Victoria and Aura’s pieces dialogue in a timeless space in which emptiness and non-empty take center of the lead.
Classical cinema invades space to make the viewer rethink the structure and traditional visual methods: dialogues, focus of attention, montage, shot, light, the movement, the cuts and the audiovisual language in its entirety.
Three essential parts come together in this exhibition: PROYECTOR Festival, a platform that emphasizes the more experimental and committed nature of the images and contemporary films; curates this show within the framework of Rizoma Festival, an international film and culture festival intertwined that celebrates its XI Edition in November. With this collaboration we invade the venue of Extension AVAM, an association committed to the visual artists scene in the city of Madrid. Now, two current video installations converge at this space, selected by the 16th call for the PROYECTOR Festival in 2023.
The films that make up Void vs Cinema(2023) play at decentralizing language cinematographic through the excerpts of the films ‘The Conversation’ (1974) by Francis Ford Coppola, ‘The Birds’ (1963) by Alfred Hitchcock, ‘Sunset Boulevard’ (1952) by Billy Wilder and ‘A Fistful of Dollars’ (1964) by Sergio Leone. The artist Victoria Oliver Farner analyzes, empties and deconstructs to create the new film.
For its part, Meshes of the film (2022) covers one of the most iconic films in experimental cinema, ‘Meshes of the Afternoon’ (1943) by Maya Deren, without altering its duration. The piece by Aura Vega brings to light the need for structuring and formalizing the cinematographic language. The inexcusability of the camouflage of the cut in the cinema makes the work itself and not a set of linked pieces.
Two ways of seeing the parts that make up the whole of the audiovisual work. Two different ways of understanding language as a structural formalism.
We invite the viewer to deconstruct their gaze and rethink their own prism: uniting, creating and giving meaning to the emptiness, the jump, the cut and the lie of cinema.
Text: Rebeca M Urízar
