With 12 years of experience, PROYECTOR has established itself as a reference festival in our country dedicated entirely to video-creation, a discipline that continues to win followers and attracts many contemporary creators inside and outside our borders. Video is, in fact, one of the most widespread means of expression in our days. The power of the image in movement is undeniable, and the public demands new artistic languages that are in tune with their habits of cultural consumption. Contemporary art has surrendered to the attraction of this complex and dynamic technique, although it still strives to carve a niche among the traditional disciplines in the most consolidated exhibition circuits. For this reason, PROYECTOR was born, to give voice to so many authors who have found in video-art an ideal channel to hold their creative projects.

PROYECTOR aspires to offer a real vision of the international cultural fabric and the most recent contemporary trends around this speciality, with an ambitious program of activities held in different parts of the capital. Since it was first launched, this initiative has also wanted to be known abroad, and every year, the participation of international authors increases. From Japan to Argentina, passing through Israel, Austria, Brazil or the United States, to name just a few of them, the representation of foreign creators reveals the enormous interest that exists in the sphere of contemporary production in this discipline, which this way becomes a formal vehicle of an expressive language shared worldwide.

The next edition will take place from September 11th to 22nd, 2019 in a packed schedule of events that will bring together more than 50 artists in 14 different venues in Madrid. As every year, the program will host the invited artists along with those selected in the call for projects opened a few months ago and in which more than 400 artists from around 20 countries participated. The result is a rich panorama of the most up-to-date video-creation that opens its doors to the whole world, in the path traced by PROYECTOR since its beginnings: to bring art closer to the general public and pay attention to its experimental and committed nature around which the most critical and reflexive artistic discourses are currently built up.

Març Rabal, “Les eines i els dies” (frame)

In addition to the usual talks, projection cycles and workshops, the 12th edition of PROYECTOR will also host several site-specific projects created for the festival thanks to the program of artistic residences carried out in collaboration with Conde Duque, The Instant Foundation, Medialab Prado and Extension AVAM. Another novelty is the participation of the INELCOM Collection, which will open its doors to publicise its impressive funds dedicated to video-creation and technological art, as well as the "endorsements" where renowned international professionals will curate the artistic proposals coming from Europe and Asia. Also, we must highlight the award that the collector Teresa Sapey has granted to Març Rabal, to be delivered during the festival, and whose video-installation work will be on show in September.

Julieta Caputo y Ariel Uzal, “Un derrumble posible” (frame)

PROYECTOR 2019 promises to surprise everybody with its novelties. We look forward to the arrival of this essential event that for 12 days will conquer major spaces of the city, such as CA2M Centro de Arte Dos de Mayo, INELCOM Collection, Conde Duque, Cruce, El Instante Fundación, AVAM Extension, Cervantes Institute, Medialab Prado, Quinta del Sordo, Room Alcalá 31, Room Equis, Room The Eagle, Secuencia de Inútiles and Plaza Pública.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: OFF LINE. JIMENA TERCERO

March 7 | 7:00 p.m. Galería de Cristal of the Palacio de Cibeles.

OFF LINE is a performance piece that reflects on the fragility of the body in the digital age. Our relationship with the outside world is mediated by a screen, which distances us further and further from physical contact and interpersonal relationships. Focusing on creating a digital identity causes the body to distance itself from the physical world and lose its memory.

Hyperconnectivity and fragmented attention lead to a more passive physical existence, characterised by reduced spontaneous movement and less direct sensory interaction. This raises fundamental questions: how is the concept of presence redefined when our relationship with the world relies on technological mediation? What will the experience of the body be like in a future where virtuality predominates over the physical? There is a risk of progressive bodily passivity: bodies that remain still, whose activity is determined by devices and whose memory is stored digitally. The fragmentation of physical experience and the primacy of technological representation create a scenario in which, although the body is visible, it is displaced from its original function as an agent of perception and action.

This conceptual framework invites reflection on the impact of digitisation on corporeality, memory and social relationships, and on the vulnerability and inertia experienced by bodies in environments that are increasingly mediated by technology.

ABOUT JIMENA TERCERO

Jimena Tercero (Madrid, 1998) is a multidisciplinary artist whose work explores the boundaries of the female body, identity, and the subconscious. She uses performance, video, and painting to address concepts such as memory, tangibility, and play. Tercero trained in painting with Lola Albín and in analog photography at Cambridge in 2014. She studied audiovisual direction from 2018 to 2020 with renowned figures such as Víctor Erice and the production company El Deseo. She is currently pursuing a Master's degree in Creative Direction at ELISAVA. She completed her performance training at La Juan Gallery. In 2011, she was part of the children's jury at the Isfahan Film Festival in Iran.

Her directed works include Private (2016) and Paranoid (2021), which were exhibited at the Aspa Contemporary Gallery. She has also worked on projects such as Yo, mi, me, conmigo (2023, Teatros del Canal), Inside Voices (2021, Conde Duque with Itziar Okariz), and La última regla (La Juan Gallery). She has directed fashion films for publishers and brands such as Puma, Dior, and Dockers. She has also provided art direction for artists such as Sen Senra and Jorge Drexler. Additionally, she directed the documentary Also Here for ArtforChange–La Caixa. She presented Out of View (Nebula Gallery), EDEN (White Lab Gallery), and Navel Bite (Sinespacio). She participates in residencies such as Medialab with Niño de Elche and Miguel Álvarez Fernández. In 2025, she will be part of the Special Jury of the Asian Film Fest in Barcelona and the International Cultural Museum of Assilah Art Residency in Morocco).