Símbols franquistes a Tortosa i altres desusos

Núvol ha publicat una bonica crònica del Embarrat i també unes paraules boniques sobre la meva acció/vídeo:

«Blanca Rego (Ferrol) va realitzar una de les accions més interessants i directament vinculades a la inutilitat i el desús. La gran màquina I és la realització d’una curosa recerca per Internet de les bases escrites de la primera edició (2014) del festival Embarrat (que no estaven ja penjades al propi web del festival). D’alguna manera, l’autora posava de manifest la obsolescència mateixa de la creació contemporània, les convocatòries, els premis, els festivals o els propis artistes i les seves obres. Un cop trobades les bases en un document PDF, l’autora inicia una cadena de transcodificacions: de PDF converteix el document a audio, el divideix en fragments i el converteix en arxiu de fotogrames, aconseguint un resultat aleatori i imprevisible. El resultat final és un vídeo HD en bucle de menys de 4 minuts esdevingut artefacte inútil, obsolet i inintel·ligible. Una absurditat amb ple sentit interpretatiu».

«Símbols franquistes a Tortosa i altres desusos», Oriol Martí Sambola.

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.


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

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.”


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

UK, 2012
time: 4′ 35”
Watch from HERE

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

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

US, 2014
time: 1′ 38”
Watch from HERE

US, 2014
time: 8′ 47”
Watch from HERE

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

US, 2014
time: 1′ 00”
Watch from HERE

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

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

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

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

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

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

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

More information at FilmEsssay

Structure, A Violent Fuck @ The Unstitute

The Unstitute
feminine discourse today


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)


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

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.

@ salonvideo_SUBmissions: 18/12/2014 – 11/01/2015 (Iași, Romania)


SALON VIDEO and MAGMA Contemporary Art Space cordially invite you to the opening of the archive-exhibition salonvideo_SUBmissions. The project provides an interactive platform for the audience, which we can both actively select and be viewers of the different works. The exhibition presents 70 sound and videoworks, which were submitted to salonvideo’s open call from 2013 for the exhibition MATTERS OF METHOD (Iași, December 6 –22, 2013).


Hace unos días entré a formar parte de Plat.tv, un archivo de difusión e investigación audiovisual donde se pueden encontrar infinidad de artistas y películas que ofrecen una visión mucho más plural del cine español que la que encontramos en las salas comerciales.

Plat incluye tanto cortometrajes como largometrajes de ficción y no ficción y todos los contenidos se pueden ver de manera libre y gratuita.

Salon Video: Matters of Method

Salon Video

December 6 – 22 2013, Iași, Romania

Dan Acostioaei [RO] · Felix Aftene [RO] · Marijke Appelman [NL] · Liliana Basarab & Mihaela Varzari [RO] · Matei Bejenaru [RO] · Martinka Bobrikova & Oscar de Carmen [NO] · Joanna Bonder [PL] · Ștefan Botez [CH] · Pavel Brăila [MD] · Gui Castor [BR] · Gabrielle Conilh de Beyssac & Jules Guissart [FR] · Doplgenger [RS] · Bjoern Drenkwitz [DE] · Giorgio Garippa [GB] · Johannes Gerard [DE] · Stéphane Ghozzi [DE] · Eugenia Gortchakova [DE] · Paul Hendrikse [DE] · Stephanie Hough [IRL] · Kai Miedendorp [DE] · David Mikulan [HU] · Jolene Mok [HK] · Monotremu [RO] · Andreco & Manuel Moruzzi [IT] · Mircea Nicolae [RO] · Mari Ohno [JP] · Doris Prlic [NL] · Günter Puller [AT] · Jagrut Raval [USA] · Blanca Rego [ES] (that’s me) · Jozeth van de Snepscheut [NL] · Topp & Dubio [NL] · Ricardo Trigo [DE] · Ioana Cazan – Tufescu [RO] · Sylvia Winkler & Stephan Koeperl [DE] · Ina Wudtke [DE] · Young Poor Artists [LT] · Ana Zubak [HR]

Opening: December 6 2013, 6pm – 9pm

18:00 tranzit.ro/ Iași: IAȘITEX Building, Primăverii Bd., no. 2, 7th
19:00 Galeriile Fundației Regale, BCU Building, Păcurari St. no. 4
21:00 Galeria Meru, Carol Bd. nr. 4

More information at Salon Video

Streaming Festival 8th edition (12/2013)

It’s the second time that I participate in The Streaming Festival, this year with a couple of sound art pieces and three video pieces included in the “Isfth the endcredits” program.

The Streaming Festival is an art event for exhibiting unconventional audio-visual art from all over the world. In addition to the festival, there is a growing permanent collection with video and sound art which can be viewed at all times. The database includes interviews with artists, reviews, biographies and background info on video and sound art. Its main focus is to create a complete as possible overview of the audio visual art exhibited on the Streaming Festival.

Reflecting Story: Música visual

Julien Tatham has write in his web Reflecting Story something really nice about my blog Música visual, so thank you!

“Il existe depuis 2006 et on trouve des vidéos expérimentales pointues d’un grand intérêt. C’est vraiment un site où l’on découvre de vrais films originaux et je pense que c’est toujours intéressant de s’ouvrir à des créations différentes. L’auteur du blog nous dégote à chaque fois des perles en faisant un grand travail de recherche…”


• From Stroboscope to Dream Machine: A History of Flicker-Induced Hallucinations
B.C. ter Meulen, D. Tavy and B.C. Jacobs b. European Neurology Vol. 62, No. 5, 2009.

• Décor by Timothy Leary [read]
Mark Alen. The New York Times. January 20, 2005.

• The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde
Ina Bloom. Leonardo – Volume 34, Number 3, June 2001.

• Gnosis and Iconoclasm: A Case Study of Cinephilia
Annette Michelson. October, Vol. 83 (Winter, 1998).

• Review: Yann Beauvais (ed.), Paul Sharits
Federico Windhausen. Animation: An interdisciplinary journal. July 2009, Volume 4, No. 2.

• The Films of Peter Kubelka
Earl Bodien. Film Quarterly, Vol. 20, No. 2 (Winter, 1966-1967).