The audiovisual arts have a particular, mixed essence that shares a strong leaning towards the alternative with the incursion into the terrain of more institutionalized contemporary art. Historically, experimental cinema has been more inbred in its behaviour. While not recognised by most as cinema and generally ignored by the art world, it made its own ground that resulted in its preserving, save some exceptional cases, an insular attitude. The boom in mass market video equipment in the 1970s was quickly harnessed by various artists on the contemporary art circuit who understood the aesthetic richness of thi s new format.
The 1980s and 90s saw video consolidated in art spaces, without compromising the wealth and abundance of ideas generated from marginal areas, where video always felt far more comfortable than in a great museum. In the course of this history, today is especially valuable. Due to vertiginous technological development, the reality of cinema and video is being transformed both in the most staunchly establishment areas and in the spaces in the margins.
Today, with the development of digital cinema, celluloid formats have been banished from the entertainment industry and remain only in the field of art, only for those artists who understand their poetic value and master the filmmaker’s trade. At the same time, video has diversified exponentially. Almost all of us carry a high-definition camera in our pockets as part of those omnifunctional tools that are mobile communication devices. In the world of the selfie and high-speed internet, there is no sense in continuing to think of video as in the 1970s.
The Bienal de la Imagen en Movimiento (BIM), produced by the National University of Tres de Febrero (Untref), is conceived as a meeting place for creators, researchers, students, culture producers and anyone who loves audiovisual art in all its diverse expressions. Its fundamental aim is to offer a range of proposals in which one may find answers to questions asked by this new audiovisual universe. The BIM is a comprehensive stage for all the most extreme uniqueness of film and video, where these aesthetic tools can be considered from the perspective of the history and the contemporaneity of their most essential particularities.