Trailer for The Spaces Between Cities

Something in which I’ve participated…

EXcinema commissioned twenty films by twenty international experimental filmmakers spread across four continents to create one feature length road film. Featuring: Amy Bassin, Mark Bickley, Stephen Broomer , Charles Chadwick, Pip Chodorov, Konstantinos-Antonios Goutos, Pablo Molina Guerrero, Salise Hughes, Douglas Katelus, Anna Kipervaser, Kate Lain, Insa Langhorst, Jesse Malmed, Milan Milosavlijevic, Reed O’Beirne, Arto Polus, Ben Popp, Blanca Rego, Margaret Rorison, Dustin Zemel, Robert Zverina.

I love flashing lights warnings from films and TV shows

Warning: This film contains flashing images and stroboscopic sequences

This one is from A Field in England by Ben Wheatley. I remade the original intertitle that I had because it was a bit small for a HD video.

Due to Violent Content, and Flashing Lights with Strobe Effects, Viewer Discretion Advised

This one is from Hannibal, my favourite TV series ever (it’s from “Takiawase”, season 2 episode 4). The DVD doesn’t include this warning at the beginning of the episode, but it was there when it was broadcasted on TV.

Computer Music Studies

During last month, I spent most of my time making a series of audiovisual pieces entitled Computer Music Studies. The sound, and the title, are by Mikel R. Nieto, who provided me with twenty tracks. This work was made for Nokodek Festival.

The initial idea was to make a series of audiovisual pieces based on digital feedback. That is, using configurations in which the audio output returns to the audio input, generating an internal digital feedback which usually is nonlinear and difficult to control. The sound was generated in an autonomous way using different configurations of the same pattern. (I don’t know which audio software used Mikel, if you’re interested in the sound tracks you should ask him).

The video track is not feedback, but data bending, which I guess could be understood as a kind of digital feedback because it uses a stream of data—in this case audio data—to generate another kind of file—in this case an image file. It’s not feedback, obviously, because I’m not routing the output back as an input, but in certain sense I’m routing the ‘output’ data of one format as an ‘input’ for another. In any case, it’s not generative, it was made frame by frame.

What I did was splitting the audio tracks in fragments of around 41.67 milliseconds—the equivalent to one video frame—using Audacity. I saved all those files as .raw, then I opened them in Photoshop, and I saved them as .jpg. So, what you hear and what you see are exactly the same data.

This video is just one of the twenty pieces, the complete work is around 40 minutes. It can’t be played live, because the data bending part is almost ‘handmade’—the conversion phase is not automatic, it’s painstakingly slow—, so even it was made for a music festival it’s more like a series of films than ‘live cinema’. Machine music for machines.

The loudness of that noise

Unnecessary noise.
Lots of noise.
Noise commencing in my ears.
So huge a noise.
A noise like thunder.
Din and noise.
Objective noise.
Noise without noise.
The noise of conflict.
The loudness of that noise.

The noise

Don’t make a noise.
The noise of firing.
Listening to the noise.
His own noise.
Associations of the noise.
The slightest noise.
Blaring with the noise.
A distressed noise.
Followed by a noise.
The noise.

La luz expandida: Nuevas tecnologías en el videoarte español [4 de junio, Madrid]

El próximo jueves 4 de junio se proyecta uno de mis vídeos en el Espacio Fundación Telefónica de Madrid dentro del ciclo audiovisual en torno a Jim Campbell comisariado por Playtime Audiovisuales. El programa incluye seis cortometrajes de diversos artistas y un coloquio en torno a la luz y el videoarte con Jaime Munárriz, Alba G. Corral, Hugo Alonso y Juanjo Fernández.

Proyecciones:

Kinematope [Gare d’Austerlitz], de Pablo Valbuena. 2014. 3’
Conversaciones con el espacio, de Juanjo Fernández aka Gnomalab. 2014. 10’
Ruminant. 2012. 8’30″ y Site Unseen, de Alba G. Corral. 2012. 6’
Travelling to nowhere, de Hugo Alonso. 2010. 4’41”
Scan, de Hugo Alonso. 2010. 1’20”
Inverse Reverse, de Blanca Rego. 2010. 15’26”
Le vent et su mesure, de Jaime de los Ríos. 2015. 5’57”

Programa completo y reserva de entradas (es gratis) en Espacio Fundación Telefónica

Radius Episode 62

Graphic Mark is a conceptual sound piece based on the Radius logo. Instead of using audio software, I used graphic software. However, Graphic Mark is not an arbitrary audification of data; rather, it is a direct translation made by converting the original image file into a sound file. The work is a reflection upon the relationship between image and sound, and also of synesthesia and what is gained and lost in translation.

More at Radius

NoiseVideo Festival 2015

“Since our start in 2012 we made few good things such as Brasil on Art (first online festival of Brazilian films on Art with Sao Paulo MoveCineArte Festival). We have investigated the representation of architecture with live sessions at Museum of Contemporary Art of Vojvodina in Serbia and through the online format EVA (Experimental Video Architecture) Festival. Recently with the Circuit of Auckland with have streamed ‘Goodnight Kiwi’ an online session of New Zealand video art. Also since 2014 we have started the “Special Guest” programme with live streaming session aimed at introducing the work of single artist such as Mircea Nicolae, Federica Cogo, Brit Bunkley, Luciana Beneduce.

With 2015 we are happy to launch our new format titled NOISE VIDEO Festival that will present a short selection of videos that engage the dialogue between sound production and video/cinematic design. The goal is to explore this interaction field in the visual art. For this first edition we will present a wide gamma of possible approaches as a chance to start a debate and make it available to a wide audience. For this we have invited a group of authors to participate in this online festival that will take place from 3rd April – 3rd of May 2015.”

FILMS INVITED:

AARON CLUB
Hyperions Schicksalslied
Italy, 2013
time: 3′ 30”
Watch from HERE

THE UNSTITUTE
Wrong
UK, 2012
time: 4′ 35”
Watch from HERE

JENNIFER JUNIPER STRATFORDIO
Radioactive Dreams
US, 2014
time: 5′ 29”
Watch from HERE

ERIC SOUTHER
Dissecting Muybridge Excerpts Part 1
US, 2014
time: 14′ 14”
Watch from HERE

LARRY WANG
Ghosts
US, 2014
time: 1′ 38”
Watch from HERE

JESSE MALMED
Conque
US, 2014
time: 8′ 47”
Watch from HERE

BLANCA REGO
Engram (Optical Sound #001)
Spain, 2012
time: 2′ 27”
Watch from HERE

CHARLES COHEN
Figures
US, 2014
time: 1′ 00”
Watch from HERE

BENJAMIN DUCROZ
Press +
Australia, 2009
time: 1′ 27′
Watch from HERE

NATHAN THOMPSON
Zero Return
New Zealand, 2007
time: 9′ 44′
Watch from HERE

KIM ASENDORF
News From the Webcoast
Germany, 2011
time: 5′ 00”
Watch from HERE

LISSA MITCHELL
Rain
New Zealand, 1998
time: 8′ 40”
Watch from HERE

EMILY ALDEN FOSTER
Learning to Use the Alphabet
US, 2013
time: 3′ 36”
Watch from HERE

HOOLIGANSHIP
Super Sellody
US, 2008
time: 1′ 41”
Watch from HERE

GERALD WHITE
Bruxelles Double Sens
Belgium, 2013
time: 3′ 17”
Watch from HERE

More information at FilmEsssay

Framework Radio #503: 2015.03.15 [blanca rego]

Today Framework Radio has published #503: 2015.03.15 [blanca rego], which is my third rain remix—the first one is unpublished, the second one was made for Détour.

In this case, all sound recordings are from Galicia (mainly A Coruña) and Catalunya (mainly Barcelona), the two places were I’ve lived during long periods of time—in fact, the podcast starts with a recording made at my childhood/teenage bedroom and ends with a recording made at one of my last places at Barcelona, the only flat where I’ve lived alone.

You can listen to the podcast and find more information about it at Framework Radio.

Thanks to:
Patrick McGinley | Iago González | Chiu Longina | Marco Maril | Carlos Suárez | Justin Bennett | Philippe Faujas | Pedro Montesinos | Pablo Sanz | Mikel R. Nieto

The Digital Muddy Expanded Media Festival V1.0: Crisis of the Visible

digital_muddy

Glifcker at The Digital Muddy Expanded Media Festival V1.0: Crisis of the Visible

Crisis of the Visual is an expanded media exhibition curated by Nia Burks. Each of the selected works in the show explores a different avenue of issues related to expiration, trace, and temporality in artworks that exist in an environment where preservation, documentation, and relic are highly regarded within the platform of their creation. Digital space is marked by view counts, likes, photographic or physical “evidence” and other markers of audience/creator presence that display traces of an artworks occupancy in a world where their survival is constantly being threatened by shelf life, planned obsolescence, and malfunctioning technology. Crisis of the Visual aims to explore what it means to create works of electronic art whose presence is constantly plunging into the past; a space too excessive to be regimented or contained. As events disappear with the progression of time itself, a work of art enters the crisis and instability of what it means to address presence in electronic and digital art. By utilizing the processes and concepts of signal manipulation, compression artifacting, memory, digital floaters and depth, RGB spectrums, object lust, entertainment, and movement, the artworks shown engage in a discussion about the promises and failures of the absolute.”

DAS2015: An exhibition of the digital moving image [3-7 March, Belfast]

das2015_poster

DAS has selected works by Katrina Stamatopoulos and Alexandra Spence, David Begley, Bernadette Comac and Blanca Rego (that’s me).

The work will be screened at the Beanbag Cinema in Donegall Street from the 3rd to the 7th of March. Opening hours will be 1 – 4pm.

There will be a reception on Thursday 5th March from 6-9pm. All are welcome.

Beanbag Cinema, 23 Donegall Street, Belfast. BT1 2FF

More information

Structure, A Violent Fuck @ The Unstitute

The Unstitute
_pRESENTS_
_pAGE_3_tAKEOVER_
feminine discourse today

[dis]CORPORATE_BODIES:
Undermining_the_Institution

Evolving [An]archive at The Unstitute

In England, the tabloid newspaper ‘The Sun’ maintains the daily institution of showing soft-core pornographic images of topless women on Page 3 – often right next to images of death, disaster and horror – a recipe which might account for its status as England’s most popular newspaper.

The Unstitute deterritorialises page 3 in the [dis]Corporate Bodies project. We invite you to come and chew on some of the most exciting discourses on female bodies today…

Featuring works by Blanca Rego, Dawn Woolley, K.E.Wallwork, Banfield-Rees, Laura Plana Gracia, as well as guest practitioners from the Department of Fictions at The Unstitute.

At The Unstitute, we see the institutionalised, semi-fascist female body of Page 3 as the scene of a crime: these breasts, despite how they appear, do not belong to the bodies to which they are attached. They belong to and are disenfranchised by the culture which enriches itself on them, to each subsequent desiring-machine that plugs into them.

This body is but a sequence of codes, a social construct in so many ways, a corporate entity or monetising agent in others. Part-fiction, part-biology, post-female, cybernetic, online, disenfranchised, tortured and/or dismembered bodies: each new variant or sequence of varieties acts as a multiplier of the plurality of bodies which we call ‘female’. The Unstitute invites you to come and chew on some of the most exciting discourses on female bodies today…

Open Page 3

“Le voyage dans la lune” at salonvideo_SUBmissions (Iași, Romania)

salonvideo

My piece Le voyage dans la lune at salonvideo_SUBmissions (Iași, Romania).

salonvideo_SUBmissions
————————————-
a project by Daniela Pălimariu and Luminița Apostu
at MAGMA Contemporary Medium, Sf. Gheorghe
opening: 17 decembrie 2014, ora 19.00
on view: 18/12/2014 – 11/01/2015
ART INStITUt 2014#03 presentation: 17/12/2014, at 20.00 with Daniela Pălimariu

SUBmissions is a self-explanatory exhibition. Firstly because it describes the gesture of application as a submission of the work of art to an authorized institution which is empowered to make validations through selections and display, and secondly because it reveals, without mediation, simply by naming the content, its constituent elements: an exhibition made out of applications. Sending applications in the art environment completes the circuit of a power relation between that who asks for, that who sends to, that who receives from, that who distributes and that who views. There are many applications for art projects because there are many calls for art projects – a multitude that controls what we already know as mass art production.

SUBmissions thus signals the organic and inevitable extension of contemporary art practices. As german artist Hito Steyerl remarks, visual artists are captively caught into an occupation in which they either no longer have time to produce work because they are preoccupied with writing and submitting applications, either they produce work based solely on the topics, criteria and conditions of the open calls. It is the case of many friends who complain recently that they no longer want to apply to anything: the applications are a burden and it makes them sad. Of course, many others are still fascinated. While bineg scouted, selected, listened, inspected, auditioned – the open call applicants wake up in the middle of an application burden where they need to present themselves, to explain themselves to juries, to motivate the validity of their practices in a convincing voice, to sell themselves.

Etymologically, since the 14th century, the English word “submission” meant “an act of referring to the judgement and decision of someone”, taken from old French “sousmission” or directly from Latin, where “submissio” / “submittere” meant “immersion”, “lowering”, “letting down”. In Romanian we have the words “submersiune”, but also “submisiune” and “supunere”, and even if to “apply to” or to “submit to” marks the positive action of mobilizing creative energy, the terms still carry a derogatory sense, that of submissiveness and docility towards a superior power. The meaning of “submission” as a “humble obedience” appears in the mid-15th century together with the adjective “submissive” (as “humble”) which gets used in political relations between states and within state hierarchies. The way in which this vocabulary transposes into the visual art language does not come out of nowhere, as similar hierarchies get constituted also at the level of art institutions. On the other side, the call for projects as applications, as a shouting out to potential respondents, asks for application submissions as in a lotery mechanism, both for the applicant and for the call owner.

The format of this exhibition is at the same time a sub-mission for re-evaluating the collection of received works. If salonvideo’s main mission was to structure a collection based on certain subjective criteria, its sub-mission is that of revealing to the public an objective formula, one that is un-filtered by the application process results.

SUBmissions is an inclusive exhibition. Regardless of the assumption of a curatorial role, any exhibition produces a selection. salonvideo tried to avoid the radicality of the selection. It is this why the idea of displaying all the received applications aims at a reversed submission of that who opens the call towards that who applies.

Croatian theorist Boris Buden defines the curator as a customs officer – a character who decides who goes and who stays outside the borders of art – a radical definition, but one that applies to the mechanisms of producing art events through selection. If one year ago we were enthusiastically embracing the receiving of over 100 works as an aswer for the open call that we launched for the 4th edition of salonvideo, and if we were selecting works with even greater enthusiasm, as a curatorial method on “matters of method”, the rigourousness of the selection has remained ever since a doubtable act to which we now come back with an obligation.

SUBmissions is a playlist exhibition. Grouped randomly, the video works can be played in any order, they can be stopped of repeated. The participatory character and the dynamics of interaction with the works give back the public the opportunity to be part of a selection process, and give the opportunity to be seen unconditionally to the artist. Although salonvideo works as a platform with an institutional power of selection, by keeping also the unselected works it proposes a discrete mediation of the relation between the authors and the public who are interested in video art.