The friction of bodies
Film and video about the 1980s in Latin America
Centro Cultural Juan de Salazar (Asunción, Paraguay), October 2 to 14, 2013; MALI (Lima, Peru), January 11 to February 23, 2014; CCEMx (Centro Cultural de España en México), February 19 to April 4, 2014; CCET (Centro Cultural de España en Tegucigalpa), March 5 to 20, 2014; CCPE (Centro Cultural Parque de España, Rosario, Argentina), March 9 to April 27, 2014; CCEBA (Centro Cultural de España, Buenos Aires, Argentina) and UNTREF (Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina), April 3 to May 9, 2014; CCE (Centro Cultural de España en Montevideo), September 23 to November 29, 2014; CCEG (Centro Cultural de España en Guatemala), February 10 to March 19, 2015; CCESD (Centro Cultural de España en Santo Domingo), May 5 to May 30, 2015; CCECR (Centro Cultural de España en Costa Rica), February 17 to February 24, 2016.
Itinerary in collaboraction with AECID
The expression the friction of bodies (el roce de los cuerpos) returns to the idea developed by the Argentine art historian Roberto Amigo about how the new forms of artistic activism in the 1980s in different places in Latin America took shape. If in the 1960s and 70s the linking of art and politics arose within traditional moulds related to the legacy of Marxism, in the 1980s that way of operating underwent a radical transformation. Encounters, festivities, the carnavalisation of protest and other forms of direct contact between bodies, whether in the private sphere or in a clandestine manner, would be the way to create a public counter-sphere in opposition to the devastating effects of violence.
Radical and libertarian attitudes thus appear, interweaving sexual dissidence, countercultural production, occupation of the streets, anarchism, social demands and civil disobedience or the demand that the victims of political disappearances come back to life, spaces and rituals that were previously invisible. This experimental wave brought a new way of thinking about and intervening in political happenings, using imaginaries of resistance and activism that favoured the building of new bodies and socialities, and the rebuilding of the emotional ties that had been broken by terror.
These film and video productions were made by documentary makers, artists, researchers, historians and people involved in these episodes. They include: amateur productions arising in underground spaces; works with the visual sophistication of a renewed cinematographic experimentalism; films of limited commercial circulation that draw connections between crisis periods by examining urban violence, music and drugs; and also new productions made especially for this exhibition. Using memory, narrative, recovered documents and images, and also musical production, this living archive of those events attempts to rethink the ways in which film and video have given a different visibility to a multitude of dissident bodies and behaviours.
Programa
Sabatini Building, Auditorium
Sabatini Building, Auditorium
Sabatini Building, Auditorium
Sabatini Building, Auditorium
