{"id":4142,"date":"2017-07-02T23:44:26","date_gmt":"2017-07-02T23:44:26","guid":{"rendered":"http:\/\/www.paginasdeldiariodesatan.com\/pdds\/?p=4142"},"modified":"2017-07-04T10:44:54","modified_gmt":"2017-07-04T10:44:54","slug":"muta-muestra-internacional-de-apropiacion-audiovisual","status":"publish","type":"post","link":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/?p=4142","title":{"rendered":"MUTA-MUESTRA INTERNACIONAL DE APROPIACI\u00d3N AUDIOVISUAL"},"content":{"rendered":"

Nicol\u00e1s Carrasco nos env\u00eda esta informaci\u00f3n muy interesante<\/span><\/strong><\/p>\n

Del 7 al 15 de julio se proyectar\u00e1n casi 100 cortometrajes de found footage<\/em> de cineastas como Antoni Pinent, Stephen Broomer, Peter Lichter, Dalibor Baric y Mar\u00eda Ca\u00f1as.<\/span><\/p>\n

MUTA-MUESTRA INTERNACIONAL DE APROPIACI\u00d3N AUDIOVISUAL <\/span>es un encuentro de exhibici\u00f3n audiovisual gestado por el Cineclub Dulces Tr\u00f3picos y que pone en primer plano la apropiaci\u00f3n como pr\u00e1ctica art\u00edstica contempor\u00e1nea.<\/span><\/p>\n

Bajo la premisa dereutilizaci\u00f3n y recontextualizaci\u00f3n de im\u00e1genes en movimiento, MUTA presenta distintos programas de cine con pel\u00edculas de corta duraci\u00f3n, talleres pr\u00e1cticos, una masterclass, y una instalaci\u00f3n en un espacio de galer\u00eda. <\/span>n esta primera edici\u00f3n nos visitar\u00e1 Antoni Pinent (Espa\u00f1a, 1975). Aparte de su actividad como creador f\u00edlmico, Pinent fue programador regular de cine experimental, animaci\u00f3n, documental e independiente en Xc\u00e8ntric, Centro de Cultura Contempor\u00e1nea de Barcelona (CCCB), as\u00ed como creador y responsable de su famosa secci\u00f3n Cinema Invisible (2004-2009). Nuestro invitado participar\u00e1 del programa inaugural, dedicado a su filmograf\u00eda, el cual incluir\u00e1 piezas en formato anal\u00f3gico (35mm y super 8), dictar\u00e1 un seminario te\u00f3rico-pr\u00e1ctico \u201c<\/b>Im\u00e1genes Perdidas, Visiones Reencontradas\u201d, del 10 al 12 de julio en el Centro Cultural de Espa\u00f1a y realizar\u00e1 una Masterclass \u201cEntre Perforaciones\u201d el 11 de julio en el Espacio Fundaci\u00f3n Telef\u00f3nica. <\/b><\/span><\/span><\/p>\n

Como funci\u00f3n especial de la muestra tendremos el estreno regional de Potamkin<\/i> (66\u2019), primer largometraje del canadiense Stephen Broomer, adem\u00e1s del programa especial \u201cIm\u00e1genes migrantes<\/i>\u201d curado por el colectivo Hambre. La inauguraci\u00f3n de la muestra ser\u00e1 el d\u00eda mi\u00e9rcoles 12 de julio a las 7.30pm en el Centro Cultural de Espa\u00f1a.<\/span><\/p>\n

Entre las dem\u00e1s actividades, se dictar\u00e1n los talleres gratuitos \u201cGifs y Apropiaci\u00f3n B\u00e9lica\u201d <\/b>y \u201cFotogramas para Lima\u201d, vinculados directamente a la apropiaci\u00f3n desde soportes anal\u00f3gicos y digitales; y tendremos una exhibici\u00f3n art\u00edstica que comprender\u00e1 <\/b>video-instalaciones, arte sonoro y objetual a cargo de los artistas \u00c1lvaro Icaza, Ver\u00f3nica Luyo y Arturo Kameya; esta ha sido curada por Elisa Arca y Efra\u00edn Bedoya Schwartz y va del 10 al 15 de julio en Lucila Walqui Galer\u00eda. <\/span><\/p>\n

MUTA, Muestra Internacional de Apropiaci\u00f3n Audiovisual<\/b> es posible gracias al Centro Cultural de Espa\u00f1a en Lima, el Espacio Fundaci\u00f3n Telef\u00f3nica, la Alianza Francesa de Lima, Lucila Walqui Galer\u00eda, Colectivo Hambre, el taller de grabado Diablo Fuerte y el Cineclub Dulces Tr\u00f3picos.<\/span><\/p>\n

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Fanpage<\/b>: <\/span>https:\/\/www.facebook.com\/MUTAoficial<\/span><\/a><\/p>\n

Reel Oficial MUTA 2017<\/b>: <\/span>https:\/\/goo.gl\/PLGMiE<\/span><\/a><\/p>\n

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PROGRAMA COMPLETO <\/span><\/b><\/p>\n

Programa inaugural: Antoni Pinent (70 minutos)<\/span><\/span><\/b><\/p>\n

Reel: <\/span>https:\/\/goo.gl\/FoHDn7<\/span><\/a><\/p>\n

QR CODE \/ FILM [#1A] + [#1B] [work in process\/ Paul Sharits at Kassel<\/b>] (2015-\u00bf?, Suiza-Alemania, 5\u2019, s\u00faper 8) <\/span><\/p>\n

L\u2019altra faccia della Luna<\/b> (2014, Italia-Suiza, 9\u201952\u201d) <\/span><\/p>\n

n\u00ba 0. psicosiS<\/b> (1992, Espa\u00f1a, 3\u2019) <\/span><\/p>\n

2?1: A Space Cut<\/b> (2005-2007, Espa\u00f1a, 8\u201944\u201d) <\/span><\/p>\n

4.200 fotogrames sense sortir de casa<\/b> (1995-1997, Espa\u00f1a, 3\u201940\u201d)<\/span><\/p>\n

Mi primer 35 mm<\/b> (1995-1997, Espa\u00f1a, 1\u2019) <\/span><\/p>\n

Descenso<\/b> (2001-2002, Espa\u00f1a, 1\u2019) <\/span><\/p>\n

Sumando al centro<\/b> (2000-2001, Espa\u00f1a, 1\u201927\u201d) <\/span><\/p>\n

M\u00fasica visual en vertical<\/b> (1999-2000, Espa\u00f1a, 1\u2019) <\/span><\/p>\n

GIOCONDA \/ FILM<\/b> (1999, Espa\u00f1a, 50\u201d) <\/span><\/p>\n

QR CODE \/ FILM<\/b> (2014, Suiza, 3\u2019) <\/span><\/p>\n

FILM QUARTET \/ POLYFRAME<\/b> (2006-2008, Espa\u00f1a, 9\u201924\u201d) <\/span><\/p>\n

G\/R\/E\/A\/S\/E<\/b> (2008-2013, Espa\u00f1a-Suiza-Alemania, 22\u2019, 35 mm)<\/span><\/p>\n

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Programa Nacional (90 minutos)<\/span><\/span><\/b><\/p>\n

Curado por Milagros T\u00e1vara y Efra\u00edn Bedoya Schwartz<\/span><\/p>\n

Reel: <\/span>https:\/\/goo.gl\/davuQq<\/span><\/a><\/p>\n

Hipersomnia<\/b>, Felipe Esparza (2013, 3\u201913\u2019\u2019) <\/span><\/p>\n

Mecanismo velador,<\/b> Diego Vizcarra (2014, 20\u201932\u2019\u2019) <\/span><\/p>\n

El Obedecedario,<\/b> Juan Daniel Molero (2012, 1\u201925\u2019\u2019) <\/span><\/p>\n

Turista Hitchcock,<\/b> Marco Pando (203, 4\u201939\u2019\u2019)<\/span><\/p>\n

Bagua,<\/b> Mauricio Godoy (2009, 1\u201947\u2019\u2019) <\/span><\/p>\n

Propaganda D\u00e9cimo Aniversario<\/b>, Cristian Alarc\u00f3n \u00cdsmodes (2010, 2\u201914\u2019\u2019) <\/span><\/p>\n

Camino Barbarie,<\/b> Javier Becerra Heraud (2004, 23\u2019) <\/span><\/p>\n

1977,<\/b> Paola Vela (2011, 8\u201933\u2019\u2019)<\/span><\/p>\n

Vac\u00edo\/a,<\/b> Carmen Rojas Gamarra (2016, 6\u2019)<\/span><\/p>\n

Going to a funeral 101,<\/b> ALejandra Morote Peralta (2015, 2\u201928\u2019\u2019) <\/span><\/p>\n

Peruano Trome,<\/b> Gabriel Acevedo (5\u201933\u2019\u2019) <\/span><\/p>\n

Far\u00e1ndula,<\/b> Fernando V\u00edlchez (10\u201940\u2019\u2019)<\/span><\/p>\n

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Programa Internacional (120 minutos)<\/span><\/span><\/b><\/p>\n

Curado por Nicol\u00e1s Carrasco<\/span><\/p>\n

Twelve Tales Told,<\/b> Johann Lurf (2014, Austria, 4\u2019) <\/span><\/p>\n

Physical Examination<\/b>, Mauri Lehtonen (2012, EE. UU, 3\u2019)<\/span><\/p>\n

It\u2019s not a Prison if you Never Try the Door<\/b>, Joshua Gen Solondz (2013, EE.UU, 7\u2019) <\/span><\/p>\n

The Was<\/b>, Soda_Jerk & The Avalanches (2016, Australia, 14\u2019)<\/span><\/p>\n

Las variaciones Schwitters<\/b>, Alberto Cabrera Bernal (2012, Espa\u00f1a, 6\u2019) <\/span><\/p>\n

Postface<\/b>, Frederic Moffet (2011, Canada, 8\u2019) <\/span><\/p>\n

Yi-Ren (the person of whom I think),<\/b> Tzan Wu (2016, Taiwan, 14\u2019)<\/span><\/p>\n

Now! Again!,<\/b> Alexander Johnston (2014, EE.UU., 5\u2019) <\/span><\/p>\n

Cut Out<\/b>, Guli Silbertein (2014, Reino Unido, 4\u2019) <\/span><\/p>\n

Jive<\/b>, Steve Cossman (2011, EE.UU, 8\u2019) <\/span><\/p>\n

Broken Tongue<\/b>, Monica Saviron (2014, EE.UU., 3\u2019) <\/span><\/p>\n

The Devil<\/b>, Jean Gabriel Periot (2012, Francia, 8\u2019)<\/span><\/p>\n

Even if she had been a criminal\u2026,<\/b> Jean Gabriel Periot (2006, Francia, 10\u2019)<\/span><\/p>\n

Full of Fire<\/b>, Rhayne Vermette (2014, Canad\u00e1, 2\u2019) <\/span><\/p>\n

Picture Particles<\/b>, Thorsten Fleisch (2014, Alemania, 6\u2019) <\/span><\/p>\n

Answer Print<\/b>, Monica Saviron (2016, EE.UU., 5\u2019) <\/span><\/p>\n

Wild Currents<\/b>, Stephen Broomer (2015, Canad\u00e1, 6\u2019)<\/span><\/p>\n

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Programa Im\u00e1genes Migrantes (58 minutos)<\/span><\/span><\/b><\/p>\n

Curado por Florencia Incarbone, Colectivo Hambre<\/span><\/p>\n

Impresiones para una m\u00e1quina de luz y sonido<\/b>, Colectivo Los Ingr\u00e1vidos (2015, M\u00e9xico, 6’43”) <\/span><\/p>\n

\u00d1ores (sin se\u00f1alar),<\/b> Annalisa D. Quagliata (2016, M\u00e9xico, 2’53”) <\/span><\/p>\n

Familiar<\/b>, Paz Encina (2014, Paraguay, 9’01”) <\/span><\/p>\n

Diario de Pamplona<\/b>, Gonzalo Egurza (2011, Argentina, 16’30”) <\/span><\/p>\n

Mapas<\/b>, Oscar Guar\u00edn Mart\u00ednez (Colombia, 3’21\u2019\u2019) <\/span><\/p>\n

Morning… came a day early<\/b>, Richard Kerr (2015, Canad\u00e1, 9’16”) <\/span><\/p>\n

The Robbery<\/b>, Arun Nura (2013, India, 7\u201939\u2019\u2019) <\/span><\/p>\n

359 diapositivas 2013-2016<\/b>, Leonardo Zito (2016, Argentina, 2’38\u2019\u2019)<\/span><\/p>\n

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Foco Mar\u00eda Ca\u00f1as (51 minutos)<\/span><\/span><\/b><\/p>\n

Reel: <\/span>https:\/\/goo.gl\/CiwHMn<\/span><\/a><\/p>\n

My Pigman \/ Moribundia \/ Toro\u00b4s revenge<\/b> (2005-6, 6\u2019) <\/span><\/p>\n

Dios se r\u00ede en las alturas \/ Holy thriller<\/b> (2011, 4\u2019) <\/span><\/p>\n

S\u00e9villana. La Sevilla del diablo<\/b> (2013, 40\u2019)<\/span><\/p>\n

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Foco Peter Lichter (Hungr\u00eda) (62 minutos)<\/span><\/span><\/b><\/p>\n

Reel: <\/span>https:\/\/goo.gl\/bV52FY<\/span><\/a><\/p>\n

Light-sleep<\/b> (2009, 6\u2019) <\/span><\/p>\n

Look inside the ghost machine<\/b> (2012, 4\u2019) <\/span><\/p>\n

No Signal Detected<\/b> (2013, 3\u2019) <\/span><\/p>\n

Rimbaud<\/b> (2014, 20\u2019)<\/span><\/p>\n

Polaroids<\/b> (2015, 13\u2019) <\/span><\/p>\n

Pure Virtual Function<\/b> (2015, 3\u2019) <\/span><\/p>\n

Non-Places: Beyond the Infinite<\/b> (2016, 6\u2019) <\/span><\/p>\n

Some of the Sensations<\/b> (2017, 5′)<\/span><\/p>\n

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Foco Dalibor Baric (Croacia) (35 minutos)<\/span><\/span><\/b><\/p>\n

Reel: <\/span>https:\/\/goo.gl\/Qg1oDG<\/span><\/a><\/p>\n

The Horror of Dracula<\/b> (2010, 3\u2019) <\/span><\/p>\n

Transparent Sheets with virus perforations like punch cards passed through the host on the soft machine<\/b> (2011, 2\u2019) <\/span><\/p>\n

The spectres of Veronica<\/b> (2011, 8\u2019) <\/span><\/p>\n

Molly Horrors<\/b> (2014, 10\u2019) <\/span><\/p>\n

My game of longing<\/b> (2014, 10\u2019) <\/span><\/p>\n

The Wild Psalms<\/b> (2015, 2\u2019)<\/span><\/p>\n

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Foco Collectif Negatif (Francia) (54 minutos)<\/span><\/span><\/b><\/p>\n

La vida de los pollos<\/b>, Boris du Boullay (2005, 3\u201911\u2019\u2019) <\/span><\/p>\n

Alberto y yo<\/b>, Boris du Boullay\u00a0 (2005, 2\u201951\u2019\u2019) <\/span><\/p>\n

Soudain<\/b>, V\u00e2n Ta-Minh (2008, 1\u201920\u2019\u2019) <\/span><\/p>\n

Jeuness<\/b>, Yves-Marie Mah\u00e9 (2008, 1\u201922\u2019\u2019) <\/span><\/p>\n

Blow job<\/b>, Fran\u00e7ois Rabet (2008, 2\u201923\u2019\u2019) <\/span><\/p>\n

La recherche de la v\u00e9rit\u00e9 par la critique de textes et de documents<\/b>, Fabien Rennet (2009, 5\u201910\u2019\u2019) <\/span><\/p>\n

Rester mince grace a b\u00e9b\u00e9<\/b>, Fabien Rennet (2009, 4\u201930\u2019\u2019) <\/span><\/p>\n

Black\u2019s back<\/b>, Derek Woolfenden (2009, 12\u2019) <\/span><\/p>\n

Relrap erdnetne suov ed edalam dner em a\u00e7<\/b>, Yves-Marie Mah\u00e9 (2010, 1\u201945\u2019\u2019) <\/span><\/p>\n

Demain, j\u2019arr\u00eate la drogue<\/b>, Yves-Marie Mah\u00e9 (2011, 1\u201945\u2019\u2019) <\/span><\/p>\n

Touche moi pas<\/b>, Yves-Marie Mah\u00e9 (2011, 1\u201940\u2019\u2019) <\/span><\/p>\n

Polaro\u00efd versus roman photo<\/b>, Yves-Marie Mah\u00e9 (2012, 3\u2019) <\/span><\/p>\n

Marseille<\/b>, Yves-Marie Mah\u00e9 (2014, 2\u201925\u2019\u2019) <\/span><\/p>\n

Amort<\/b>, Yves-Marie Mah\u00e9 (2014, 4\u201925\u2019\u2019) <\/span><\/p>\n

Le centre rouge<\/b>, Yves-Marie Mah\u00e9 (2015, 2\u201908\u2019\u2019) <\/span><\/p>\n

La desaparici\u00f3n de las abejas,<\/b> Christophe Fr\u00e9miot (2017, 3\u201953\u2019\u2019)<\/span><\/p>\n

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Funci\u00f3n especial<\/span><\/span><\/b><\/p>\n

Potamkin<\/b> <\/i>de Stephen Broomer (Canad\u00e1, 2017, 66\u2019) <\/span><\/p>\n

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\u00a0<\/span><\/b>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Nicol\u00e1s Carrasco nos env\u00eda esta informaci\u00f3n muy interesante Del 7 al 15 de julio se proyectar\u00e1n casi 100 cortometrajes de found footage de cineastas como Antoni Pinent, Stephen Broomer, Peter Lichter, Dalibor Baric y Mar\u00eda Ca\u00f1as. MUTA-MUESTRA INTERNACIONAL DE APROPIACI\u00d3N AUDIOVISUAL es un encuentro de exhibici\u00f3n audiovisual gestado por el Cineclub Dulces Tr\u00f3picos y que […]<\/p>\n","protected":false},"author":1,"featured_media":4143,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[756,92,757,93,758],"tags":[],"_links":{"self":[{"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/4142"}],"collection":[{"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4142"}],"version-history":[{"count":4,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/4142\/revisions"}],"predecessor-version":[{"id":4148,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/4142\/revisions\/4148"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/media\/4143"}],"wp:attachment":[{"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}