Southern Collectives and Networks
As part of the BIM 2016, we are happy to share this series of programmes from South East Asia, taking into consideration the work of collectives in the audiovisual and rearticulating the idea of “the collective”. The proposal includes an open round table to analyze together—with different groups from Argentina in dialogue with Asian artists and curators—new partnerships, conversations and possible projects within the South-South axis, an axis that has been timidly explored and encouraged. The North has devoted itself to establishing partnerships, spreading discourses and passing judgment on aesthetics. A political axis that on the one hand narrows our imagination of the world, and on the other hand generates an illusion of a standard governed by a questionable divide between West and East. If we move away from the orientalist notions of the exotic, we will find similarities in a post-colonial story that questions the crippling paradigm of development and highlights the vital pulse present in each culture. The invitation is to cross a bridge that we want to build. It is only necessary to cross it with the hope of broadening our territorial, aesthetic, cultural and political imaginaries. The moving image as insistence, resistance and open, porous dialogue in constant construction.
This roundtable session accompanies the screening programs of moving image art from Asia, Refracted Journeys and Us. Co-curators Shai Heredia, May Adadol Ingawanij and Yuki Aditya cordially invite you to take part in a conversation and networking event out of which we hope will grow possibilities of exchange and collaboration between grassroots moving image art and pedagogy groups in Latin America and Asia. To kick off the conversation Heredia and Aditya will give brief introductions to Experimenta India and Arkipel - Jakarta International Documentary and Experimental Film Festival. These initiatives to which they belong are sustained sites around which a new translocal network of moving image experimentation and pedagogy is forming. This improvisatory network consisting of artists, filmmakers, educators, curators and organizers whose practices take collective, autonomous, activist, independent or alter-institutional forms, and who are anchored in Asia and with diasporic links beyond.
Since the mid-2000s our network has been growing organically among people operating within local contexts characterized by fragmentary or non-existent infrastructures for archiving, distributing and sustaining moving image creation, experimentation, and intervention. We have been taking up a wide range of roles as informal mediators, informants, and archivists. In doing so we are forming bonds of dialogues and friendship as part of the process of facilitating the circulation of artistic and critical moving images, and of producing knowledge and discourses about artists and practices that deserve greater visibility and discursive attention. To explore ways of consolidating this emerging network, and to begin to articulate more explicitly its collective potential and purpose, in 2013 Heredia and Ingawanij organized the Comparing Experimental Cinemas symposium in Bangalore. The contributions we are bringing to BIM aim to grow our network in two senses. For the first time we are co-curating moving images under the rubric of the Experimenta Cinema in Asia Network (ECAN). Our “southern collectives” screening series for BIM present artistic explorations of the promises, tensions and conundrums of collectivity. We have chosen this theme in the hope of providing a stimulating context for conversation with practitioners at BIM.
Nicolás Grande is an audiovisual filmmaker, transdisciplinary artist and teacher based in Buenos Aires. He has taught audiovisual theory and practice at universities, schools and community venues in Argentina and India and co-founded different collectives, working at the crossroads of cinema, poetry, music and sculpture. He is currently coordinating transdisciplinary laboratories. His works include The Poetics of Fragility, De Sidere 7, Videopoetry Series and The Passion According to Ander.
Matías Barrientos is originally from the province of Misiones. He has worked on audiovisual projects, research projects for the Faculty of Humanities and Social Sciences (UNaM) and Social Anthropology research (FHyCS – UnaM). He was on the staff of the International Short Film Festival “Oberá in Short Films, for Diversity and Cultural Identity”. He is a member of the Entre Fronteras forum, bringing together audiovisual filmmakers from the border of Argentina, Brazil and Paraguay, and is developing the Proyecto Parcerías, a documentary series on border issues.
LAC (Community Audiovisual Laboratory) is a collective of filmmakers, artists and teachers which since 2007 has promoted community audiovisual development, production and creation proposals throughout Argentina. We pool our experience in film and TV production and in the field of audiovisual teaching, both in formal and informal spaces, to produce innovative audiovisual practices as part of a collective cultural project.
La Paternal Space Project came about from the work of artist Francisco Paredes, who in 2007 started to work on “the participative and the collective in art and society” through the Aeroplane Project performance. The work-management arose from observing the need for new venues where the artist, regardless of the laws of the art market and the obligation of producing art oriented at galleries and fairs, and in contrast to this seeks to draw out sensitivity and creativity as one more element in the construction of the community social network.
Jorge Leiva is an audiovisual producer and filmmaker from La Rioja, Argentina. He is part of the Community Audiovisual Laboratory. He has made the documentaries Notebooks of Young Suicides (2011) and An Invisible Invasion (2012) and the TV film Ghost Habits (2016). He is part of the editorial staff of the journal Al Oído. Música y otras experiencias sonoras. He teaches the Technical Degree in Audiovisual Production and Filmmaking at the ISAC in La Rioja, and is a teacher trainer in contemporary art and cultures, audiovisual cinema and media and literature.
Christian Delgado (La Plata, 1972) is a photograph and video artist. His work has participated in the festivals Alucine (Toronto, 2009), Videobrasil (São Paulo, 2011), Instants Vidéo (Marseilles, 2013) and IDFA-International Documentary Film Festival Amsterdam (2014), among others. In 2014, his video installation project Intemperie, made with Toia Bonino and Nicolás Testoni, was awarded a National Arts Fund creative grant and received a mention at the Biennial of the Museum of Contemporary Art of Bahía Blanca.
Milena Pafundi has been experimenting in the audiovisual arts since 2001, from analogue to digital programming. In early 2014 she became an artivist, and it is in artivism that she wants to express her work, whether for sharing, teaching or experimenting with younger generations or to represent a work in the public space or in a museum. She is a founding member of the Tekhnë collective, experimenting in all types of visual and sound art.