The methods and procedures for the demontage, collage and assembly found in this collection are as varied as the dates and contexts (or designations) of the origins of the different works: from burlesque or satiric-political demontage to the seriousness of today’s conflicts and unrest, the programme’s pathways snake through the echo of different movements and ‘isms’ (artistic and unartistic, surrealism, anti-war, Lettrism, assemblage, pop, situationism, underground film, feminism, scratch video, etc.). Above all, they follow in the footsteps of rabidly independent artists, filmmakers, video makers and practitioners of demontage.
The breakdown of the programme could deter those who prefer to bypass the unpleasantness of life and recent history. However, space has also been set aside for more playful entertainment. And the guarantee, in any case, covers strong projects that are dense in images, highly varied and perchance stimulating in the face of the bloodier demontages bearing the flesh of another usually offered by the news that crosses the dinner table.