A cultural cycle to reflect upon the history of LGTBIQ activism

 

 

Although nowadays talking about the LGTBIQ collective is usual and, fortunately, many social boundaries regarding the understanding, adapting and integration of the group have been overcome, the truth is that a large lack of awareness on the nature of the transgender problem does still exist. Actually, we no longer talk of LGTB, but of LGTBIQ, in order to include within this acronym a reality that is not new, but that only recently has started to be understood and attended by the society together.

 

 

 

 

The initiative puts together the work of activists, artists and researchers in a program that offers workshops, exhibitions, cinema, music and performances. But the cycle also wants to document the changes that happened in the collective awareness, the political treatment and the cultural construction in regard to this group since the democratic Transition. The goal is to go deeper into the visibility of the collective with a historic perspective to understand its diversity from a sociological and political dimension, and what has been its evolution in the past forty years.

 

 

 

 

The program was displayed in three main locations: the Centro Cultural Conde Duque, CentroCentro and Matadero Madrid. Fefa Vila Núñez was the artistic curator of the project, which is framed within the activity World Pride 2017 of the city council of Madrid.

Precisely during these days, the Cineteca of Matadero Madrid hosts the projection of the documentary “Talking back. Memorias transfeministas queer/cuir”. This work focuses on understanding this figure, which takes its name directly from English and has developed an evolved meaning beyond the pejorative idea of “weird” linked traditionally to homosexuality.

 

 

 

 

 

And until the 1st of October, the exhibition “Nuestro deseo es una revolución. Imágenes de la diversidad sexual en el Estado español (1977-2017)” will be open at CentroCentro. This project gathers images of the evolution of the LGTBIQ activism since the first claiming manifestation in favour of gays and lesbians rights in 1977.

 

Images are taken from the official site of Madrid City Council.

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.