Date: Friday, November 6, from 9.30 a.m. to 1 p.m.
Location: Arts Santa Mònica
More info: artssantamonica.gencat.cat
Date: Friday, November 6, from 9.30 a.m. to 1 p.m.
Open Panoràmic is a call addressed to everyone worldwide who wants to take part in Festival Panoramic 2020. It is a meeting point generating interactions between creators, curators and audience. Panoràmic is the meeting point where all selected creators will show their work to a group of selected art world agents (such as curators, gallery owners, art centers and festivals directors or visual art specialists from public institutions). They will exchange views with the aim of promoting and supporting the artists’ audiovisual creations through their networks or institutions.
If you want to participate as an agent, please register here:
Piętro 8 (8th floor)
“In Piętro 8 (8th floor) you will find different supports and recording systems for audiovisual material, made by amatorials, professionals or simple users of social networks. Materials recorded from a public or private spaces, with a provocative or naive look and with the will to be shared and viewed. Piętro 8 has been my will to gather this material and offer it in the most neutral way possible. “
My name is Sami
During the pandemia Sami calls a friend to talk about a tragic story.
The perception of transsexuals has been shaped socially and through the media, falling on stereotypes of marginalization and prostitution. This collective imagery lacks positive role models, especially for those transgender women who claim their identity in adulthood. The figure of a middle-aged man who affirms himself as a transsexual woman, sometimes also as a lesbian, questions established social norms and confronts us with the need to redefine it.
Through a story of Zenia, “Transito” speaks of transgender women in Spain who began their transition being adult. With their diverse models of life, they break many stereotypes and the binary gender classification. Their testimonies serve as positive role models, without disregarding the difficulties they face in their life. The project invites reflection on our vision of normality, our limits of acceptance and the freedom of choice these people actually have.
‘Embodiment’ in a photographic project that questions the notion of identity through the body.
‘Questions of identity, individual and collective, confront us at every turn… We are interpellated and interrogated by a multiplicity of voices to consider and reconsider our identities. How we think of ourselves … is up for grabs, open to negotiation, subject to choice to an unprecedented extent.’ (Roseneil and Seymour)
A simple question is asked to every participant: tell me 3 parts of your body that identify you.
In The Mood For Love
Thousands of young women from Russia and Ukraine decide to work abroad. China is especially attractive for many of them. There are many employment possibilities in the entertainment industry, where the most important criterion is physical beauty. Usually, this kind of work is illegal.
To begin this story, I went to China specially and set myself up the job of a “party girl”, or rather “a girl who provides entertainment in the company of alcohol” to use a more direct translation. For short, such establishments are called KTV. Often such work involves bodily contact. Depending on the wishes of the client and the consent of the girl, this work can take on a more intimate turn. All photos were taken secretly with a phone.
Piwkeyey is a short documentary, of personal and experimental nature, where four geographically distant realities are connected and under the framework of global confinement due to COVID-19. The intimate look of the short film reflects the filmmakers’ own identity. They are four friends who are in Chile, Argentina and Spain, with a common past. It is that past that names this project, the nostalgia and the inability to see and hug those we love. Piwkeyeyu has its origin in the Mapuzungun language and means ‘I carry you in my heart’. Through a hybrid narrative between photography and video, it realizes contemplation and memory as a healing exercise, where, despite being physically away, the feeling is still present every day.
In the Isthmus of Tehuantepec in southern Mexico, and in the heart of the Zapotec culture, the muxes are considered as a third gender within society. The muxes are integrated in the generic organization of the community and develop socially recognized roles in both the socio-cultural, and within the family. The muxes play some very important occupations for the reaffirmation of the Zapotec ethnicity. There is a peculiarly permissive attitude towards homosexuality, effeminacy and transvestism in this part of the state of Oaxaca. Some Zapotec mothers raised one of the sons in traditionally female roles. A muxe son is an economic and emotional support for women. They are educated to become good workers and caregivers for their parents in old age. The weight of the female universe within the Zapotec culture and strong ethnic identity legitimizes muxes and his figure in society. The figure of the muxes and acceptance of homosexuality is closely linked to the situation of women in family and society, and the role they play in them. They are not submissive women and have a certain economic and social power; this makes the weight of the female universe legitimates the muxes and their figure in the Juchiteca society. The case of the muxes proves the theory that gender identity is a social construction. Some cultures have adapted the hegemonic theory to its cultural universe.
A “Cover” is a new interpretation of a musical theme, previously recorded by another artist. “Cover” in another sense is also a place to refuge and the cover of an album. This piece explores self-representation from fragments of covers.
Every year I visit the Metropolitan Museum of Art in New York. Ever since I was a little girl I walked through the great halls and galleries to see the masterpieces on the walls, but the last time was different, there were several rooms completely empty. I was aware that there was a change of exhibition even though the sensation was striking when one is accustomed to always see them occupied.
Back in Lima, I started working on the photographs that I had taken filling them with images of my family archive. The ghosts of my past started coming alive on the walls of the Metropolitan. At the time, it was impossible to imagine that only a month after I finished my series “Empty Rooms”, a worldwide quarantine due to the coronavirus pandemic would create a similar environment pictured in my images. The only inhabitants in the museum for now are those who live within the walls.
XXI is a work that reflects on the exposure of intimate life used as a tool for self-surveillance and self-punishment in the face of a society that judges itself. Idea taken from the work The transparency society of the philosopher Byung-Chul Han where he talks about the inclination to expose ourselves in the networks, a habit that Han compares to pornography and that is “contagious and fictitious”. Because this transparency is actually misleading. Another effect of this constant exposure is that we have created a digital panopticon. A digital prison design in which the vigilante could always observe all the prisoners. We are all vigilant and guarded at the same time.