BRUCE CONNER THE MIRROR OF SOCIETY

Bomhead,1989

 

 

Bruce Conner (1933-2008) was an American artist, notable for the use of techniques such as Found footage (narrative technique used in horror films and false documentaries) and assembly. Pioneer in the realization of experimental cinema, Conner also stands out for the realization of other techniques like the drawing, the painting or the sculpture, without forgetting the photography or the collage.

 

 

Child, 1959

 

 

In addition to a track record that supports him, Conner was one of the motivators of the music video genre. He also stands out as a reference for the underground scene of the 50s and 60s. This exhibition presents, over 250 works spanning 50 years of his career. His work begins in the Californian artistic scene, refers to the culture of consumption, to terror before the nuclear apocalypse and to the fears of American society of his generation.

 

 

 Couch, 1963

 

 

One of its main characteristics is the adaptation of different techniques to his personal style, hybrid pieces alternate painting and sculpture, cinema and performance or drawing and engraving. Early in his career, he began with the reuse of objects for the creation of facilities, these achieved great recognition from the beginning. Do not forget your films, which pioneered many new techniques such as the incorporation of 16 mm film.

 

 

PORTRAIT OF ALLEN GINSBERG, 1960. Wood

 

 

Conner is an artist who knew how to capture the essence of the work to such an extent that today they can be considered contemporary. His political messages, approach him to denounce social problems such as violence in American culture or the assimilation of the female body, as an object of consumption. Curated by Rudolf Frieling, curator of Multimedia Art and Gary Garrels, senior curator Elise S. Haas of Painting and Sculpture at the San Francisco Museum of Modern Art. You can enjoy this experience until May 22nd.

 

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.