Blocks & festivals / Caras B 2012(30. 10. 2012 – 01. 11. 2012)
The Agencia Española de Cooperación Internacional para el Desarrollo (AECID), assigned to the Ministerio de Asuntos Exteriores y Cooperación, adds to its cultural offering with this exhibit organized by Nekane Aramburu and Carlos Trigueros, B Sides of the History of Video Art in Spain, a forty-year trip across the video art medium seen through its lesser-known pieces.
B SIDES was born in 2008 thanks to insightful historical research on video art in the Spanish state. It was jointly developed by both the organizers and financed by the Fundación Arte y Derecho.
Historical investigation revealed a large number of pieces that had been ignored for a variety of reasons (unknown authors who, in their moment, lacked the resources to distribute their work, pieces forgotten in archives, etc.). Ignored indeed, but by no means did this indicate that they were somehow inferior to better-known works. This exhibit has two ends: in this transitional moment which is moving towards new criteria, to observe forty years of artistic practice in video and to rescue, in order to demonstrate, all of these videos that are lost or about to be lost because they have not been properly cataloged, distributed, or simply known by the programmers and interlocutors of this artistic practice and, of course, by the public and the creators themselves.
The exhibit is complemented by a book, a reasoned catalog, edited by AECID, which makes reference to and counts on the contribution of distinct voices that have revitalized the panorama during the passing of these years by providing the clues which were needed to draw a map of this artistic practice.
KEYS • The concept of B side refers to that other side of a vinyl record. A place for remixes and rarities in which it was possible to publish those pieces which were marginalized by the standards, but where one could see the true dimension of an offering. • There exists a large quantity of unedited Spanish video art that, even today, continues to be marginalized. Video absolutely lacking in distribution, but which has quite good ideas. • Video as an artistic practice in Spain is already more than forty years old. This means that now is a good moment to provide an image of the true dimensions of this contemporary art production. For this reasons it is important to confront and reflect on the past, take account of what has happened in order to, once refined, seek its digital rebirth.
El concepto cara B se refiere a ese otro lado del disco de vinilo. Un lugar para remezclas y rarezas en el que se conseguía publicar las piezas marginadas por los estándares. Una gran cantidad de vídeo arte español sigue aún hoy inédito y marginado. Vídeo de nula difusión pero con muy buenas ideas.
En España, el vídeo como práctica artística ya tiene más de 40 años, por ello es el momento adecuado para dar a conocer la dimensión real de esta producción de arte contemporáneo, y anhelar su renacimiento digital.
El ciclo se celebra en el marco del ANEMIC festival.
Carlos Trigueros (Valladolid, Spain 1970) graduated in Fine Arts and Audiovisual Communication from the University of Salamanca. He has worked with video as art since the late 1980s, as an artist, as a manager, researcher and independent curator. He has given numerous lectures and workshops on the history of video art, and has worked in various publications as an art critic. Of particular importance was the text Vídeo doméstico, bricolaje electrónico (Acción Paralela #5, 1998). He organized and co-directed the Encuentros de Vídeo at the University of Salamanca between 1998 and 2000, and he was the director of Fiv'05, Festival Independiente de Vídeo in Gijón in 2005. He has undertaken several curator positions (MEM Festival, Bilbao 2004; Otra Realidad otra, Salamanca and Pamplona, 2003), and programmed the video at multiple festivals (Festival Observatori, Valencia, 2001-2002; Cyberia 2002 Santander, 2002). He was the director, manager and producer of the Scay festival of experimental sound, visual, and performance (Salamanca 1998 to 2001) and the co-programer and coordinator of: festivals (Experimenta 2002, Salamanca, 2002; Indipop, Salamanca, 2002). He is also the writer of technical credits for works of Spanish video art for the HAMACA distributor.