The Revolution of Marcel Dzama

Marcel Dzama, “Welcome to the land of the drone”, 2011.

 

 

La Casa Encendida dedicates to this exhibition three showrooms where the artworks are displayed according to their technique and subject-matter. Though Dzama is a multidisciplinary creator that has recently enlarged his field of experimentation up to include sculpture or video, he has always stood out as a great drawing-maker. His artworks were used several times to illustrate the covers of music albums such as They Might Be Giants, Beck, and The Weakerthans. In this occasion, the exhibition comprises a representative sample of drawings, watercolours and inks, to which the major part of the space is devoted; but it also incorporates sculptures and a video projection. All these pieces together allow to better know the career of this author and going deeper into the setting of his creative universe.

 

 

Marcel Dzama, “Daily lady daily mail”, 2016.

 

 

Dzama was born in Winnipeg, Canada, although he currently works and lives in New York, where he made the majority of his solo exhibitions. He has been compared to the outsider artist Henry Darger, due to the similarity between both of them in the illustration artworks. However, Dzama feeds himself of various trends, like the Dadaism, the Surrealism or the Soviet agitprop to inspire his projects.

 

 

Marcel Dzama, “My mother, my father, my sister, my killer, my lover, my savior, and other faces I once knew”.

 

 

The title of the exhibition refers to the line of work that Dzama has been following more recently, where the influence of the Soviet aesthetics is clear. The illustrations remember the classical compositions of the propaganda posters, with the addition of elements linked to the revolutionary spirit: characters holding weapons wearing army uniforms and the recourse to softer colours.

The exhibition opens the 28th of September and will be on show until next January.
 

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.