which leads to a remodelling of the entire project, which had grown out of the Soler-Adrià partnership. From this moment, Ferran tackles assessment, consulting and image projects alone. At the same time, elBullifoundation launches projects on knowledge and innovation. The legacy of Juli, whose spirit encompasses all the actions of elBullifoundation, is maintained through the incorporation of his children, Rita and Panxo, as pillars of the Foundation.
In 2013 elBullifoundation is created, a private family-run foundation promoted by Ferran Adrià and Juli Soler.
Sara de Giles
MGM Morales de Giles arquitectos
Program Architecture and Landscape
Videodance Degrau em grau, Portugal, 2015, 8’ · Trailer
Lecture Spaces of Relationship, Movement and Connection
Friday, July 19 · 7:00 pm – 9:00 pm
Sara de Giles Dubois (Seville, Spain, 1972) is a PhD in architecture, graduated from the School of Architecture of Seville in 1998, where she is a professor associated with the Department of Architectural Projects. In teaching she has developed a strong interest in typological and formal research and is dedicated to a constant exploration of new scenarios of contemporary architecture.
Since 1998 she is associated with José Morales Sánchez, who founded the studio in 1987 together with Juan González Mariscal. In 2004, the firm consolidates under the name Morales de Giles Arquitectos SL. Their work has been developed mainly based on important awards in conceptual competitions, both public and restricted. The competitions have enabled them to be gained by consolidating built a work that reflects a strong public interest in architecture, both in equipment and in housing. The projects have been developed looking for quality solutions at every stage, a strong coherence among all aspects of the project and a particular attention to the detail obtained through the absolute control of materials and technological solutions. Their work reflects a careful study on its entire development process, both in the technical projects and in the execution of the works; recognised by various public and private institutions which highlighted the quality of these works thorough numerous national and international awards.
Their work has been also exhibited at the Venice Architecture Biennial, in 2000, 2002 and 2006; at the exhibition ON-SITE: New Architecture in Spain at the Museum of Modern Art in New York (MoMA); and at the Spanish Architecture Biennial in 1997, 1999, 2001, 2007 and 2009. In addition, they won the 1st FAD Award to Research and Review on first call in 2006.
They have led workshops at universities such as the Venice Architecture Institute, TU Berlin, the University of Texas, School of Architecture in Montevideo, London Metropolitan School of the Catholic University of Santiago de Chile, Universidad de Navarra, Catalonian International University, Bochum University of Applied Sciences and at the Madrid School of Architecture.
Videodance Outside In, Sweden, 2011, 10’ · Trailer
Lecture The Ludic Space
Monday, July 22 · 7:00 pm – 9:00 pm
Bibiana Puigdefàbregas i Sagristà (Sant Pol de Mar, Barcelona, Spain, 1972) has a degree in dramatic art, specializing in scenography, by the Institut del Teatre of the Provincial Government of Barcelona, and has studied architecture at the Universitat Politècnica de Catalunya. Since 1998 she has been working as a professional scenographer.
Since then she has done the scenography for several shows directed by Àlex Rigola such as La màquina d’aigua (Festival de Sitges 1999), Un cop baix (Festival de Sitges 2000), Titus Andrònic (Festival Grec 2000), Woyzeck (Teatro Romea 2001) , Suzuki I and II (Teatre Lliure 2001), El Cancionero de Palacio (Festival de Perelada, 2003), Glengarri Glen Roos (Teatre Lliure 2003, nominated for the Butaca Award), Santa Joana dels escorxadors (Teatre Grec 2004), Richard III ( Festival de Teatro Clásico de Almagro), European House (Teatre Lliure 2005, Premi Butaca 2007), and finally Der fliegende Holländer (Gran Teatre del Liceu 2007).
She has worked with the stage director Ramón Simó, signing sceographies of shows such as Calígula (2004), Fuente Ovejuna (2005), Arcàdia (2007), and La Dama de Reus (2008), all of them premiered at the Teatre Nacional de Catalunya. With the author and director Carol López, she has done the scenography of shows such as Germanes (La Villarroel 2008), Boulevard (La Villarroel 2009), Tres dones i un llop (La Villarroel 2010), or Così fan tutte (Gran Teatre del Liceu 2012). She has collaborated with stage directors such as Josep Maria Mestres, Magda Puyo, Rafael Durán, Mario Gas or Sven Eric Bechtolf or Xicu Masó, doing the scenographies of some of their productions.
Since 2007 she is teacher of performance design at the Institut del Teatre, where she has been Head of Scenography from 2013 to 2017. She has been invited to teach scenography in places such as the San Martín Theater in Buenos Aires (2006) or the University of Basque Country (2007, 2008, 2010 and 2011).
She has published the article “Landscape as the Backgroud for Scenic Art” in the Theater and Performance Design magazine published by the Prague Quadriennial and “Taylor and Francis Group” (April 2016).
Director of the Musée Soulages, Rodez, France
Tuesday, July 23 · 7:00 pm – 9:00 pm
Benoît Decron has been, from 1997 to 2009, head curator of the Abbey Museum of Sainte-Croix in Les Sables-d’Olonne, France, with exhibitions dedicated to artists such as the American Peter Saul, the designers of Bazooka, the painters François Rouan, Marc Desgrandchamps and Philipe Cognée, the great artist of Italian Art Brut, Carlo Zinelli, and in 2008, for the first time in France, the unpublished images of Emil Nolde. He has published books and articles on all of them, but also on Gaston Chaissac and Jean Dubuffet, and the Chaissac-Jakovsky correspondence.
He is currently the director of the Soulages Museum in Rodez, France, the birthplace of Pierre Soulages, the most sought-after French artist, known for the radical nature of his abstract painting, which, according to him, is the game with “reflected light” in black, which is the least luminous colour. ” Decron keeps the permanent collection of the artist, with a score of oils on canvas, made between 1940 and 1970, in which Soulages experiments with the textures of the paint, the shapes and the colours, which progressively drifted towards black. A hundred works are also exhibited using the technique of printing, among which there are serigraphs, lithographs and etchings, and a series composed of a hundred paintings on paper made with nogaline, a dye obtained from the husks of nut, usually used to dye the wood.
Coinciding with the inauguration of the Soulages Museum in 2014, he curated the inaugural exhibition entitled “Outrenoir(s) in Europe”, bringing together a score of works made from 1979 to 2014, most of them large, provided by museums throughout Europe.
The museum is the work of RCR Arquitectes with Gilles Trégouët, a project selected in 2008 among almost a hundred candidates. Conceived as a “museum-landscape” of sober lines, glass and steel combine in different finishes: black, lacquered and cut, a variety whose natural oxidation protects it from corrosion and gives the façade a coppery colour. Inside the museum, the large rooms are combined with other more intimate, where the intensity of light is modulated, seeking a balance between the serenity of the spaces and the presence of architecture, for the contemplation of the works. The work has been awarded the International Spanish Architecture Prize and the Médaille d’Or de l’Académie d’Architecture Française in 2015.
PhD in Audiovisual Communication
Program Audiovisual and Photography
Videodance The Wind Telephone, USA, 2016, 6’ · Trailer
Lecture Movement in the Cinematographic Image
Wednesday, July 24 · 7:00 pm – 9:00 pm
Ivan Pintor Iranzo (Barcelona, 1975) holds a PhD in Audiovisual Communication. He is Professor of the Department of Communication of the University Pompeu Fabra (UPF), and has taught at universities in Italy, Argentina and Colombia. He has contributed in more than thirty books, among them Oshima (2013), La Strada di Fellini (Liguori, 2013), Poetics of Gesture in Contemporary Cinema (intermediate, 2013), Todas las cartas (CCCB, 2012), The Cinema of Julio Medem (Publications of the Sorbonne), Universe Lynch (Festival of Sitges) or Naomi Kawase (Filmoteca). He has directed numerous cycles for the Caixaforum, as well as the congress Mutations of Gesture (UPF, 2012). He has directed various audiovisuals for museums and television and writes regularly in the culture supplement of the newspaper La Vanguardia.
Founder of Nature Urban Architecture Art (nuaa) / Hisao Suzuki Photography
Program Audiovisual and Photography
Videodance Materia – Substance, Brazil, 2012, 9’ · Trailer
Lecture Photographing with the Five Senses
Thursday, July 25 · 7:00 pm – 9:00 pm
Artistic Director, Bienal de Artes del Cuerpo, Imagen y Movimiento de Madrid (BAC)
Videodance Zenit, Spain, 2018, 3’ · Trailer
Lecture Forest Matter
Monday, July 29 · 7:00 pm – 9:00 pm
Eduardo Bonito (São Paulo, Brazil, 1969) has been trained in Performing Arts and Public Relations by the University of São Paulo (USP), Brazil, and in Performance by Middlesex University, United Kingdom. He is currently one of the artistic directors of the Biennial of Arts of the Body, Image and Movement of Madrid (BACmadrid) and since 2005 director of Dança em Foco – International Festival of Video and Dance (Brazil). He has been the artistic director of the Panorama festival in Rio de Janeiro (2004-2013) and project manager at Artsadmin in London (1996-2001). He is the founder of several networks and a consultant for institutions and foundations in Latin America and Europe. He regularly works as a mentor to resident artists in the Teatros del Canal of Madrid and to resident artists and participants of the PEA Project at the Graner / Mercat de les Flors in Barcelona. Since 2017 he has been the creative producer of the Danish collective hello!earth.
Architect, President of the de Arquitectura Frágil Foundation
Program Architecture and Landscape
Videodance Fase, Belgium, 2002, extract of 15’ · Trailer
Lecture Gravity and some Grace
Wednesday, July 31 · 7:00 pm – 9:00 pm
Smiljan Radić Clarke (Santiago de Chile, 1965) graduated from the Catholic University of Chile’s School of Architecture in 1989 and undertook further studies at the Istitutto Universitario di Architettura di Venezia, Italy. He opened his own architecture firm in Santiago de Chile in 1995.
He was selected as the best architect under 35 by the College of Architects of Chile in 2001; he was given the Architectural Record’s Design Vanguard award in 2008; named honorary member of the American Institute of Architects, USA, in 2009; in 2013, 2015 and 2018 he obtained the award for best Chilean Building, by Universidad Mayor, Chile; in 2015, the Oris Award, Croatia; in 2018 the Theater Bio-Bio was nominated as one of the best building by Architectural Record’s Design Vanguard and in 2018 he obtained the Arnold W. Brunner Memorial Prize of the American Academy of Arts and Letters, USA.
Smiljan Radić is the president of Fundación de Arquitectura Frágil. The aim of the foundation is to promote the study and dissemination of experimental architecture or that of an improbable reality, where the boundaries of architecture are blurred.
He has given numerous conferences and his work has been exhibited in Mexico, Argentina, Spain, the United States, Norway and Austria. His projects have been published in international architecture magazines such as El Croquis, 2G, International Architecture Magazine, a + u, ARQ, Casabella, Detail, Lotus and Quaderns d ‘Arquitectura i Urbanisme, and has been collected in two monographic catalogues published in Spain by the Superior Technical School of the University of Navarra and in Chile by Ediciones ARQ. In 2007 he was a visiting professor at the University of Texas.
He currently lives and works in Chile, always in close collaboration with the sculptor Marcela Correa.