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We therefore ensure that they have every possibility of doing business without interruptions other than from the media. Another good reason for coming to FENAVIN is the Wine Gallery, where importers have the opportunity to taste all the different wines exhibited at the fair, away from the stands, in a comfortable setting. The venue has a surface area of 19, square metres distributed into seven different pavilions.

It is almost impossible to sell Spanish wines manufactured with French grapes here. In addition, California, Australia and other countries have already taken the lead in this market of 'French' grape manufactured wines. So it is essential for us to preserve the value of brand recognition and identity of Spanish wines. A traditional wine producer dating back to Roman times, Spain, with 1. Behind cereals and olive groves, vineyards are the third largest cultivated areas in Spain. With these figures, Spanish wine production is third in the world ranking, behind France and Italy.

Spain produces It is considered a main variety in the Vinos de Madrid DO. Native to Galicia. The cultivation of this grape has increased dramatically over the last few years. It is currently the fashionable variety introduced mainly in Catalonia, Navarre and Ribera del Duero, though it is now also being grown in many other Spanish regions.

It produces vigorous, well-constructed wines. An excellent complement to Garnacha Tinta, there is a plentiful supply of this variety in Catalonia and La Rioja, where it is known as Mazuela. Name given to Tempranillo grape variety in some areas of Southern and Central Spain. Native to the Burgundy region of France. A fine, high quality grape that produces aromatic quality wines without undergoing a long ageing process. It is covered by sparkling wine Regulations and by those of Costers del Segre and Navarre. Very aromatic quality grape. Native to Galicia, its cultivation has been significantly encouraged over the last few years, especially in the Valdeorras DO.

It is considered a main variety in the Valdeorras and Bierzo DOs.


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Also known as Viura, it is the basic grape in cavas typical Catalonian sparkling wines. According to recent studies, it seems to be very similar to Cabernet Franc. Basic grape in Jerez wines, and known as Jerez outside this area of Cadiz. Its high yields have led to its cultivation in numerous Spanish regions, especially in Galicia. A very aromatic high quality grape, it is the best-known of all Spanish grape varieties.

They will be discussing the following: the situation of Spanish wines in their respective markets, the strengths and weaknesses of Spanish wines in the United Kingdom, Germany and US and how consumers perceive Spanish wines on these markets. They will also discuss the future of Spanish wines and wineries in their markets of origin. Finally, they will provide advice for wineries aiming to enter or consolidate their presence in these countries. In , the leading Spanish wine importers in the ranking were: Germany ,, euros , followed by the United Kingdom ,, euros and the US ,, euros.

The speakers at this round table —all of them with broad and varied experience— will analyse the current status of the global wine market from different perspectives. Robert Joseph founded the 'International Wine Challenge', one of the largest and best-known wine competitions in the world.

In each edition, renowned wine experts taste approximately 9, wines. Joseph is also the author of over 25 books, editor in chief of the 'Wine Business International' journal, and responsible for the periodical publication of 'The Joseph Report'. He lives in Salamanca and Alsacia France. He is also a columnist for the best American wine journals, and cooperates with a number of newspapers such as "The New York Times".

In general, the reputation of Spanish wine is probably at his peak but the problem is that many Spanish high-profile wines do not tolerate long periods. He is a food writer and radio presenter. He has published several food and wine books, and cooperates with a number of wine journals such as "Decanter", one of the best in the world. He also works for non-specialised journals and newspapers such as "Everything Spain" and "Spain".

JETRO is a governmental institution focused on promoting business and investment between Japan and the rest of the world. It has 73 offices in 55 different countries. If our goal is to enter as many markets as possible, the use of the Internet and e-mail is of the essence. The Web provides export wineries with enormous possibilities since it provides them with access to a huge amount of information with which to do business abroad, and they can make themselves known in numerous forums.

The conference session will be essentially of a practical nature. The Business Centre is a perfect private area for importers and Spanish winemakers to get to know one another, to reach agreements and to make our wines known all over the world; a wide range of services for exhibitors to either manage to enter international markets or improve and consolidate their position. All this is supported by technical and human resources to facilitate their commercial transactions. The Business Centre also has a programme to attract national buyers, promote the event in the wine sector, and attract department store, distribution company and gourmet outlet buyers to the fair.

Its function is to provide international journalists with a professional service consisting of a private office, Internet access, common rooms and a personalised service so that they work at the event in comfort. Two hostesses with foreign language skills will be available to provide support. Finally, there will be important documental resources available such as pictures, wine journals, press releases, etc.

From 20 to 25 international journalists are expected at the fair. For four days wine will be the leading protagonist with trade agreements being reached, sensations evoked, wine tasted and the exceptional qualities of wine both as a beverage and a lifestyle being promoted. This means that the figures have nearly tripled over the past six years, which will guarantee exhibitors a profitable visit. To achieve this, the fair has innovative business activities such as the Wine Gallery, a place where importers will be able to taste wine in top condition, thus creating the ideal atmosphere for closing trade agreements.

The second novelty this year is the Business Centre, a space focused on promoting business contacts, which can be studied beforehand by using the Business Finder, a powerful computer tool enabling buyers to seek their preferences by combining useful criteria such as grape variety or PDO, among others. The previous edition wineries from all over Spain were present at Fenavin These figures show that Fenavin is a leading monographic wine fair. In addition, international buyers gave Fenavin 7. In its third edition, Fenavin developed an impressive strategy of professionalism and succeeded in approaching the needs of the wine sector.

More than renowned importers with purchasing power will visit the fair. The Business Centre offers buyers the possibility of pre-selecting the wineries they want to visit. They will also be able to taste their wines beforehand, in the Wine Gallery. The Fenavin Business Centre will provide two new services: on the one hand, through the Wine Gallery buyers will be able to know where the wineries are located; on the other hand, everywhere at the fair there will be computers on which visitors will be able to consult their preferences through the Business Centre.

Furthermore, the Wine Gallery area has been enlarged. It has become consolidated on the international market surprisingly fast. The fair has been perfectly well managed and organised. FENAVIN is "an extremely attractive fair which not only increases awareness of our wines the world over but also helps take significant steps towards both national and international markets. Since I first visited the fair in , I knew that Fenavin would become one of the best wine fairs in Europe. Fenavin has been earning a great reputation since it started, and is extremely popular among exhibitors, thanks to numerous business contacts.

In this space, with a surface area of 1, square metres, sixty professionals will be available to help the visitors. All the wines will be in the very best of tasting conditions. Thanks to the great efforts made by the fair organisers —especially concerning promotion— it has been a success.

All these requirements have been met splendidly by Fenavin, the leading Spanish wine fair since Vinexpo.

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Fenavin makes use of three highly professional tools to help importers easily find the product they are looking for: the Business Centre acts as a meeting point for exhibitors and international buyers, with all the necessary services at their disposal. The Business Centre provides buyers with the possibility of selecting the wineries in which they are interested in advance.

They will also be able to taste the products beforehand, in the Wine Gallery. The venue has a total surface area of 19, square metres divided into seven different pavilions. An example of standard high-tech commercial operation in Castilla-La Mancha, with 30 employees and a marketing network from Europe to the US, where it competes with Californian wines.

Manufactured separately, we obtain an excellent coupage, aged later in our caves for slightly over 12 months —in oak casks from a number of different places—, and bottled in the spring of Dark Bigarreau cherry colour with notes of tile red. To the nose, sumptuous elegant aromas with fine hints of spices. Well-bodied to the palate, it has a long and drawn out aftertaste. Manufactured separately with long maceration under precise temperature control. Once the best coupage is selected, it is aged in American and French oak casks, and subsequently bottled.

Tile ruby red, very clean and bright, with a full and long aftertaste. Thanks to our over year old vines and a yield of less than 3 kilograms per plant, we obtain a wine with a medium high intensity, dark cardinal red with a persistent berry flavour. Pleasantly full-bodied to the palate. Light and tasty to the palate, with a well-balanced and long aftertaste. The alcoholic fermentation process is interrupted before the sugars are transformed into CO2 and alcohol.

A pale straw yellow wine with green hues. A slightly aqueous bouquet, with a full-bodied flavour. En ese contexto, la feria cumple su objetivo de situar a Castilla La Mancha como un valor emergente y atractivo para los mercados internacionales de vino, mientras que el resto de bodegas se benefician de la comodidad de gestionar su negocio con los importadores que vienen a Ciudad Real a comprar vino.

La principal, respecto a las grandes ferias que citas, es que no se realiza en una ciudad de muchos habitantes. Esto significa, por tanto, que hemos tenido que desarrollar un concepto de feria innovador para que las bodegas cooperativas deseen venir a nuestra feria. La presencia de nuestros vinos ha aumentado sensiblemente. Negocio y profesionalidad son los dos pilares en los que se asienta la feria. No queremos, que como ocurre en muchas ferias, el expositor vaya a que le vendan. Los racimos son grandes y apretados.

Es considerada variedad principal en la D. Vinos de Madrid. Productora de vinos robustos pero equilibrados. Se complementa muy bien con la Garnacha. Contemplada en el Reglamento de los vinos espumosos y en los de Costers del Segre y Navarra. Considerada variedad principal en las DD. Valdeorras y Bierzo. Es la base de los cavas. Da lugar a vinos de gran calidad. Considerada variedad principal en la D. Valdeorras y en la D.

Denominada Jerez fuera de esa comarca gaditana. Considerada variedad principal en las denominaciones de origen Jerez y Condado de Huelva. Variedad principal en las D. Actualmente vive en Salamanca y Alsacia Francia. Dawes es columnista de las mejores publicaciones americanas sobre vinos y colaborador de diarios generalistas como "The New York Times". Se acreditaron Operaron desde Ciudad Real compradores internacionales, respondiendo a la llamada de Fenavin y se realizaron un total Recuadro de texto Tres importantes herramientas para los expositores y compradores de Fenavin El Centro de Negocios Fenavin es un espacio concebido como punto de encuentro entre expositores, y compradores internacionales invitados, con todos los servicios necesarios a su alcance.

Revista de Prensa Dicen de nosotros Se ha consolidado a pasos agigantados. Se trata de una feria muy cuidada y trabajada". Talant Dujshebaev, entrenador-jugador del Balonmano Ciudad Real: "FENAVIN es una feria en la que se pueden dar a conocer nuevos productos, y una oportunidad muy buena para conocer mejor el mundo del vino". Los contactos comerciales que se realizan en la feria, constatan que es una feria atrayente para cualquier expositor".

En la primera, por la que se espera que pasen unas 7. De color rojo picota con importantes matices teja; en nariz es suntuoso y elegante, con muchos toques especiados. Ensipado por boca deja muestra de su redondez y persistencia. Sus aromas de fruta roja sin muy acusados y persistentes, y en su agradable paso de boca es donde se denota su redondez muy conseguida. En boca se presenta ligero, sabroso, equilibrado y con un final largo. Begins to exhibit his work in Beginning in the year , he regularly travels to Orient, in particular, to China. In , , and , he takes part in the Biennal in Venice and in numerous other international events devoted to contemporary visual arts.

In , he holds a retrospective exhibit of his work at the Folkwang Museum in Essen. Olivo Barbieri seit , Museum Folgwan, Essen Artificial Illuminations, Smithsonian, Washington, D. Virtual Truths, Silvana Editoriale, Milano Notsofareast, Donzelli, Roma In this region it is still possible to find large numbers of surviving menhirs--the towering stones that were shaped and placed on end, no doubt with prodigious effort, so that they stand three to six meters in height.

It is difficult to know what impulse lay behind the raising of these enormous stones, but it must have been a powerful urge: in the area around the town of Carnac, over 3, can still be seen, arrayed in rows that extend for several kilometers. It takes only a slight imaginative effort to see these megaliths as the ancestors of the soaring buildings that have come to define Shanghai in recent years. Since Barbieri first visited Shanghai in , over 1, skyscrapers have been constructed there—one of the most extraordinary building programs in history.

His inquiry into the built environment has led him to explore the towns and cities of his native Italy, as well as those of France, Belgium, England, Japan, China, Taiwan, Egypt, Canada, and the U.

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His work seems to grow out of an almost anthropological curiosity about the current manifestations of a basic human drive: the desire to erect monumental structures and create densely textured urban environments. It turned out that the results of this approach showed a world which seemed absolutely phantasmagoric and unreal. And thus, in spite of being stated as a lament, from the last words of Edward G. This time not those generated between image and sound, but rather those existing between what was shot and the shooting.

Indeed, as indicated at the end by the director, the interest of his fictional experiment is not reduced to explore what happens in the film, but rather around the film.

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Thanks to his personal conception of field work, at the end of the s Rouch already confronted many of the themes that would be addressed by. Thus, the validity and example of his cinema is rooted in its reflexive nature: along the margin of control he cedes to social players so they are the ones who decide and question how they are portrayed; in the pact of reading, open to the secrets of production, he establishes with the public; and in the conception of the film as an active process with repercussions in social reality.

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The French director, whenever possible, collaborated with natives to perform his works, so that his work contributed towards introducing cinema technology on a continent that still lacked a school of cinema. While other African filmmakers like Moustapha Alassane or Oumarou Ganda who also worked some time as actors in his films, would continue later making cinema with their own methods and with praiseworthy results.

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  8. Trance, parody and taboo In spite of its markedly ethnographic nature, Los amos locos is a film that continues participating in the logic of classic narration. Although its formal articulation impedes cataloguing it as ethno-fiction —we are before an example of cinema-trance— the ritual of possession the film registers and the transfiguration or revelation that transmits the ceremony are absolutely not distant from the Aristotelian catharsis and its effects: depuration, illumination, and in a certain way, restoration. Its therapeutic nature is revealed by the director himself at the end of the film, when he explains that the cruel temporal subversion of roles colonizer and colonized to which the spectator has been witness emerges as a symbolic response that permits its participants to overcome the real oppression they experience in everyday life.

    The voice in off by Rouch himself —included a posteriori as a consequence of the scandal caused by the crude images at the first public projection of the film in France— offers the descriptive and analytical framework that provides the minimal keys for understanding a ceremonial where the colonized play the role of colonizers, evidencing the violence this relationship implies.

    Pese al abismo cultural que nos. In spite of the cultural abyss that impedes us from appreciating all the matrixes of the ceremony, the film makes clear its idea of repairer or corrector. The subversion of roles presents itself as a form of empowerment, where the theatricalization of those forces that have the power becomes a strategy from which due to excess or histrionics is reduced to its more superficial and fetish-like aspects.

    And indeed, as a counterpoint, Rouch includes the plan for another ceremony by colonial forces, another staging of power through the parade of British troops in his editing.

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    But perhaps the most attentiongrabbing of the ritual is to observe how subversion and appropriation are not sufficient for symbolically challenging colonial domination, but rather also require transgression and taboo. In the The dogs of Nouvelle Vague would consider this work a key influence due to its skill in starting from documentary spontaneity with the objective of constructing solid narrative discourse. An essay about the Other played by a group of Nigerian immigrants in the Ivory Coast, given names extracted from popular Western culture. The film was prohibited for more than 40 years and Vautier was the object of thirteen accusations and prison sentence for his work.

    Dakar, Cape Town, Rabat, Douala, Rwanda, Nairobi and Maputo are the seven stops on this long trip through the multiple faces of contemporary, urban and cosmopolitan art by five creators and from the contemporary art production centres on the African continent. The documentary, part of an ambitious project that includes a book and an exhibition, addresses the capacity of global impact for a new art that challenges its own traditions.

    In this documentary, Nora Chipaumire, a ballerina born in Zimbabwe former Rhodesia in , returns to her homeland to recreate, through dance, a poetic autobiography, which clamours for the power of art in an achievement stripped of pride and identity in face of several manifestations of intimidation and violence in a hostile environment.

    An impressive testimony of survival and self-affirmation from an authentic free spirit. Six outstanding choreographers of the emerging contemporary African dance scene reflect in this documentary, co-directed by the professor of Theatre and Dance at the University of Florida, Joan Frosch, on the relations of this new form of expression with traditional folklore and its power as an instrument of self-affirmation capable of isolating stereotypes and ideas received. Founded in a village in the tropical forest of Guinea in , the orchestra has extended its influence throughout the African continent, demonstrating that music can also be a political act capable of attracting crowds with its seductive rhythms.

    At that time —it was the end of the s— the video was still not a regular medium for running commercial feature-length films or for exhibition at cinemas. It was a difficult and slow project, in which he had to accept many cuts with respect to the ideas he had because. But on his part, Isaki, besides already enjoying the staging, was learning that the main quality of a filmmaker consists of balancing the film he wants to make with the means —equipment, money, time— he has. Of all of us, he was the first to know he would direct films or the first to acquire the inertia that is normally missing in cinema: that drive —his Basque side— has moved many friends or collaborators to later undertake his films.

    I would say Isaki stands out because he thinks of the next plan he will shoot rather than going back to the plan he has already shot. And although that could lead to as many advantages as inconveniences, it has not doubt been the basis for his contagious inertia and influence. Nowadays, when the Bartlebys are so highly valued —heavy and specious figures where they exist— Isaki represents the contrary: he is someone who prefers to do things. At the same time, however, we felt that the formal demand they had for the finishing touches on films could have, if not well assimilated, a paralysing effect.

    Even if later on some took it upon themselves to point out —in a simplistic, banal way— that these two models, Guerin vs. In a way, he broke the ice. Following that example, Isaki, who has a genius for writing, which he could have pursued, opted to form a team of regular collaborators around him, a team comprised of individuals who were also his friends and with whom used cinema as a pretext to gather together. As a filmmaker of shots, not images, he delegated many decisions to his collaborators.

    This choice was at the base of this films, and he made it evident: in several shots in Monos como Becky , for which Isaki was present at the Actually, he did not need to be behind the camera or in the shot to be present: he knew this would not fail to move others, and that his presence could affect the attitude, humour and rhythm of the people, give them confidence, make them think or embarrass them. He could stage them. Moreover, most of the films are intended to be a series of extraordinary instants or strong moments, without doubts, hesitation or awkward sentences.

    Not an aesthetic emotion, but the kind of emotion that appears in daily life and in moments of confidence, when it is impossible to recognise which are the strong and weak moments. The best thing Isaki ever filmed, some shots of Isra in La leyenda del tiempo 1, contains such an impression, in the midst of a structure of scenes showing the here and now, almost independent of one another, like raw materials. Isaki is a late-blooming film buff, or rather one who never really was a film buff, since, more than relating what he sees with other films to configure a map of possible connections, he absorbs the films he discovers and likes and responds by making the next shot himself instead.

    We should therefore watch his films from the viewpoint of the relationship between the image that gives rise to them and the image with which they materialise. These images —or legends— take the shape of myths, memories or documents —and they are sometimes a blend or montage of the three aspects—. This tension between two types of images, perhaps opposite in nature, is the theme of his filmmaking: How does one materialise the temporal nature of something invisible, whether the image of a feeling or the feeling of an image? To that question he had responded with specific films, each with very different styles and interests, from reediting or archive films to a cinema of improvisation, with La leyenda del tiempo.

    When Isaki was editing La noche que no acaba, which he constructed based on the relationship between an image of After watching his film, I would like to quote a few of those words —joining fragments of both articles— for their pertinence to La noche que no acaba, according to one of our habitual dialogues:.

    What history took the face from to that of , from the seductive figure to its almost disfigurement? How can one image be connected with another? Bruce Weber, a fashion photographer, did not make his film because he was fascinated by the music of Chet Baker, but rather by the image of the music: below that devastated face was projected the distant memory of a young, beautiful face, a mythical past that still shone. Europeans could not show their history through these prints.

    The crack-up, more than a mere literary expression, is an image invented by Hollywood: the face that is broken down, crumbled precisely because it lets us see the remains of a past. American myths have been conceived primarily as images, not as stories. La noche que no acaba is another variation on this story, this myth. In the midst of his marked adherence to verbal commentary, there are several instances in which Isaki creates a true iconographic study of the actress and woman: for example, when he relates the two scenes in which Ava played the fear before the goring of a bullfighter, and a documentary shot of her as a spectator in the plaza, which was later traced fictitiously in the newsreels with that of several bullfighters.

    The first feature film Isaki did was a sort of trial or attempt at approximation on the face of Cravan, a face that did not exist other than as an image; an elusive face. The first time I saw this movie I thought it was very powerful because it managed to set those faces. Which faces do we remember from the Iran earthquakes of ?

    Of course, not the ones we saw on television, but. No es preciso que los vuelva a ver proyectados para que sean visibles. What do I know about San Fernando and the people who live there? Without a doubt, the images in La leyenda del tiempo. This realism is unusual in Spanish cinema. Moreover, La leyenda del tiempo is above all a story of growth, of the formation of a face, of the passage from one stage in life to another: the relationship between Israel the child, and Israel the adolescent, when the film reunites with him on resuming shooting some time afterwards.

    Here, I think Isaki discovered the visible effects of the passage of time on faces, which is the theme or main motive of Los condenados and La noche que no acaba which are a type of archaeology of the experience through the fore-ground. La leyenda del tiempo is a film that is full of youth. At first, Rouch valued the camera as a scientific tool for travelling and recording rituals, customs, landscapes With his films, cinema finds and is found. Por eso, cuando filma a Isra, al principio llega algo tarde y mantiene demasiada distancia.

    Rouch would make his films with his actors, but Isaki cannot completely rise above this distance he does it with them, but also before them. So when he films Isra, at first he arrives somewhat late and then maintains too much distance. But before the second shooting —because the film was made in two stages—, and after watching what he had filmed, he discovers where the essence of the film lies and changes pace: when he resumes filming, he is closer to him and moves more quickly, albeit not quickly enough.

    He always comes, so to speak, a few seconds late and stays a few metres too far. I guess it is a difficult process to see, and I recognise it because, in part, I followed it through the montage. The entire film, for me, is all about this manner of reacting, pursuing and searching. Isaki is a filmmaker who is too impetuous yet excessively discreet and cautious. These are the distances at which he works. However, this is how he obtains shots with natural beauty, something steadfast and recognisable, something which remotely links the snapshots of improvised life transmitted by some photographers or filmmakers in the 50s and 60s, such as Helen Levitt, Weegee, Rudy Burckhardt, Goldman or even Joan Colom.

    This snapshot life of a world. Isaki es un cineasta demasiado impetuoso y a la vez en exceso reservado y cauto. El tiempo se sostiene. All of this is deposited in a few instants, even a few fractions of a second: you can see it in the eyes of Isra and the girl, in the sweetness and indecision of their eyes, and we see that time stretches —is made uncountable— thanks to the film.

    Time is frozen. After all, cinema has always been just that: working time, inventing it. I think that, in instants like these, despite all of the mistrust and pretence, cinema remains intact. Due to this chameleonlike constant, it remains difficult to identify shots that are characteristic or recognisable in his style, although there is a tone, particularly manifested by the voice-overs, which shapes all of the films and leaves aside a few planning habits, such as slight camera movements from the framing of objects or parts of the setting to the characters used to resolve many opening scene shots.

    It is from this fundamental ambiguity that Isaki Lacuesta, with the help of Frank Nicotra, also a fighter, writer and filmmaker, explores the dark areas of a myth constructed by the artist himself: an identity under successive masks that disappeared without a trace at the age of 32 years, with a gesture that endorsed his career aura of doom and opened the door to enigma. Ava Gardner, one of the great icons of Hollywood glamour, settled in Spain from until the late 60s: a chapter in the life of a legend that official biographies have tiptoed by.

    An excavation to locate the body of an old comrade of the revolution is the meeting point of two former guerrillas in this first work of pure fiction, akin to generic crossing, in Isaki Lacuesta trajectory. The theme of the traitor and the hero, and the erosion of convictions are only a few of the plots that take over a frame capable of spurring pertinent reflections on the legacy of ideologies and the handling of historical memory.

    Trash culture is that phenomenon of taste stemming from the detection of a strange form of beauty in ugliness, eloquence in error. It can often be considered a form of aesthetic activism which confronts the almost always conformist proposals of mainstream to detect destabilising stimuli in the sewers of expression.

    In many cases, Trash needs to develop its own codes of reception, codes located at the antipodes of the reverential, submissive attitude of the taster of prestigious culture. Sessions that return the condition of celebration and ritual to film projection in theatres, by means of a constant dialogue between the screen and the stalls conducted by for masters of ceremony fully aware of what is happening. Trash entre Amigos es una propuesta que devuelve la experiencia a la sala de cine. In our time, with the spread of home cinema that takes high-definition televisions and surround sound to our living rooms, and in which it is commonplace to concentrate personal consumption on portable microscreens, viewing today is primarily an individual act.

    Trash entre Amigos attempts to return the experience to the cinema. Trash entre Amigos enhances film viewing by adding an ingredient not offered by home viewing or internet downloads: complicity. Trash entre Amigos enables constant dialogue, in real time, between film and audience. To achieve this, it takes part in trash films: odd films whose constant formal insouciance allows the viewer to celebrate and participate in unbiased dialogue and commentary.

    The sessions alternate criticism with laughter, humour with the clinical eye. It takes the spirit of movie buff gatherings and transforms it into a celebration: the audience participates, laughs, screams Trash entre Amigos combines creation, improvisation and interaction. It recovers the theatre as an inhabited place, and the ingredients add up to a unique experience that is constructed from the outset at each projection.


    In this film, which was shot in the vicinity of Teide, Liu plays a blind Zen master who travels to Mexico to protect the pieces of gold that belonged to his ancestors. Doomed to typecasting, De La Rosa took on the most humiliating role of his career in this sub-product of Italian terror by Giuliano Carnimeo, who know more inspired moments in his career: a rat-monkey hybrid capable of dicing the meat of maggiorata with delight.

    Uno de los mejores trabajos de Lim Kwon-taek, a quien muchos consideran el padre del moderno cine coreano. An eccentric film that can be largely considered a precursor to this new Korean fantasy cinema that has reached phenomenal proportions worldwide. The pansori is the type of traditional song that, like a distant cousin of the blues, exalts the collective grief of the inhabitants of south-western Korea.

    The protagonist of this film — the most awarded movie in the history of Korean cinema — is a pansori singer who goes from town to town in hopes of finding the young woman with whom he learned his art under the tutelage of their common master. One of the best works of Lim Kwon-Taek, whom many consider the father of modern Korean cinema. The horror is shown through the eyes of a young survivor. Her corpse is found in the first episode, wrapped in plastic, brutally murdered.

    She is in some sort a victim of her own incapacity to exercise any real control over her impulse. Cook Josh. Inspired by the observation of the tramp, the eternal wanderer, which externalize the excitement of all that motivates you revives the ecstasy of being human. Observe, create, rotate Infinity is eternal.

    Bill Viola / Michelangelo: Life, Death, Rebirth

    El tiempo pasa, y nosotros somos las piezas de nuestro propio juego Una pasajera emprende un viaje en un tren de alta velocidad durante el cual, hace repaso a sus memorias. As she observes the landscape passing by her window, she passes review to her memories whereby the contours between memories and landscapes disappear or are layered unto each other until reality and past memories become undistinguished.

    Christmas music. A bank whose name I do not wish to recall suffers the closure of offices at the same time that i suffer a break with some friends, each one sharing the same flat, one of them from the same place whose name I do not wish to recall. The empty spaces of the offices are interspersed with some of the photos of that room, never ever, never again, shared. An experiment anticrisis via phone call to the customer line, searching the missing addresses.

    This is an artistic vision around a mathematical Universe. What used to be a close circle of friends is now a group of individuals that only see each other on special occasions. This time, two of them behave in a strange way that makes the group uncomfortable. La Tama es una chica conflictiva. Tired of constantly fighting with her mother,she takes off on a journey with no return. What will happen 7 days? These reminiscences serve a hidden purpose, that of preserving the memory of something that was probably peculiar to Italian schools: a secret alphabet of gestures that could help classmates give the right answer to a question by the teacher.

    El enfoque es el de mensajes encontrados en botellas mensajeras procedentes de esa isla The thread is Menchulica improvised music, halfway between naive and most modern The focus is the messenger messages found in bottles from the island Olvidamos el espacio que ocupamos. Use, transform, create, manipulate, destroy Then we impose without respect, distracting ourselves from the negative consequences on our environment and ourselfs.

    I hear you. In this case, the volcanic landscape of Fuerteventura serves as background for a dancer to execute her dance sequences. The idea being to use the medium video as a canvas and the camera as painters brush to blend the various layers of dance, landscapes textures, colours with the music to create this video dance. Next page. More buying choices. Bill Viola Nov 19 Only 6 left in stock - order soon.

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