María Cañas

Risas en la oscuridad and Recent Videoguerrillas

In this edition dedicated to found footage, it was unthinkable that María Cañas, an absolute (and incendiary) referent of appropriation film in this country, could be missing. The archivist of Seville, the Terrorist Virgin of the Archive, audiovisual iconoclast, media savage, who returns eight years later to (S8) with a video installation, Risas en la oscuridad, which is preluded by her latest videoguerrillas, La mano que trina, EXPO LIO’92 and Cumbia Against the Machine.

Acknowledgements: María Cañas.

Risas en la oscuridad
María Cañas, 2015, video installation on three screens, 8 min.

A tribute to all the sister witches, burned and resurrected from their ashes. Sample of different cinematographic archetypes of femininity, who rebel against the established. Women who self-exorcise, and burn in a catharsis of fire. (María Cañas)

La mano que trina
María Cañas, 2015, video, 12 min.

Life is what happens while we look at the cell phone. Soon we will not need to read or speak, it will be enough to know how to howl.La mano que trina is a show-revolt on the dark side of technology, “techno-paranoia”, the religion of selfie, “technopathies”, digital dementia, programmed obsolescence, e-waste, “posthumanism”… (María Cañas)

Cumbia Against the Machine
María Cañas, 2017, video, 4 min.
María Cañas, 2017, video, 40 min.

Two videoguerrillas that arise around the exhibition Arte y Cultura en torno a 1992 of the Centro Andaluz de Arte Contemporáneo (CAAC). A critical review, on the occasion of its 25 anniversary, to the implications of Expo’92, an event that changed the face of Seville. Cumbia Against the Machine is “a thieftopia “apocalypticpachanga” on the EXPO’92. Packs of zombies in disarray, vandalized modern ruins, expensive deteriorated buildings that languish in a state of deplorable abandonment and that are reincarnated in the Torre Pelli and the Setas”. EXPO LIO’92, for its part, “addresses, among other issues, the crossing of cultures and the clash of civilizations, the invasion and plunder of America in 1492, the social construction of violence, counter-history and intrahistory, the transformations that Seville suffered with EXPO’92, Isla de la Cartuja as an exogenous event in Seville, waste and robbery during EXPO’92 and Cartuja 93 bluf, politics of macroevents, movements against EXPO’92, the colonial wound…”

Fundación Luis Seoane – From 30/05 to 14/06. From 11 to 15h and from 17 to 21h. Opening May 29 20h.

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