#Julio Garcia Espinosa

[randomrichards]

LUCIA:

Tales of three women

In key moments of Cuba

Seeks love and freedom

[goalhofer]

2024 olympics Cuba roster

Archery

Hugo Franco (Havana)

Athletics

Mario Díaz (Ciudad Matanzas)

Reynaldo Espinosa (Havana)

Yunisleidy De La Caridad-Garcia (San Juan De Los Remedios)

Luis Zayas (Ciudad Santiago De Cuba)

Alejandro Parada (Ciudad Santiago De Cuba)

Cristian Nápoles (Marianao)

Lázaro Martínez (Ciudad Guantánamo)

Andy Hechavarría (San Isidro De Holguin)

Melissa Padrón (Havana)

Melany Del Pilar-Matheus (San Jose De Las Lajas)

Silinda Moráles (Ciudad Camagüey)

Roxana Gómez (Ciudad Cienfuegos)

Rose Almanza (Ciudad Camagüey)

Daily Cooper (Ciudad Camagüey)

Sahily Diago (Jovellanos)

Lisneidy Veitía (Coralillo)

Leyanis Perez (Ciudad Pinar Del Río)

Liadagmis Povea (San Juan Martínez)

Boxing

Saidel Horta (Ciudad Cienfuegos)

Alejandro Claro (Ciudad Sancti Spíritus)

Erislandy Álvarez (Ciudad Cienfuegos)

Arlen López (Cuidad Guantánamo)

Julio De La Cruz (Ciudad Camagüey)

Cycling

Arlenis Sierra (Manzanillo)

Diving

Prisis Ruiz (Ciudad Santiago De Cuba)

Anisley García (Havana)

Judo

Iván Silva (Ciudad Matanzas)

Andy Granda (Ciudad Matanzas)

Maylín Del Toro (Ciudad Santiago De Cuba)

Idalys Garcia (Ciudad Pinar Del Río)

Pentathlon

Marcós Rojas (Havana)

Rowing

Reidy Cardona (Havana)

Yariulvis Cobas (Ciudad Guantánamo)

Shooting

Leuris Pupo (San Isidro De Holguín)

Jorge Álvarez (Havana)

Lisbet Hernández (Havana)

Laina Pérez (Ciudad Matanzas)

Swimming

Rodolfo Falcón; Jr. (Havana)

Andrea Becali (Havana)

Table tennis

Andy Pereira (Havana)

Jorge Campos (Havana)

Daniela De La Caridad-Fonseca (Havana)

Taekwondo

Rafael Alba (Ciudad Santiago De Cuba)

Arlettys De La Caridad-Acosta (Havana)

Volleyball

Jorge Alayo (Santa Clara)

Noslen Díaz (Havana)

Weightlifting

Ayamey Medina (Havana)

Wrestling

Kevin De Armas (Havana)

Alejandro Valdés (Havana)

Geandry Garzón (Ciudad Santiago De Cuba)

Arturo Silot (Ciudad Santiago De Cuba)

Luis Orta (Havana)

Yosvanys Peña (Havana)

Gabriel Rosillo (Havana)

Mijaín López (Ciudad Pinar Del Río)

Yusneylys Guzmán (Havana)

Milaimys De La Caridad-Marín (Havana)

[othcrworlds]

✰ dana , fem, twenty7 . 𝒐𝒕𝒉𝒄𝒓𝒘𝒐𝒓𝒍𝒅𝒔 is an indie side blog highly dependent on 𝒐𝒕𝒉𝒆𝒓𝒘𝒐𝒓𝒍𝒅𝒍𝒚𝒓𝒑𝒔 . this blog is currently under heavy construction.

continue reading for the muse list !!

cordelia "lux" bianciardi . 22 - 26 . heiress, professional artist, aspiring art gallery director . ( resembles alice pagani . ) esperanza "essie" valencia florez . 30 - 35 . marketing executive, digital nomad . ( resembles diane guerrero . ) felix valentin garcia . 28 . bartender/mixologist & jewelry designer . ( resembles bad bunny . ) gianella "gia" gatto . 26 - 29 . occupation tbd . ( resembles ariana grande . ) isabel "isa" valencia florez . 27 - 31 . structural engineer . ( resembles karol g . ) javier "javi" cuevas espinosa . 35 - 38 . business consultant & investor . ( resembles manny montana . ) juan "grim" grimaldo cortez . 28 - 32 . electrician & jack of all trades . ( resembles julio macias . ) lizette "liz" lorenzo alfonso . 26 - 29 . high profile hair stylist . ( resembles lauren jauregui . ) mateo "teo" cuevas espinosa . 22 - 24 . twitch streamer/content creator . ( resembles xolo maridueña . ) paloma montenegro macalpine . 24 - 27 . principal dancer in a prestigious ballet company . ( resembles anya taylor joy . ) rosaura “rosie” alvarez . 22 - 26 . retail girlie, part-time bottle girl, recovering high profile escort (depending on age . ) . ( resembles bella thorne . ) summer vogel. 22 - 26 . costume designer for a prestigious ballet company & content creator. ( resembles chloë grace moretz . )

[artofthemindblog]

“The future lies with folk art. But let us no longer display folk art with demagogic pride, with a celebrative air. Let us exhibit it instead as a cruel denunciation, as a painful testimony to the level at which the peoples of the world have been forced to limit their artistic creativity. The future, without doubt, will be with folk art, but then there will be no need to call it that, because nobody and nothing will any longer be able to again paralyze the creative spirit of the people.

Art will not disappear into nothingness; it will disappear into everything.” --  Julio García Espinosa, For an imperfect cinema

[dostoiivskii]

julio garcia espinosa ending his chapter with “art will not disappear into nothingness; it will disappear into everything” SIR

[enternameheere-blog]

Blog Post #7 - 3/22/17

Narrative Analysis of Black Girl (47′23″ thru 52′30″)

D is sleeping – M and W enter the house – W walks to the kitchen and notices D didn’t do the dishes – M carries the sleeping child out of the living room – W enters D’s room to wake her up, angrily, and then cleans the living room – D wakes up and M and W notice the mask is gone – M enters D’s room to offer her money – D collapses on the floor – M and W leave her alone – W returns and takes back the mask – D reaches for it and D and W fight over it – M convinces W to surrender and they both leave the room – D packs her things up into her suitcase – D returns the money and the apron to M and W in the living room – D  styles her hair and finishes packing

This scene speaks strongly to the character of Diouana.  As the audience becomes aware via the narration throughout the film, Diouana did not become and employee of this family simply to serve; she initially wanted to work.  Then, when the family decided to move to France, she did not agree to go with them for the sole purpose of staying employed.  Rather, she was most excited to live in France and experience a new culture.  But upon their arrival, she quickly realized that it was not what she expected.  She was not able to even care for the children, she did not get paid, and she had no opportunities to explore or experience France as she had hoped.  She felt as though being indoors 24/7 deprived her of this opportunity.  By refusing the money and returning the apron to the mistress, she showed that it was not the material things that she was after.  By taking back her mask, she was proving that she was not going to allow the family to walk all over her without her voice (or in this case, actions) being heard. Finally, by eventually killing herself, she was showing that she would rather die than live the couped up life she was currently in.

Discussion of “For and imperfect cinema”

In reading Espinosa’s article nearly 50 years after it was written, I couldn’t help but notice how some of his observations of the trends in film of his time feed directly into the modern industry.  He discusses the differences between art and science and how technology may quickly come into play in art.  Observing how business in the art industry, and in particular the film industry, is conducted today, it is easy to see how technology has blurred the lines of science and art. Massive, high-tech machinery--such as soundboards, mixers, and cameras--as well as advanced processes, such as editing software, make filmmaking seem much more like a science than an art.  However, it is important to realize that they both play important roles in the filmmaking process and it is equally important to distinguish the two.  There are many jobs of skill that are involved in making a film.  The editorial, shooting, and mixing techniques that are taught in schools and perfected by professionals certainly have a foundation in scientific methodology--find what works, follow the steps, and enjoy the results. These roles would not exist, though, if it weren’t for the visionary roles of producers, directors, and writers (among others).  The skilled, scientific work is carried out on a daily basis, but the path along which these tasks run are created ahead of time by the vision and goals of the true artists involved in the making of a film.

[juanmonroy]

Roots of an "Imperfect Cinema"

Roots of an “Imperfect Cinema”

About a week ago, film professor and documentarian Michael Chanan posted an excerpt from his documentary film The New Cinema of Latin America (1983). The excerpt includes an enlightening interview with Cuban filmmaker Julio Garcia Espinosa. At the time, he was the head of ICAIC, the Cuban Film Institute founded by the Castro regime after the 1959 Revolution, but he is perhaps best remembered for…

[blogs-n-sheeit]

Mass murders with more deaths than Las Vegas (since 1945)

September 11 attacks 2,996 dead, 6,000+ wounded Date: September 11, 2001 Target(s): World Trade Center (North and South Towers), The Pentagon, a field in Pennsylvania and public transportation (planes) Location(s): Manhattan, New York; Stonycreek Township, Pennsylvania; The Pentagon in Arlington County, Virginia Weapon(s): Boxcutters, Multitools, hijacked commercial airliner jets Perpetrator(s): Waleed M. Al-Shehri, Wail M. Al-Shehri, Mohamed Atta, Abdulaziz Al-Omari, Satam M. A. Al-Suqami, Marwan Al-Shehhi, Fayez Rashid Ahmed Hassan Al-Qadi Banihammad, Mohand Al-Shehri, Hamza Al-Ghamdi, Ahmed Al-Ghamdi, Khalid Al-Mihdhar, Majed Moqed, Nawaf Al-Hazmi, Salem Al-Hazmi, Hani Hanjour, Ahmad Ibrahim A. Al-Haznawi, Ahmed Al-Nami, Ziad Samir Jarrah, and Saeed Al-Ghamdi Jonestown massacre 918 dead, 35 wounded Date: November 18, 1978 Target(s): an air strip, The Peoples Temple Agricultural Project, The Peoples Temple of the Disciples of Christ’s headquarters building in Georgetown Location(s): Port Kaituma, Georgetown and Jonestown, Guyana Weapon(s): Cyanide (907 dead), Guns (7 dead), Knives (4 dead) Perpetrator(s): Jim Jones, Annie Moore, Sharon Amos 1983 Beirut barracks bombings 307 dead (including 241 US military personnel), 150+ wounded (including 115 Americans) Date: October 23, 1983 Target(s): United States Marine Corps barracks at the Beirut Airport and the Drakkar barracks of the French 1st Parachute Chasseur Regiment and 9th Chasseur Regiment Location(s): Beirut and Ramlet al Baida, Lebanon Weapon(s): two truck bombs Perpetrator(s): Ismalal/Ismail Ascari and another unidentified bomber. Pan Am Flight 103 270 dead (259 died in the plane, 11 died on the ground) Date: December 21, 1988 Target(s): commercial aircraft Location: Lockerbie, Scotland (landed) Weapon: Bomb, Plane Perpetrator: Abdelbaset Al-Meghrani 1998 United States embassy bombings 224 dead (12 Americans killed), 4,000+ wounded Date: August 7, 1998 Target(s): United States Embassy in Dar es Salaam, Tanzania and the United States Embassy in Nairobi, Kenya Location(s): Nairobi, Kenya and Dar es Salaam, Tanzania Weapon(s): two truck bombs Perpetrator(s): Mohamed Rashed Daoud Al-Owhali and Hamden Khalif Allah Awad EgyptAir Flight 990 217 dead Date: October 31, 1999 Target: commercial airliner Location: Atlantic Ocean, about 60 miles south of Nantucket Island, Massachusetts (landed) Weapon: Plane, Water/Drowning (Ocean) Perpetrator: Gameel Al-Batouti Oklahoma City bombing 168 dead, 680+ wounded Date: April 19, 1995 Target: Alfred P. Murrah federal building Location: Oklahoma City, Oklahoma Weapon: truck bomb Perpetrator: Timothy McVeigh Our Lady of the Angels School fire 95 dead Date: December 1, 1958 Target: Our Lady of the Angels School Location: Chicago, Illinois Weapon: Matches/Fire Perpetrator: A 10-year-old boy Waco siege 88 dead (including 2 unborn and 4 ATF), 14 - 28 ATF agents wounded (sources vary), only about 50 Branch Davidians survived the siege and fire (with only 9 surviving the fire) Date(s): February 28 - April 19, 1993 Target: Mount Carmel Center Location: Waco, Texas Weapon(s): Fire (33 dead), Guns (32 dead), Undetermined (18 dead), Blunt Force (4 dead), Stabbing (1 dead) Perpetrator(s): David Koresh and his followers / ATF Sources: https://en.m.wikipedia.org/wiki/Waco_siege http://www.apologeticsindex.org/pdf/Graham.pdf https://books.google.com/books?id=WU42AAAAQBAJ&pg=PA78&lpg=PA78&dq=%22branch+davidians+survived”&source=bl&ots=kQpQ1P56Ds&sig=ACfU3U0anBGjClhrsZEWJBUnLPt3XEE8hg&hl=en&sa=X&ved=2ahUKEwiiiK-Zoe7iAhVFmeAKHWjJBH0Q6AEwBHoECAoQAQ#v=onepage&q=%22branch%20davidians%20survived”&f=false http://www.policefoundation.org/wp-content/uploads/2018/02/DOT-Report-ATF-Investigation-of-David-Koresh_Sept-1993.pdf Happy Land fire 87 dead, 6 wounded Date: March 25, 1990 Target: Happy Land social club Location: Bronx, New York Weapon: Fire (Gasoline) Perpetrator: Julio Gonzalez 1983 United States embassy bombing in Beirut 64 dead, 120 wounded Date: April 18, 1983 Target: United States Embassy in Beirut, Lebanon Location: Beirut, Lebanon Weapon: car bomb Perpetrator(s): Unknown. Imad Mughniyah was alleged to have responsibility for this particular bombing, however this has been disputed. According to his Wikipedia article: “U.S. and Israeli officials have implicated Mughniyeh of many terrorist attacks, primarily against American and Israeli targets. These include 18 April 1983 bombing of the United States embassy in Beirut, Lebanon, which killed 63 people including 17 Americans whom among them were 7 CIA officers which included Robert Ames the head of Near East Division. Agreement is not entirely universal on Mughniyeh's involvement, and Caspar Weinberger, the Secretary of Defense at the time of the attack, told PBS in 2001, "We still do not have the actual knowledge of who was directly behind and responsible for the bombing of the American Embassy in Beirut, Lebanon and we certainly didn't then."” 1992 Los Angeles riots 63 dead, 2,383 wounded Date(s): April 29 - May 4, 1992 Target(s): Supermarkets and other business stores (including video stores, shoe stores, auto part stores, check cashing stores, five and dime stores, etc.), city streets and intersections, residential neighborhoods, parking lots, city squares, gas stations and liquor stores, apartment complexes, etc. Location(s): Los Angeles County, California; 3 died in San Diego (South Park); 1 in Fresno (Del Rey) Weapon(s): 40 by gunfire (including 5 who were shot by police), 23 by other causes; including 1 by strangulation, 2 stabbed, 8 vehicle-related, 2 from blunt force-related injuries, 2 were beaten to death, 3 from fire, 3 unknown, 1 from a fall and 1 from a heart attack Perpetrator(s): Odell Whitley Jr., Leonard Hampton and another unnamed teen(?) (Lucie Maronian; stabbed), Aniceto Barajas (Jose L. Garcia; shot), Mario E. Olivera (George Alvarez; beaten), Three suspects, including a 17-year-old (Paul Horace; shot), Akim Dashawn Gilmore (Alfred V. Miller; shot), Traville J. Craig (Elias G. Rivera; blunt force), Fidel Ortiz and Leonard Sosa (Wallace Tope; beaten), three men, two of whom were teenagers (Matthew D. Haines; shot), 15-year-old boy (Juana Espinosa; shot), Samiee Farzan (Imad Sharaf; fire), Andre Webb and Lavelle "Frog" Williams (Charles Orebo; shot), most others no charges were ever brought against, because they were either unrelated to the riot (one person died with a cigarette in his mouth while he slept that burned the house down) or no arrests were made because, as according to the Chief Spokesman Bob Dambacher, "Would this person have died at that particular time and that particular place if riots had not occurred?" Was the criteria for his office. Also because some of them were by police/self-defense, were accidents or because the crimes were unsolved (22 - 23+ cases still remain unsolved to this day). Or at least I couldn’t find any articles naming the suspects for many of them. Sources: https://en.m.wikipedia.org/wiki/1992_Los_Angeles_riots http://spreadsheets.latimes.com/la-riots-deaths/? https://www.google.com/amp/s/www.dailymail.co.uk/news/article-4467960/amp/25-years-Rodney-King-riots-deaths-unsolved.html https://www.google.com/amp/s/www.latimes.com/archives/la-xpm-1992-06-02-mn-452-story,amp.html https://www.newspapers.com/image/?clipping_id=10535592&fcfToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJmcmVlLXZpZXctaWQiOjE3NzMwNDkxMSwiaWF0IjoxNTYwNjUxMDc3LCJleHAiOjE1NjA3Mzc0Nzd9.v_ihgb5EJErbv_zhntFDlBoLNScn2i9cPCV2IVmR_DA https://www.google.com/amp/s/www.latimes.com/archives/la-xpm-1993-04-24-me-26740-story,amp.html https://www.google.com/amp/s/patch.com/california/venice/amp/4135193/22-riot-related-homicides-unsolved-including-venice-killing http://www.abovetopsecret.com/forum/thread851974/pg2 http://www.sfweekly.com/news/dead-heat/amp/

[warisara]

For an Imperfect Cinema

Julio Garcia Espinosa, a Cuban director, wrote one of the fundamental manifestos of the New Latin American Cinema in 1969. He claimed in an argument titled, For an Imperfect Cinema, the flaws of a low-budget urgent film that chose to engage its audience in a dialogue were preferable to the brilliance of high production standards. Espinosa claims, “Perfect cinema—technically and artistically masterful—is almost always reactionary cinema.” Espinosa also discusses the promises of new media in his manifesto. He predicts that the advancement of video technology will jeopardise traditional filmmakers' elitist position and enable some form of mass film production: an art of the people. The imperfect cinema seeks to overcome the social divides that exist in society. It combines art, life, and science, eliminating the lines between producer and consumer, audience and author. It is popular without being consumerist, and it persists on its innate imperfections.

[guadalajaradispensas]

Matrimonios 1830, 1867

https://familysearch.org/ark:/61903/3:1:939L-513W-H?mode=g&wc=3JFP-JWL%3A171935001%2C171974101%2C178103801%3Fcc%3D1874591&cc=1874591&cat=29324

001 167975

002 oah 3243 pt.2

004 slate

005 continua

006 gervacio machuca & guadalupe parra / yxtlan *tree 011

015 albino amacueca & sixta contreras / tala

019 gregorio marin & gertrudis rosales / tototlan

024 ynes cervantes & cayetana montes / lagos

030 antonio acevedo & rosa herrera / jerez

036 gabriel ramura & antonia espinosa / ixtlan

043 nepomuceno romero & juana maria tomasa de leon / mascota

048 justo aguilar & anastacia figueroa / tonala

055 ygnacio montano & manuela ulloa / compostela

060 carlos martin & francisca barajas / lagos

066 sebastian martinez & blasa valdivia / calvillo

070 sixto santoyo & teresa perez / villanueva *tree 075

077 marcos cornejo & guadalupe torre / tepatitlan

082 nepomuceno rodriguez & claudia duran / mexticacan *tree 086

088 valentin gonzalez & trinidad salmeron / ocotlan

091 ynes lira & pia hernandez / jerez

105 leonides rojas & petra lopez / teocaltiche

109 bacilio huerta & san juana martin / teocaltiche

113 ventura garcia & luz contreras / mazamitla

120 guillermo quezada & maria gil rodriguez / yahualica

125 tomas vargas & micaela gonzalez / barca

128 placido flores & rita marquez / colotlan *tree 131

136 gregorio alcaran & dolores gonzalez / paso

142 victoriano olais & marcela briones / tepatitlan

147 jose ascencion gomez & estefana ayadon / santa maria del oro

155 jose bruno (?) & antonia ramirez / ?

162 antonio ruiz & luz robalcava / yahualica

167 gorgonio hernandez & francisca gonzalez / acaponeta

182 dionisio lizarde & margarita ysas / mexticacan

188 antonio mendoza & casilda guiza (?) / mazamitla

199 alejo chiqito & narcisa luna / ?

202 julian saines & francisco robledo / jalostotitlan *tree 207

208 anastacio facundo & saturnina substaya (?) / hedionda

214 herculano quezada & maria jesus arambulo / mexitcacan

220 francisco vasquez & mariana soto / guadalajara

234 ramon del real & merced magallanes / tlaltenango *tree 237

252 jose romero & carmen flores / ejtula

256 nepomuceno gomez & josefa delgadillo / ystlahuacan

263 joaquin avila & feliciana calvillo / aguascalientes

266 francisco osegura & guadalupe avila / tizapan

277 rafael serrano & juana magallanes / tepic

285 siriaco pedroza & petronila macias / aguascalientes

292 Justo maldonado & antonia ybarra / yxtlan *tree 297

301 ygnacio caloza & gervacia avila, clemente gonzalez & guadalupe caloza / teul

311 antonio aguilar & getrudis escamilla / zacatecas

317 bruno gutierrez & antonia gonzalez / lagos

323 clemente munoz & eduviges lomelin / lagos

329 ? & ? / teul

337 eusevio gonzalez & placida guerra / adoves

345 jose maria hernandez & maria brigida / zapopan

351 ? & ? / san juan

371 antonio godoy & juana nepomucena renteria / tlaltenango

380 jose cruz guzman & antonia galindo / extula

388 gregorio carmona & pabla moreno / encarnacion

394 julian mena & quirina ramos / adoves

401 francisco carrillo & jesus pais / tepatitlan

406 vicente carlos & rita robles / bolanos

415 ygnacio sanchez & trinidad sanchez / ystlahuacan

421 catarino alvarez & francisca ruiz / ojocaliente

428 jose maria diaz & felicitas ruiz / guadalajara

436 alejandro mercado & gertrudis mora / cuquio

441 estanislao bernal & guadalupe lopez / san sebastian

445 miguel pasqual & josefa natividad / ?

449 anselmo udasco & geronima contreras / calvillo

456 rafael vera & juana maria garcia / tecolotlan *tree 463

464 teodocio aguinaga & encarnacion gallardo / lagos

468 antonio torre & teresa miranda / jerez *tree 470

474 andres rios & cecilia joya / tomatlan

478 agapito ramirez & francisca vera / tecolotlan *tree 483

485 ponciano lopez & valentina espinosa / jalostotitlan

491 blas ascencio & guadalupe padilla / arandas

496 jacinto avalos & santos cervantes / lagos *tree 501

505 francisco munoz & guadalupe minjares / tlaltenango *tree 508

510 ascencion ochoa & feliciana villanueva / ixtlan *tree 516

519 rafael guzman & gregoria cornejo / encarnacion *tree 525

526 rafael vargas & juana figueroa / zapotlan

533 perfecto anayo & ygnacia villalvazo / colima

544 vicente lopez & nieves lopez / pinos

549 geronimo acevedo & antonia medellin / matehuala

556 pedro salas & ramona rocha / ?

560 julio sotelo & esiquia ramirez / adoves

565 luis valadez & matilde lopez / aguascalientes

570 jose maria camacho & teodora ahuamada / san sebastian

574 carmen esparza & silvestra tagle / aguascalientes

578 florencio rivera & martina hernandez / guadalajara

583 catarino castaneda & juana velasco / aguascalientes

591 francisco cerna & severiana esquedra / calvillo

596 damaso velasco &  elena contreras / calvillo

600 catarino lopez & refugio lopez / japalpa

606 refugio cumil & catarina rodriguez / mascota

610 pablo perez & fermina castillo / tepic

615 continua

616 oah 3243 fin

617-619 end of roll

[katian5]

Community of Madrid Championship AMCFF 2016 (results)

Results of the Madrid Community Championship AMCFF 2016 pullover muscles worked, an event held on October 16 at the IES Antonio Machado, as well as the Fidel Montero Regional Open .

CHAMPIONSHIP OF THE COMMUNITY OF MADRID

Junior Fitness Bikini

1. Nerea Pons Guerrero (Free) (3)

2. Natalia Pérez Saldivar (Francisco del Yerro II) (5)

3. María Cinta Aparicio Pérez (Free) (2)

4. Tamara Jiménez Gómez (Totalactivity Team) (4)

5. Imelda Cuellar López (Free) (1)

Bikini Fitness Master

1. Lourdes Brito Laffont (US Fitness System) (7)

2. María Murillo Lorenzo (Be Strong Gym) (14)

3. María Inmaculada Moreno Peña (Barbarian Team Madrid Madrid) (13)

4. Marta Guijarro Rojas (Axs Team) (9)

5. Gheorghita Bran Visan (Totalactivity Team) (10)

6. Irene Ibañez Martin (Abraham Gym) (12)

. Patricia Benítez Forte (Edgar Morilla) (8)

. María del Mar Castillo del Pliego (DM Team) (11)

 Bikini Fitness up to 158cm

1. Jessica Garcia Benavente (Barbarian Team Madrid Madrid) (19)

2. Maria del Mar Amaya Campos (Maxfitnes) (17)

3. Amparo Jorge Alonso (Francisco del Yerro II) (16)

4. Laura Escobar Mascuñano (Totalactivity Team) (15)

5. Jeniffer Johana Peña Rueda (Axs Team) (18)

Bikini Fitness up to 163cm

1. Jessica Viviana Ramírez villa (Francisco del Yerro) (25)

2. Cristina Fraile Herrera (Francisco del Yerro) (23)

3. Elia Babin Contreras (FlexNutrition) (22)

4. Cintia Manzano Jimenez (Be Strong Gym) (20)

5. Jennifer Torres Castellanos (Totalactivity Team)

Bikini Fitness up to 169cm

1. Natalia Banaru Nikolaevna (Francisco del Yerro) (27)

2. Gema María Gómez Rodríguez (Totalactivity Team) (28)

3. Barbará Martín De Lucas (Totalactivity Team) (29)

Fitness bikini plus 169cm

1. Gemma Granados Aguirre (Thor Gym) (31)

2. Diana Alves Rodriguez (Cherokee Sports) (32)

3. Marina Lorenzo Martínez (FC Manuel Manchado) (30)

Absolute Champion Bikini Fitness

Jessica Garcia Benavente (Barbarian Team Madrid Madrid) (19)

Men´s Physique Junior

1. Joel Nogal Fernández (Totalactivity Team) (35)

2. Julio Antonio López Corbacho (Free) (38)

3. Francisco Javier Puerto Mérida (Totalactivity Team) (43)

4. Salvador Reynaldo Hernández Bonilla (GTF (Global Top Fitness)) (36)

5. Erik Diez Gorrochategui (CDE Nova Alcobendas) (46)

6. David Carretero Velasco (Francisco del Yerro) (44)

. Héctor Dionisópulos Sacristán (Totalactivity Team) (37)

. Christian Andrés Brito Reinoso (Totalactivity Team) (39)

. Adrián Álvarez Muñoz (Totalactivity Team) (40)

. Angel of the Blond Lazarus (Free) (41)

. Daniel Bachura Campos (Francisco del Yerro) (42)

. Víctor Domínguez Burguillo (Free) (45)

. Tomas Lanzetti Tortorella (Free) (47)

Men´s Physique Master

1. Sergio Violero Bolaños (Maxfitnes) (52)

2. José Luis Casas Velasco (Francisco del Yerro) (59)

3. Sergio Velasco González (Free) (60)

4. Israel Rodríguez Martínez (Totalactivity Team) (57)

5. José Luis Rivas Rodero (Francisco del Yerro) (53)

6. Félix Carrión Jimeno (Free) (62)

. Dimas Jesús Calle González González (Attitude) (48)

. Juan Antonio Martínez García (Attitude) (49)

. Jean Marc Hurni Hurni (Ironshop Madrid) (50)

. David Gascueña García (Totalactivity Team) (51)

. Veselinov Ganchev Hook (Free) (54)

. Sebastian Jajuga (Essential Gym PSN Team) (55)

. Rafael Jiménez Jiménez (Life Sport Center) (56)

. Miguel Ángel Sanz Sánchez (Totalactivity Team) (58)

. Javier Gómez Francisco (Opera Gym) (61)

Men´s Physique up to 170cm

1. Santiago Hernando Cercadillo (Totalactivity Team) (70)

2. Yonder Javier Machado Padrón (Free) (66)

3. Frank Castellón Coneo (Totalactivity Team) (63)

4. Pablo Patarro Hernández (Attitude) (73)

5. Francisco José del Río Barbao (Free) (67)

6. Javier Domínguez Fernández (Totalactivity Team) (64)

. Miguel Ángel Rodríguez Carrasco (Free) (68)

. Diego Marcelo Suárez Palaguachi (Totalactivity Team) (71)

. Rafael Fernández Moreno (Alkida) (72)

. Adrian Aguiar González (Totalactivity Team) (74)

Men´s Physique up to 178cm

1. Cristian Ledesma Ruiz (Life Sport Center) (78)

2. Iliyan Olegov Ivanov (Totalactivity Team) (76)

3. José Javier López Ortega (Francisco del Yerro) (83)

4. Happy Edodo Ogieva (Life Sport Center) (77)

5. Iván Bustos García (Totalactivity Team) (84)

6. Javier Torrijos Mediavilla (Free) (86)

. Manuel de la Morena Blasco (Free) (75)

. Angel Castellote Espinosa (Life Sport Center) (79)

. Ricardo Arenas Asenjo (Totalactivity Team) (80)

. Ernesto Garcia-Monteavaro Cobo (Francisco del Yerro) (81)

. Javier Ortiz Barquilla (Free) (82)

. Ruben Donoso Sanchez (Free) (85)

. Alberto Martin Barbero (Barbarian Team Madrid Madrid) (87)

. Saulo Jorgge Mora (Totalactivity Team) (88)

. David Ramírez Villa (Francisco del Yerro) (89)

. Miguel Catalin Pisica Pisica (Attitude) (90)

Men´s Physique more 178cm

1. Alberto González Gómez (Free) (102)

2. Pablo Gutiérrez Arroyo (Totalactivity Team) (97)

3. José Olmedo Moreno (Free) (101)

4. Carlos García-Soldado Martos (US Fitness System) (99)

5. Terrense Ricardo Paul Vansluytman (Free) (103)

6. Alberto Gil Burgos (Totalactivity Team) (96)

. Manuel Moratinos Saro (Free) (91)

. Carlos Andrade Mancebo (Totalactivity Team) (92)

. David Meis Martín (Life Sport Center) (93)

. José Alberto Gómez Bello (Free) (94)

. David Morales Llopis (Totalactivity Team) (95)

. Fermín Díaz Rodríguez (Francisco del Yerro II) (98)

. Daniel Sánchez Oliva (Francisco del Yerro II) (100)

Absolute Champion Men´s Physique

Cristian Ledesma Ruiz (Life Sport Center) (78)

Men´s Short

1. David Ezequiel Pitton (Barbarian Team Madrid) (115)

2. José María Mete Bueriberi (Francisco del Yerro II) (111)

3. Arturo Mengotti López-Ballesteros (CDE Nova Alcobendas) (108)

4. José Manuel Gil Fernández (Francisco del Yerro) (109)

5. Joaquin Alterachs Sebe (Francisco del Yerro II) (110)

6. Ibán Sánchez Redondo (Barbarian Team Madrid Madrid)

. Ángel Luis Moreno De Federico (107)

. Juan Carlos Castillo Algueda (Francisco del Yerro) (112)

. Christian Alberto Bautista Apunte (Francisco del Yerro II) (114)

Bodyfitness Master

1. Nuria Sanchez Martinez (Totalactivity Team) (116)

2. Laura Fernández de Frutos (Nufitness Center) (117)

3. Claudia María Arias Castro (Cherokee Sports) (118)

Bodyfitness up to 163cm

1. Verónica Gutiérrez Redondo (Maxfitnes) (123)

2. Mauri Karina Ramírez Pérez (Maxfitnes) (120)

3. Isabel Mendiola Torrón (Lata Team) (122)

4. Carol Modestita Arevillca Mendoza (Abraham Gym) (121)

5. Carmen María Rejón Ruiz (Francisco del Yerro) (119)

Bodyfitness over 163cm

1. María del Rocío Hernández Gómez (Cherokee Sports) (124)

2. Marina Navas Campaign (Free) (129)

3. Elena Cordero Carvajal (Axs Team) (127)

4. Silvia Tambo Arizcuren (CDE Nova Alcobendas) (125)

5. Esther Bueno Barranquero (Francisco del Yerro) (130)

6. Eva Garcia Martinez (US Fitness System) (126)

. Marión Belisario Serrano (Francisco del Yerro II) (128)

Absolute Bodyfitness Champion

Nuria Sanchez Martinez (Totalactivity Team) (116)

Women´s Physique

1. María Vegas Fernández (Free) (134)

2. Cristina Teigell Zapatero (FC Manuel Manchado) (133)

Classic Bodybuilding Junior

1. Abel García Vaillo (Be Strong Gym) (142)

2. Cristian Fernández Gómez (Alkida) (144)

3. Nahuel Ibañez Caruana (Free) (143)

Classic Bodybuilding Master

1. Eduardo Francisco Redruello Bollo (Lata Team) (141)

2. Miguel Angel Sánchez Escobar (Francisco del Yerro) (140)

3. Roberto Rujas Cimarra (Francisco del Yerro) (137)

4. Miguel Angel Gonzalo Gamero (Yunfit Sport) (136)

5. Jorge Ros Gonzalez (Cherokee Sports) (139)

6. Ignacio González Ruiz (CDE Nova Alcobendas) (135)

. Juan Pedro Cano Morlon (FC Manuel Manchado) (149)

Classic Bodybuilding up to 175cm

1. Héctor García González (Totalactivity Team) (146)

2. David García Sánchez (Francisco del Yerro II) (145)

3. Miguel Pichel Garcia (Yunfit Sport) (150)

4. Javier de Haro Chacón (Francisco del Yerro II) (147)

5. Oscar Alberto Martín Fernández (Free) (138)

6. Omali Daniel Reyes Bobilla (Francisco del Yerro II) (148)

. Carlos Arenas García (Alkida) (151)

. Alberto Esteban Perea (Free) (152)

Classic Bodybuilding up to 180cm

1. Alejandro Esteban Serrano (FlexNutrition) (156)

2. José Luis Lobo Bravo (Lata Team) (158)

3. Raúl Polished Lion Polished Lion (Alkida) (154)

4. Alejandro Martín Ortiz (Totalactivity Team) (155)

5. David Vigo Merino (Maxfitnes) (165)

6. José Ruiz De Nicolás (Lata Team) (157)

. Mario Morales Hurtado (Free) (153)

Classic Bodybuilding more 180cm

1. Víctor Muñoz Teixidó (Barbarian Team Madrid Madrid) (160)

2. Francisco Güeto Pulido (Barbarian Team Madrid Madrid) (161)

3. José Luis Fernández Jaime (Francisco del Yerro) (162)

4. Antonio Gómez Gómez (Free) (164)

5. Angel Fernandez-Mazarambroz Rodríguez-Izdo (CDE Strength and Health) (163)

6. Manuel Iñiguez Conde (Maxfitnes) (159)

Absolute Champion Classic Bodybuilding

Víctor Muñoz Teixidó (Barbarian Team Madrid Madrid) (160)

Junior Bodybuilding

1. Carlos García Oquendo (Cherokee Sports) (171)

2. David López Arribas (Essential Gym PSN Team) (168)

3. Daniel Domínguez Arcas (Free) (169)

4. Carlos Lozano Sánchez (Alkida) (170)

Bodybuilding up to 75kg

1. Julián Prieto Santana (Barbarian Team Madrid Madrid) (178)

2. David Gonzalez Caballero (Free) (173)

3. Ildefonso Barragan Romero (Lata Team) (174)

4. Alexander Christian Weigl Weigl (FlexNutrition) (172)

5. Jose Luis Legazpi Sanchez (Cherokee Sports) (172)

6. Jorge Navarro Bastante (US Fitness System) (179)

. David Sánchez Pintado (FC Manuel Manchado) (176)

. Álvaro Solanilla Araujo (Lata Team) (177)

Bodybuilding up to 85kg

1. Mario Alonso Carnicero (Francisco del Yerro) (186)

2. Antonio Pérez García (Barbarian Team Madrid Madrid) (181)

3. Freddy Villarroel Morin (Free) (182)

4. Carlos Laborda Flores (Free) (180)

5. José Luis Álvaro Guerra (Edgar Morilla) (187)

6. Francisco Navarro Hernández (Free) (185)

. Jesús Pérez Cuesta (Francisco del Yerro II) (183)

. Fran Bohabonay Meha (Alkida) (184)

Bodybuilding plus 85kg

1. Sorin Sandor (Francisco del Yerro) (192)

2. Álvaro Ordoñez González (Maxfitnes) (188)

3. José María Fernández Madrigal (Francisco del Yerro) (193)

4. Mauricio Ruiz Palomo (Attitude) (190)

5. Francisco Moreno García Abadillo (CDE Nova Alcobendas) (191)

6. José Manuel Huete Álvarez (Thor Gym) (189)

. Javier Sánchez De Teresa (Edgar Morilla) (194)

Absolute Bodybuilding Champion

Mario Alonso Carnicero (Francisco del Yerro) (186)

OPEL FIDEL MONTERO

Bikini Fitness

1. Jessica Garcia Benavente (Barbarian Team Madrid Madrid) (19)

2. Jennifer Gómez (Free) (35)

3. Jessica Viviana Ramírez villa (Francisco del Yerro) (25)

4. Nerea Pons Guerrero (Free) (3)

5. Merxe Sanmartín Mogort (Francisco del Yerro) (36)

6. Lourdes Brito Laffont (US Fitness System) (7)

. Natalia Banaru Nikolaevna (Francisco del Yerro) (27)

. Gemma Granados Aguirre (Thor Gym) (31)

. Virginia Sánchez-Oro (CDE Nova Alcobendas) (37)

Men´s Physique

1. Cristian Ledesma Ruiz (Life Sport Center) (78)

2. Aitor Rodríguez Fernández (Axs Team) (34)

3. Joel Nogal Fernández (Totalactivity Team) (35)

4. Alberto González Gómez (Free) (102)

5. Santiago Hernando Cercadillo (Totalactivity Team) (70)

6. Sergio Violero Bolaños (Maxfitnes) (52)

Men´s Short

1. David Ezequiel Pitton (Barbarian Team Madrid) (115)

2. José María Mete Bueriberi (Francisco del Yerro II) (111)

3. Arturo Mengotti López-Ballesteros (CDE Nova Alcobendas) (108)

4. José Manuel Gil Fernández (Francisco del Yerro) (109)

5. Joaquin Alterachs Sebe (Francisco del Yerro II) (110)

6. Ibán Sánchez Redondo (Barbarian Team Madrid Madrid)

. Ángel Luis Moreno De Federico (107)

. Juan Carlos Castillo Algueda (Francisco del Yerro) (112)

. Christian Alberto Bautista Apunte (Francisco del Yerro II) (114)

Bodyfitness

1. Nuria Sanchez Martinez (Totalactivity Team) (116)

2. Immaculate Pelegrin Hernandez (Francisco del Yerro) (38)

3. Purification López Garcinuño (Thor Gym) (39)

4. Verónica Gutiérrez Redondo (Maxfitnes) (123)

5. María del Rocío Hernández Gómez (Cherokee Sports) (124)

Women´s Physique

1. María Vegas Fernández (Free) (134)

2. Cristina Teigell Zapatero (FC Manuel Manchado) (133)

Classic Bodybuilding

1. Juan Fernando Castrejón Gómez (Francisco del Yerro II) (40)

2. Víctor Muñoz Teixidó (Barbarian Team Madrid Madrid) (160)

3. Borja Serna Sierra (Francisco del Yerro) (42)

4. Agustín De Marcos Muñoz (DM Team) (43)

5. Ivan Marcos Sánchez (Lata Team) (41)

6. Eduardo Francisco Redruello Bollo (Lata Team) (141)

. Abel García Vaillo (Be Strong Gym) (142)

. Héctor García González (Totalactivity Team) (146)

. Alejandro Esteban Serrano (FlexNutrition) (156)

Body-building

1. Mario Alonso Carnicero (Francisco del Yerro) (186)

2. Sorin Sandor (Francisco del Yerro) (192)

3. Luis García Martínez (Francisco del Yerro) (45)

4. Carlos García Oquendo (Cherokee Sports) (171)

5. Julián Prieto Santana (Barbarian Team Madrid Madrid) (178)

[archiveofprolbems]

Aesthetics of Resistance? Artistic Research as Discipline and Conflict by Hito Steyerl

What is artistic research today? At present no one seems to know an answer to this question. Artistic research is treated as one of the multiple practices which are defined by indefinition, constantly in flux, lacking coherence and identity. But what if this view were indeed misleading? What if we actually knew more about it than we thought? In order to discuss this proposition, let’s first have a look at current debates around artistic research. It seems as if one of their most important concerns is the transformation of artistic research into an academic discipline. There are discussions about curriculum, degrees, method, practical application, pedagogy. On the other hand, there is also substantial criticism of this approach. It addresses the institutionalization of artistic research as being complicit with new modes of production within cognitive capitalism: commodified education, creative and affective industries, administrative aesthetics, and so on. Both perspectives agree on one point: artistic research is at present being constituted as a more or less normative, academic discipline.

A discipline is of course disciplinarian; it normalizes, generalizes and regulates; it rehearses a set of responses, and in this case, trains people to function in an environment of symbolic labor, permanent design and streamlined creativity. But then again, what is a discipline apart from all of this? A discipline may be oppressive, but this is also precisely why it points to the issue it keeps under control. It indexes a suppressed, an avoided or potential conflict. A discipline hints at a conflict immobilized. It is a practice to channel and exploit its energies and to incorporate them into the powers that be. Why would one need a discipline if it wasn’t to discipline somebody or something? Any discipline can thus also be seen from the point of view of conflict.

Let me give an example: a project I recently realized, called The Building. It deals with the construction history of a Nazi building on the main square in Linz, Austria; it investigates its background, the stories of the people who actually built it, and also looks at the materials used in the building. The construction was performed by partly foreign forced laborers and some of the former inhabitants of the site were persecuted, dispossessed and murdered. During the research it also actually turned out that some of the building stones were produced in the notorious quarry of concentration camp Mauthausen, where thousands of people were killed.

There are at least two different ways of describing this building. One and the same stone used for the building can be said to have gained its shape according to the paradigm of neoclassicist architecture, which would be the official description given on the building itself. Or it can be described as having probably been shaped by a stone mason in concentration camp Mauthausen, who was likely a former Spanish Republican fighter. The conclusion is obvious: the same stone can be described from the point of view of a discipline, which classifies and names. But it can also be read as a trace of a suppressed conflict.

But why would this very local project be relevant for a reflection about artistic research as such? Because parts of this building also coincidentally house the Linz Art Academy. This building is a location, where artistic research is currently being integrated into academic structures: there is a department for artistic research inside this building. Thus, any investigation of the building might turn out as a sort of institutional metareflection on the contemporary conditions of artistic research as such.

In this sense: where is the conflict, or rather what are the extensive sets of conflicts underlying this new academic discipline? Who is currently building its walls, using which materials, produced by whom? Who are the builders of the discipline and where are their traces?

Discipline and Conflict

So, what are the conflicts, and where are the boundaries then? Seen from the point of view of many current contributions, artistic research seems more or less confined to the contemporary metropolitan art academy. Actual artistic research looks like a set of art practices by predominantly metropolitan artists acting as ethnographers, sociologists, product or social designers. It gives the impression of being an asset of technologically and conceptually advanced First World capitalism, trying to upgrade its population to efficiently function in a knowledge economy, and as a by-product, casually surveying the rest of the world as well. But if we look at artistic research from the perspective of conflict or more precisely of social struggles, a map of practices emerges that spans most of the 20th century and also most of the globe. It becomes obvious that the current debates do not fully acknowledge the legacy of the long, varied and truly international history of artistic research which has been understood in terms of an aesthetics of resistance.

Aesthetics of Resistance is the title of Peter Weiss’ seminal novel, released in the early 1980s, which presents an alternative reading of art history as well as an account of the history of anti-fascist resistance from 1933 to 1945. Throughout the novel Weiss explicitly uses the term “artistic research (künstlerische Forschung)” to refer to practices such as Brecht’s writing factory in exile. He also points to the factographic and partly also productivist practices in the post-revolutionary Soviet Union, mentioning the documentary work of Sergei Tretjakov, among many others. Thus he establishes a genealogy of aesthetic research, which is related to the history of emancipatory struggles throughout the 20th century.

Since the 1920s, extremely sophisticated debates about artistic epistemologies were waged on terms like fact, reality, objectivity, inquiry within the circles of Soviet factographers, cinematographers and artists. For factographers, a fact is an outcome of a process of production. Fact comes from facere, to make or to do. So in this sense the fact is made or even made up. This should not come as a surprise to us in the age of poststructuralist, metaphysical skepticism. But the range of aesthetic approaches which were developed as research tools almost 100 years ago is stupefying.

Authors like Vertov, Stepanova, Tretjakov, Popova and Rodchenko invent complex procedures of investigation, such as the cine-eye, the cine-truth, the biography of the object or photomontage. They work on human perception and practice and actively try to integrate scientific attitudes into their work. And scientific creation is flowing as a result of many of these developments. In his autobiography, Roman Jakobson describes in detail how avantgarde art practices inspired him to develop his specific ideas on linguistics.

Of course throughout history many different approaches of this type of research have existed. We could also mention the efforts of the artists employed by the FSA (Farm Security Administration) of creating essayistic photojournalistic inquiries during the Great Depression in the US. In all these cases, the artistic research is ambivalently co-opted into state policies – although to a different extent and with completely different consequences. Around the same time Tretyakov got shot during the Stalinist terror, Walker Evans had a solo show at the MoMa.

Another method of artistic inquiry, which is based on several related sets of conflict and crisis is the essayistic approach. In 1940, Hans Richter coins the term film essay or essay film as capable of visualizing theoretical ideas. He refers to one of his own works already made in 1927 called Inflation, an extremely interesting experimental film about capitalism running amok. Richter argues that a new filmic language has to be developed in order to deal with abstract processes such as the capitalist economy. How does one show these abstractions, how does one visualize the immaterial? These questions are reactualized in contemporary art practices, but they have a long history.

The essay as filmic approach also embraces the perspective of anticolonial resistance. One of the first so-called essay films is the anticolonial film-essay Les statues meurent aussi, by Chris Marker and Alain Resnais, about racism in dealing with African art. The film is commissioned by a magazine called Presence africaine which counts as its editors people like Aimé Césaire or Leopold Senghor, main theoreticians of the so-called negritude movement in the 1930s. Only a few years later Theodor Adorno’s text, The Essay as Form, appears in which he ponders on the resistant characteristics of the essay as subversive method of thought. To Adorno the essay means the reshuffling of the realms of the aesthetic and epistemological, which undermines the dominant division of labor.

And then we enter the whole period of the 1960s with their international struggles, tricontinentalism and so on. Frantz Fanon’s slogan: “...we must discuss, we must invent...” is the motto of the manifesto Towards a Third Cinema, written by Fernando Solanas and Octavio Getino in 1969, in a context of dictatorship in Argentina. The relation of art and science is again explicitly mentioned in Julio Garcia Espinosa’s manifesto For an Imperfect Cinema (1969). Other methods of artistic research include situationist derive and workers inquiries, constructivist montage, cut-ups, biomechanics, oral history, deconstructive or surrealist anthropology, the diffusion of counterinformation as well as aesthetic journalism. Some of these methods are more easily absorbed into the art mainstream than others. Especially strongly dematerialized practices with pronounced modernist features are quickly absorbed into information capitalism because they are compressed, quick to absorb and easily transmitted.

It is no coincidence that many of the practices mentioned here have been dealing with classical problems of documentary representation from very different perspectives: its function as power/knowledge, its epistemological problems, its relation to reality and the challenge of creating a new one. Documentary styles and forms have forever grappled with the uneven mix of rationality and creativity, between subjectivity and objectivity, between the power of creation and the power of conservation.

It is no coincidence either that many of the historical methods of artistic research are tied to social or revolutionary movements, or to moments of crisis and reform. In this perspective, the outline of a global network of struggles is revealed, which spans almost the whole 20th century, which is transversal, relational, and (in many, though far from all cases) emancipatory.

It is a coincidence, however, that Peter Weiss´ Aesthetics of Resistance also mentions the main square of Linz: the site of The Building. He describes a scene in which members of the International Brigades in Spain listen to a broadcast of the enthusiastic reception for Hitler and the German troops on Linz’s main square in March 1938. But Weiss’ protagonist notices a very small (and entirely hypothetical) moment in resistance pointed out by the radio journalist: some of the windows on the square remain unlit, and the journalist is quick to point out that the flats of the Jews are located there. Actually, during the research it turned out that one of the Jewish families living there had dispersed to three different continents and two members of the family had been murdered. One of the latter was a person called Ernst Samuely who was supposedly a communist. After many ordeals, he joined a Jewish partisan group on the Polish border before disappearing. So, if we look at the Linz building from this point of view, we see that it dissolves into a network of international routes and relations, which relate to oppression but also to resistance: it relates to what Walter Benjamin once called “the tradition of the oppressed.”

The Perspective of Conflict

If we keep applying the global and transversal perspective to the debate around artistic research, the temporal and spatial limitations of contemporary metropolitan debates are revealed. It simply does not make any sense to continue the discussion as if practices of artistic research do not have a long and extensive history well beyond conceptual art practices – which is one of the very few historical examples to be mentioned, although very rarely. From the point of view of social struggles, the discontinuous genealogy of artistic research becomes an almost global one, with a long and frequently interrupted history. The geographical distribution of artistic research practices also dramatically changes in this perspective. Since some locations were particularly affected by the conjunction of power and knowledge, which arose with the formation of capitalism and colonialism, strategies of epistemic disobedience had to be invented.

A power/knowledge/art, which reduced whole populations to objects of knowledge, domination and representation, had to be countered not only by social struggle and revolt, but also by epistemological and aesthetic innovation. Thus reversing the perspective and focusing on discipline as an index of conflict also reverses the direction in which art history has been written as an account of peripheral artists copying and catching up with Western art trends. We could just as well say that many contemporary metropolitan artists are only now catching up with the complexity of debates around reality and representation that Soviet factographers had already developed in the 1920s.

Specific and Singular

In all these methods, two elements collide: a claim to specificity clashes with a claim to singularity. What does this mean? One aspect of the work claims to participate in a general paradigm, within a discourse that can be shared and which is manufactured according to certain criteria. More often than not, scientific, legalistic or journalistic truth procedures underly this method of research. These methodologies are pervaded by power relations as many theorists have demonstrated.

On the other hand, artistic research projects in many cases also lay claim to singularity. They create a certain artistic setup, which claims to be relatively unique and produces its own field of reference and logic. This provides it with a certain autonomy, in some cases an edge of resistance against dominant modes of knowledge production. In other cases, this assumed singularity just sexes up a quantitative survey, or to use a famous expression by Benjamin Buchloh, creates an aesthetic of administration.[1]”

While specific methods generate a shared terrain of knowledge – which is consequently pervaded by power structures – singular methods follow their own logic. While this may avoid the replication of existing structures of power/knowledge, it also creates the problem of the proliferation of parallel universes, which each speak their own, untranslatable language. Practices of artistic research usually partake in both registers, the singular as well as the specific; they speak several languages at once.

Thus, one could imagine a semiotic square*, which would roughly map the tensions which become apparent during the transformation of artistic research into an academic and/or economic discipline. Of course, this scheme is misleading, since one would have to draw a new one for every singular point of view which is investigated. But it shows the tensions which both frame and undermine the institutionalization of artistic research.

Artistic Research as Translation

The multilinguality of artistic research implies that artistic research is an act of translation. It takes part in at least two languages and can in some cases create new ones. It speaks the language of quality as well as of quantity, the language of the singular as well as the language of the specific, use value as well as exchange value or spectacle value, discipline as well as conflict; and it translates between all of these. This does not mean that it translates correctly – but it translates, nevertheless.

At this point, one should emphasize that this is also the case with so-called autonomous artworks, which have no pretense whatsoever to partake in any kind of research. This does not mean they cannot be quantified or become part of disciplinary practices because they are routinely quantified on the art market in the form of pricing and integrated into art histories and other systems of value. Thus, most art practices exist in one or another type of translation, but this type of translation does not jeopardize the division of labor established between art historians and gallerists, between artists and researchers, between the mind and senses. In fact, a lot of the conservative animosity towards artistic research stems from a feeling of threat, because of the dissolution of these boundaries, and this is why artistic research is often dismissed in everyday practice as neither art nor research.

But the quantification processes involved in the evaluation or valorization of artistic research are slightly different than the traditional procedures of quantification. Artistic research as a discipline not only sets and enforces certain standards but also presents an attempt to extract or produce a different type of value in art. Apart from the art market, a secondary market develops for those practices which lack in fetish value. This secondary value is established by quantification and integration into (increasingly) commodified education systems. Additionally, a sort of social surplus embedded into a pedagogical understanding of art comes into play. Both combined create a pull towards the production of applied or applicable knowledge/art, which can be used for entrepreneurial innovation, social cohesion, city marketing, and thousands of other aspects of cultural capitalism. From this perspective, artistic research indeed looks like a new version of the applied arts, a new and largely immaterial craft, which is being instituted as a discipline in many different places.

Radiators

At the end, let me come back to the beginning: we know more about artistic research than we think. And this concerns the most disquieting findings of the project around The Building in Linz. It is more than likely, that after the war, radiators were taken from the now abandoned concentration camp Mauthausen and reinstalled into the building. If this plan documented in the historical files was executed, then the radiators are still there and have quietly been heating the building ever since. A visit with an expert confirmed that the radiators have never been exchanged in the Eastern part of the building and that, moreover, some of the radiators had already been used, when they had been installed around 1948. The make of those radiators corresponds to the few radiators seen in contemporary photos of concentration camp Mauthausen. Now, of course, radiators were not in use in the prisoner's barracks. They were in use in some workrooms, like the laundry room. They were in use in the prisoner's office and the prisoner's brothel, where female inmates from another concentration camp had to work.

But what do we make of the fact that the Department for Artistic Research (its coordination office is located in The Building, according to the website) could soon find itself being heated by the same radiators, which were mute witnesses of the plight of female inmates in the concentration camp brothel? To quote the website of the Linz art academy, “artistic-scientific research belongs to the core tasks of the Art University Linz, and artistic practice and scientific research are combined under one roof. The confrontation and/or combination of science and art require intense research and artistic development in a methodological perspective, in the areas of knowledge transfers and questions of mediation. Cultural Studies, art history, media theory, several strategies of mediation as well as art and Gender Studies in the context of concrete art production are essential elements of the profile of the university.” What are the conditions of this research? What is the biography of its historical infrastructure and how can reflecting on it help us to break through the infatuation with discipline and institutionalization and to sharpen a historical focus in thinking about artistic research? Obviously, not every building will turn out to house such a surprising infrastructure. But the general question remains: what do we do with an ambivalent discipline, which is institutionalized and disciplined under this type of conditions? How can we emphasize the historical and global dimension of artistic research and underline the perspective of conflict? And when is it time to turn off the lights?

*)

                                                                  SPECIFIC

                            SCIENCE /                                              PUBLIC DEBATE /                             ART HISTORY                                       COUNTERINFORMATION

DISCIPLINE                                                                                                                    RESISTANCE

                            ART MARKET /                                      AESTHETIC AUTONOMY                             CREATIVE INDUSTRIES

                                                                SINGULAR

This text appeared first in mahkuzine 8, winter 2010, http://www.mahku.nl/download/maHKUzine08_web.pdf

[1] Benjamin H. D. Buchloh, “Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions”, in: October, Vol. 55. (Winter, 1990), pp. 105-143.

Source: http://eipcp.net/transversal/0311/steyerl/en

[thereeltalk-blog]

Imperfect Cinema: A Revolution Catalyzed by Social Media

“Popular art needs and consequently tends to develop the personal, individual taste of a people. On the other hand, mass art (or art for the masses) requires the people to have no taste.”

Julio Garcia Espinosa coined the term imperfect cinema to be a “liberation” from the private means of cinematic production. It was unconventional, had a new audience, and focused on themes surrounding those who struggle and their problems. The way to achieve imperfect cinema was to have an audience that is involved in the making of the films. While Espinosa’s essay focused on Latin America, it is most definitely relevant globally in the present time. Technology is increasingly easier to access, and with this access comes the resources that enable anyone to create and distribute media. The convenience of smart phone cameras means that anyone can capture anything. Then, they have a plethora of media platforms to showcase their art, such as YouTube, Instagram, Facebook, Vine, etc. It’s a revolution where the audience is creating art for themselves. The content is real, relevant, and relatable. As Espinosa says, imperfect cinema is only possible when “it is the people who make art.”

[laurenkohlmoviereviews-blog]

For an imperfect cinema

       In Julio Garcia Espinosa’s article For an imperfect cinema he discusses why low budget films are important. Low budget films can reach out to more people and create a dialogue with them -- whereas high budget films “merely reflect the audience passively back to itself” (Michael Chanan). I agree with this statement, it is very important that a film carry a message otherwise there is no point. If you really want to create a dialogue with your viewers rather than make a profit is is so important that your movies are easily accessible and that is what Espinosa did. 

       Another thing Espinosa reflects on is struggle and says “and in life, as in the struggle, there is everything, including enjoyment. Imperfect cinema can enjoy itself despite everything that conspires to negate enjoyment” (Julio Garcia Espinosa). Although there is struggle, there can also be enjoyment and therefore imperfect cinema can be enjoyed by both the filmmaker and the audience. I feel that enjoyment is very important -- life is about being happy and enjoying yourself and Espinosa did that both in his life and his films which is very interesting.

[filmanalysisblog-blog]

“For an Imperfect” by Julio Garcia Espinosa

In this reading, Espinosa emphasizes that there is a meaning behind art, which naturally includes film. Further, he asserts that art provides “a vision of society or human nature” which may not directly define the society. To Espinosa, it is impossible to practice art as impartial. This reading specifically uses these ideas to analyze Cuban film. However, I think these ideas can be used in many different scopes. Overall, film is perceived differently to each person based on its meaning to them. The ideas of film begin by the artist’s desire to show something. Even not, the film was originated by certain influential forces in the person life. And these forces are of importance to the artistic ability. I think Black Girl exemplified some aspects Espinosa wrote about. For one, this film resembles aspects of society people do not want to confront or own up to in 1960s France. Lastly, the idea of imperfect cinema correlates to film have creativity without worry of high quality or techniques. This type of film is of high importance in displaying a beautiful meaning without anything tainting that. I think Black Girl can be seen as an imperfect film in some ways, as it is an one hour film that simply tries to provide a perspective, a meaning, and then evoke a response. 

[kellyryan-blog1]

Blog #7: Ousmane Sembene, “Black Girl”

Narrative Analysis + Response (begins around 54:45 - final scene)

-Father walks up the ramp from the airport into Diouanna’s village

-Father walks down the ramp

-he looks left and right

-he places the suitcase and mask down

-he looks at a piece of paper

-he picks up the mask and suitcase and begins walking again

-the female merchants are working

-he continues walking and looking around at the village

-he sees a man reading and stops to ask for directions

-the man gets up to lead the Father

-the two men walk to the public letter writer’s office

-the man goes inside

-the Father puts the suitcase and mask down

-the young boy walks over to see the mask

-the boss comes outside with the piece of paper

-he tells the others that this is Diouanna’s boss from France and they all look at him

-the young boy looks at the mask more

-the man picks up the mask and suitcase

-the boss leads the Father to Diouanna’s mother

-the boy walks with them

-they all enter Diouanna’s home

-the Father sets down the suitcase and mask

-the boss introduces the Father to Diouanna’s mother

-Father tries to give her money

-she stands

-he tries to get her to take the money

-she walks away from him into their house

-the boss drops the piece of paper

-the boss walks out and the Father walks out after him

-the young boy picks up the mask and places it over his face

-the young boy follows the Father out of the village

-the Father looks back at the young boy repeatedly but continues walking faster

-the young boy follows

-the Father climbs the ramp for the airport - continues looking back at the young boy

-the young boy follows

-the Father gets in his car and leaves the village

-the young boy watches as the car goes away and slowly drops the mask from his face

This scene uses actions to portray emotions, like many of the other scenes throughout the film. The Father clearly feels grief after Diouanna has committed suicide under his roof in France, so he returns to her home in Senegal to offer Diouanna’s mother her things, the family mask, and the money Diouanna had earned. While the Father walks through the village, he looks around and sees Diouanna’s home, probably for the first time. This scene is striking because he is the sole white person in the village, and the entire village looks is dark, from the structures, to the ground, to the clothing. As he walks through in his white button-down shirt, how much he sticks out in this village is even more apparent. This scene mirrors the scene earlier on in the film when Diouanna was walking around the white neighborhood in search of work — again, she was the sole black person and even the buildings surrounding her were white. These parallel scenes highlight race as a defining element of each character’s identity, as well as imply a social and political hierarchy. The Father feels out of place in the village because he is different, and it seems that he realizes how out of place Diouanna was in France, and some piece of why she became depressed and suicidal is revealed — she was alone and had lost her identity.

Another important part of this scene is the interaction, or lack thereof, between Diouanna’s mother, the young boy, and the Father. When the Father reaches Diouanna’s home, he tries to give her mother the money she had earned; when her mother refuses, he does not know what to do other than leave. At first, he insists that she take it, but when she won’t, the fact that money can never make up for the loss of her daughter is revealed on her face. The Father is forced to realize that by bringing Diouanna to France, his family has isolated her completely; she will never be reunited with her family. The Father then leaves in a hurry, eager to get away from the mother and how he feels about everything that has happened. When he leaves, the young boy follows him with, wearing the mask. The Father clearly feels uncomfortable, as he continues to walk faster to get away from the boy; but the boy remains close behind him, the same way that Diouanna’s memory will remain with him, even when he tries to get away.

This scene not only highlights the emotional aspect of Diouanna’s life and her suicide, it also highlights many of the film’s themes. One major theme is race and it’s political and social implications. The parallel scenes of Diouanna walking through the white neighborhood and the Father walking through her village visually display how separated the races are in Senegal and elsewhere. This points out the political implications of white colonialism that have been present since white settlers first came to Africa. When Diouanna goes to France, her racial identity and what it means socially is further pointed out for her. She becomes stuck inside with her employers, as a servant, completely subservient to them. This dynamic illustrates the treatment of black people by white people during colonialism and how it continued regardless of politics. This final scene also contains symbolism and themes through the mask. The mask has been present throughout the film, and when the young boy wears it over his face, it highlights the theme of identity. The mask came from the village, and when Diouanna gives it to her employers, they even remark that its “the real thing.” Her employers hang it on their wall, and as Diouanna becomes more depressed, she takes it down off the wall and even physically fights her mistress over it. This connects to identity because Diouanna feels as though she has given up her entire identity to this family, she is isolated, and she wants to take her identity back but has no way to do so. Finally, when the mask is returned to her home, it goes to show what her true identity is and that it is not lost for her family.

Response to Julio Garcia Espinosa - “For an Imperfect Cinema”

This article explores cinema and how filmmaking could change in the future. Espinosa argues that “perfect cinema” is reactionary cinema, and argues that moving forward, “imperfect cinema” will become more popular. This idea of imperfect cinema refers to films about “lucid” people, or people who think, feel, and exist in a world which they can change. In light of revolutionary movements during the time of his writing, it is evident that he feels the art of filmmaking is moving from the hands of the elite to the hands of everyday artists who want to portray reality. Espinosa claims that film as an art is elitist — due to exclusive film schools and European leadership in the industry, but now, the industry is undergoing changes in its operation. The modern filmmaker does not need to be elite; the artistic culture of film is slowly spreading to the masses.

Espinosa writes that the artist must as why he/she is creating art and what is the meaning of what he/she is doing. These motivations can subconsciously be influenced by critics, theorists, and elitists. In the future, the artist still must as himself or herself these questions, but they will not be held back by elitism. He writes that technology is allowing filmmaking to become an art form of the masses. It appears that this notion is the most relevant to the filmmaking industry today, because technology has indeed made the art form more available to more people. Today, almost anyone could make a film using their iPhone and simple editing software. According to Espinosa’s ideas, this is not simply because the technology is available, but because over time film as an art has become more accessible, prompting filmmakers to create based on what they see in the world around them. The revolutions of technology and politics have precipitated these changes in the world of filmmaking.