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Short films by Andrés Duque
Cycle Hamaca
Free admission / limited places
Presentació de "Primeros síntomas" "Las manos de Nastasia" d'Andrés Duque, seguidament conversa entre el director de la pel.lícula i Cloe Masotta.
The videographic work of Andrés Duque is full of cracks towards the inexplicable. His pieces start from a fun idea (“If I’m not having fun with the camera, I know something is going wrong”) and from a pre-rational fascination with barren landscapes and people, and his sensibility clashes with the commonly accepted notions. With his digital camera and an enviable intuition, he focuses on recording shapes and surfaces, gestures and movements, latent situations and disconcerting scenes. His work does not generate ideas as much as sensations, and it proposes new relations with the world around us. These relations are almost always as evocative as they are intriguing.
In his subsequent organisation of the material, he tries to get back this first impression: presenting things as never before seen, rendering them uniquely, removing them from their context. Even though his raw material is reality, his documentaries are unstable works where the narrative component or the representational fidelity is blurred through omissions, suggestive associations, manipulations of the image and disconnections between image and sound. They are his ways of enhancing the disconcertedness and expanding the perception.
About the director
His videographic work is situated on the periphery of Spanish non-fiction, an uncertain space – and one that can be seen away from cinema screens – that is characterised by self-production, a lack of subjugation to standard formats or lengths and genre hybridisation. Even though his most important works fall within the practice of documentaries, he has also made more than a dozen more standard video creations, although even in those he still draws from the referential world (Saló vermell and La fàbrica) or from factual archive images (Home Sovereignty). Among these pieces, another standout is Life between Worlds, Not in Fixed Reality, which was recorded using a mobile telephone for the Heterodocsias section of the 2008 Punto de Vista Documentary Film Festival.
In 2004 he directed Ivan Z, his most famous documentary to date, a portrait of the cult filmmaker Iván Zulueta which not only was submitted to more than a dozen international film festivals but also earned him a Goya nomination in the category of Best Short Documentary. He then made other documentaries which were based on a person (Paral.lel 10, 2005) or a landscape (Landscapes in a Truck, 2006) and referred to the concept of “the sinister”, where the familiar becomes strange and vice-versa. In 2007 he directed La Constel.lació Bartleby, a piece that defies categorisation into any given genre in which a fictional narrative coexists alongside the direct recording and setting, yielding a unique approach to science fiction based on authors like Herman Melville, Ray Bradbury and François Truffaut.
The videographic work of Andrés Duque is full of cracks towards the inexplicable. His pieces start from a fun idea (“If I’m not having fun with the camera, I know something is going wrong”) and from a pre-rational fascination with barren landscapes and people, and his sensibility clashes with the commonly accepted notions. With his digital camera and an enviable intuition, he focuses on recording shapes and surfaces, gestures and movements, latent situations and disconcerting scenes. His work does not generate ideas as much as sensations, and it proposes new relations with the world around us. These relations are almost always as evocative as they are intriguing.
In his subsequent organisation of the material, he tries to get back this first impression: presenting things as never before seen, rendering them uniquely, removing them from their context. Even though his raw material is reality, his documentaries are unstable works where the narrative component or the representational fidelity is blurred through omissions, suggestive associations, manipulations of the image and disconnections between image and sound. They are his ways of enhancing the disconcertedness and expanding the perception.
About the director
His videographic work is situated on the periphery of Spanish non-fiction, an uncertain space – and one that can be seen away from cinema screens – that is characterised by self-production, a lack of subjugation to standard formats or lengths and genre hybridisation. Even though his most important works fall within the practice of documentaries, he has also made more than a dozen more standard video creations, although even in those he still draws from the referential world (Saló vermell and La fàbrica) or from factual archive images (Home Sovereignty). Among these pieces, another standout is Life between Worlds, Not in Fixed Reality, which was recorded using a mobile telephone for the Heterodocsias section of the 2008 Punto de Vista Documentary Film Festival.
In 2004 he directed Ivan Z, his most famous documentary to date, a portrait of the cult filmmaker Iván Zulueta which not only was submitted to more than a dozen international film festivals but also earned him a Goya nomination in the category of Best Short Documentary. He then made other documentaries which were based on a person (Paral.lel 10, 2005) or a landscape (Landscapes in a Truck, 2006) and referred to the concept of “the sinister”, where the familiar becomes strange and vice-versa. In 2007 he directed La Constel.lació Bartleby, a piece that defies categorisation into any given genre in which a fictional narrative coexists alongside the direct recording and setting, yielding a unique approach to science fiction based on authors like Herman Melville, Ray Bradbury and François Truffaut.
http://www.hamacaonline.net;https://vimeo.com/120571842
- Organized byHAMACA, media & video art distribution from Spain
- In conjunction withArts Santa Mònica - Departament de Cultura