INVENTORY ANTHROPOPHAGIC POSTERS This work was carried out during the Master of experimental cinema in the Audiovisual Laboratory of contemporary practice – Master Lav in Madrid 2016-17.
1.What do you do? – Class with Andrés Duque. Commentary on Hito Steyerl’s response anytime she is asked about what she does:
1a. Mov files (I added) 1b .jpeg files 1c .gif files
2.Permanent change is our only reality – Boris Groys: In The Flow 3.Distant and just images – Class with Javier Rebollo The Poet Pierre Reverdy // The Image (1918) – Godard also uses it. 4. What I am interested in about cinema is the spectators. – Class with Alberto Cabrera. He said: What I am interested in about cinema are ideas 5. The image that survives the work of destruction is the image of the destruction. (Malevich) Boris Groys: In The Flow 6. Go and stop the progress. (Malevich) Boris Groys: In The Flow 7.FIORUCCI MADE ME HARDCORD: Mark Leckey’s video title in 1999. 8. Crowd Repetition Propaganda Industrial Poetry Word Less is more Cinematographic Film
10. The image is no longer David Bowie 11. X = XL The projection of the dimensions constitutes an index of the attitude towards both the image and oneself. – Harun Farocki – Distrust the Images 12. Vomit 13. Subtitles 14. Being paper Being cardboard Being film Being a city Being subtitle What is it today?
15. Crowd 16. Black – (space) 17. Black – (space) 18. Fluorescent pink – Screen 19. LIMA IS THE PLACE FOR ME- Disco ‘London Is The Place for Me’ Calypso, Kwela, Highlife and Jazz from Young Black London. 20. The Definition of Place – Gordon Matta-Clark, Book of the Reina Sofia Museum. 21. Filming in 8mm Parsing Making violence Make books from copied lines, such as cinema quotes Make real drawings To be as R & G, as H, as H, as A, as M, as M, as P Make something pornographic as Antonio Make a cardboard Make posters (Things to be an artist)
22. The shot/reverse in cinema is the spectators. 23. Violence in Lima, Madrid, Junín 1b, 1c, 4,8,9,10,12,13,14,15,16,17,18,19,21,22,23- Marisabel Arias
PROCESS TEXT FILMIC ANTHROPOPHAGY
To transform, by digesting everything considered a model from Europe
in order to obtain the creation and result of a unique and independent model in Brazilian art. Eat Europe and vomit Brazil. Anthropophagite Manifesto, Oswald de Andrade 1928, Brazil.
In Madrid, I feel I am bamba(1) and I get to know that Lima is bamba. Now I understand colonization, but I also understand what we want to be. If Madrid, as a city, means progress compared to Lima, then there is no progress. There is only something closer to consumption.
What do you do? I make posters based on short words that I have heard, which have boomed in my head as clues to some sort of clairvoyance about cinema, a word that makes me understand why cinema does act as an explosion in our minds.
How do I eat Madrid and vomit Lima? How do I eat the cinema and then vomit?
Filmic Anthropophagy is built from a series of phrases; copied, invented, read and digested subtitles, from ideas about the spectators and the cinema. I choose to invert the screen; that is, the empowerment of the image by the crowd. Instead of being eaten by the image, we eat it; so it is now the screen that is watching us. I aim to conceive this act of appropriation of the spectator as a sort of resistance, as an emancipation of the image.
I propose to rethink our position as spectators: not acting as consumers but as active agents, devourers of images. Not as an alienated mass, but as a crowd capable of seize power. This work is created from text. We have to think of cinema not from the images, but from the thought about them. (2)
1 .product that has been faked or is not original 2. I began to digest all this in October 2016, while I was studying in a master program of experimental cinema in Madrid.