Photographs that reveal a not-seen nature

Finalist 2017, Young Photographers of the Year, 11-14 years 'Bear hug'. Ashleigh Scully.

 

 

 

This contest called since 1964 by the Natural History Museum of London is overpasses each year the number of participants and the quality of their photographs. In the 53rd edition, more than 50,000 professional and amateur photographers from a total of 92 countries have competed. Of all the works presented to competition, a selection of the best is made to take part of an exhibition open to the public. This year, Madrid is the first city where this itinerant exhibition lands.

 

 

 

 

Finalist 2017, Birds 'Resplendent delivery'. Tyohar Kastiel.

 

 

 

Nature does not stop surprising us. Although modern man got used to living in the asphalt world, surrounded by buildings, concrete, bricks and glass, our essence tells us that all this is artificial and that we belong to another environment.

 

 

 

 

Finalist 2017, Animals' portraits 'The power of the matriarch'. David Lloyd.

 

 

 

The natural environment conveys peace, marvels us, welcomes us. From nature we get everything, we live from it, with it, by it. We should not let spread the wrong feeling that we handle everything, that we are the dominant species that has everything under its control and that the elements will submit under our superiority.

 

 

 

Winner photograph of Wildlife Photographer of the Year 2017. Brent Stirton.

 

 

 

 

One would expect to find breathtaking images of unique landscapes, vertiginous cliffs against a backlight, wild animals while hunting or birds rising between the thick vegetation. Obviously, that is also. But among the finalists of this year, stand out the crudest images of the consequences of man's behaviour on the environment.

 

 

 

Finalist 2017, Individual image 'Sewage surfer'. Justin Hofman.

 

 

 

Animals on the verge of extinction harassed by a predatory and ambitious human being, seas plagued with plastics and waste that we irresponsibly do not reach to manage. This is the stark reality of our impact on nature. On this occasion, the finalist image of the contest removes the sale and deepens into the need for us to become aware of our actions. Nature is beautiful, but we must take care of it.

 

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.