Research residencies. Public presentations

October 29, 2010 - February 10, 2011 / Nouvel Building, Auditorium 200 y Sabatini Building, Auditorium

free admission, but space is limited

Imagen de Bojana Piskur
Bojana Piskur

Co-organiza: Conference de Rectores de las Universidades Públicas de Madrid (CRUMA) y Banco Santander Con la colaboración de: [LOGOS DE PATROCINIO]


Carlos Flores. El Charles Bronson chileno o idénticamente igual. 16mm film, b/w, sound, 67'

November 4 - 5, 2011 - 7:30 p.m.

The subjective, the collective, the autobiographical. Audiovisuals in Chile during the dictatorship

Isabel García

The subversive practices taking place in an artistic scene fractured by the repression and censorship of Pinochet's military dictatorship use the newly-arrived video camera, with its singular ability to record and document reality, as a medium that permits the mimesis of international practices, albeit contorted into new aesthetic and symbolic forms.

The reactivation of the collective memory in works that multiply and spread through the social body, television programs other than the official, censored ones, co-exist and are tautened in Santiago's artistic circles, with audiovisuals serving as a medium of circulation, experimentation and reflection during the 1970s and 1980s in Chile.

The video-essay reflects autobiography, identity and collective memory with traces of orality – in the correspondence on audio tapes between friends and family living in exile, thus providing new narrative and audiovisual possibilities for collaboration between artists.

Paris Universal Exhibition, 1937. Sovietic Pavillion, on the right, opposite to the Nacional Socialist pavillion

29 november, 2011 - 01 december, 2011 - 7:30 p.m.

Irresoluble contradictions: art institutionalization policies during the 1930s

David Quigley

Francisco Franco and Dwight D. Eisenhower in official visit, Madrid, 1959

January 13 (Conference), January 27 (guided tour of the collection) - 7:30 p.m.

The notion of artistic modernity in Spain. The 1950s

Julián Díaz Sánchez

free admission, but space is limited

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