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Descargar Catálogo BIM 2016 CA TÁ LO GO 2016 UNIVERSIDAD NACIONAL DE TRES DE FEBRERO RECTOR Aníbal Y. Jozami VICERRECTOR Martín Kaufmann SECRETARIO ACADÉMICO Carlos Mundt SECRETARIO DE INVESTIGACIÓN Y DESARROLLO Pablo Jacovkis SECRETARIO DE EXTENSIÓN UNIVERSITARIA Y BIENESTAR ESTUDIANTIL Gabriel Asprella DIRECTORA DEPARTAMENTO DE ARTE Y CULTURA Diana B. Wechsler ASOCIACIÓN CIVIL UNIVERSIDAD NACIONAL DE TRES DE FEBRERO (ACUNTREF) PRESIDENTE Mauricio de Nuñez VICEPRESIDENTE Jerónimo Juan Carrillo SECRETARIO Eugenia M.Tamay AGRADECIMIENTOS Abel Cassanelli, Agustina Odella Roca, Alejandra Harbuguer, Alfredo Allende Latorre, Ana Gallardo, Anabella Ciana, Augusto Latorraca, Auli Leskinen, Beatriz Ventura, Bita Rasoulian, Carla Paredes, Carlos Barrientos, Carolina Anelli, Christian Hippacher, Christine Meyer, Cristina Torres, Ekaterina Kosova, Estanislao de Grandes Pascual, Esteban Carbone, Florencia Mocchetti, Fulvia Sannuto, Gabriel Pressello, Gisela Chapes, Hélène Kelmachter, Jenny Lee, Jhali Walstein, José Carlos Mariátegui, Kyong Hee Kim, Land Niederösterreich, Laura Berdaguer, Linda Levinson, Loes van den Elzen, Lucie Haguenauer, Magda Jitrik, Marcelo Tealdi, María Alejandra Castro, María Berraondo, María de los Ángeles Cuadra, María José Fontecilla Waugh, Maria Mazza, María Pardillo Álvarez, Marina Guimãraes, Marina Rainis, Martin de la Beij, Outi Kuoppala, Patricia Betancur, Pilar Ruiz Carnicero, Reina Jara, Ricardo Ramón, Rodrigo Contreras, Silvana Spadaccini, Sofía Fan, Tamara Ferechian, Valeria Torres, Valery Kucherov, Vanesa Marignan, Victoria Barilli, Yi Chong Yul. Carlos Braun, Juan Boll, Guillermo Navone y Alejandro Pitashny, quienes tuvieron la iniciativa de crear el grupo de amigos del Muntref, que contribuyó a la realización de esta muestra. CA TÁ LO GO 2016 SOBRE LA BIM ABOUT BIM PALABRAS DEL RECTOR / WORDS FROM THE CHANCELLOR . 8 Aníbal Y. Jozami SOBRE LA TERCERA EDICIÓN DE LA BIM / ON THE THIRD EDITION OF THE BIM . 10 Andrés Denegri y Gabriela Golder PREMIO NORBERTO GRIFFA A LA CREACIÓN AUDIOVISUAL LATINOAMERICANA NORBERTO GRIFFA PRIZE FOR LATIN AMERICAN AUDIOVISUAL CREATION SOBRE EL PREMIO NORBERTO GRIFFA A LA CREACIÓN AUDIOVISUAL LATINOAMERICANA / ON THE NORBERTO GRIFFA PRIZE FOR LATIN AMERICAN AUDIOVISUAL CREATION . 14 JURADO / JURY . 18 OBRAS SELECCIONADAS / SELECTED WORKS . 22 a 52 EXPOSICIONES / EXHIBITIONS . 54 a 91 PROYECCIONES / SCREENINGS . 94 a 262 ACTIVIDADES ESPECIALES / SPECIAL ACTIVITIES . 264 a 305 BIM 2016 . 7 CATÁLOGO SOBRE LA BIM ABOUT BIM BIM 2016 . 9 CATÁLOGO PALABRAS DEL RECTOR / WORDS FROM THE CHANCELLOR Por / by Anibal Y. Jozami Rector UNTREF / Director MUNTREF UNTREF chancellor / MUNTREF director Ésta es la tercera edición de la BIM-UNTREF, un proyecto que surgió hace ya varios años, a partir de la iniciativa de dos profesores de nuestra universidad, Andrés Denegri y Gabriela Golder. La UNTREF es el sitio ideal para incubar este tipo de proyectos, dado que, en cuanto espacio académico, se planteó desde un comienzo estrechamente ligado a la experimentación, el desarrollo y la innovación en todas las áreas. Entre ellas, la del arte y la cultura se presenta con gran dinamismo y proyección tanto nacional como internacional. La tarea sostenida que desde la universidad venimos desarrollando en estas áreas, así como el compromiso con la posibilidad de ofrecer un espacio para la visibilización y circulación de obras de artistas de distin- tos orígenes en el ámbito del video y el cine expandido, dan paso a esta nueva edición de la BIM-UNTREF, que cuenta con la colaboración cre- ciente de organismos internacionales, embajadas y, en esta ocasión, con un gesto de simultaneidad con la BIM del Centro de Arte Contemporá- neo de Ginebra, con la que compartiremos parte de la programación. Este año, a 40 años del golpe de Estado que instauró la última dictadu- ra cívico-militar, la UNTREF convocó a 10 artistas a producir 10 videos de 4 minutos cada uno, para llevar adelante (como una década atrás) los Ejercicios de memoria. Son estas producciones comisionadas por nuestra universidad en el marco de la BIM las que se proyectarán tam- bién en Ginebra. Finalmente, la BIM-UNTREF será, asimismo, el espacio propicio para alojar una de las primeras Acciones BIENALSUR, que forman parte de la Bienal Internacional de Arte Contemporáneo de América del Sur, un work in progress que también lleva adelante nuestra universidad. En esta ocasión presentaremos la producción Confusión/Difusión, de la creado- ra cinematográfica Jeannine Meerapfel (Alemania), en colaboración con el músico Floros Floridis (Grecia). Avanzamos así en nuestra misión de establecer nuevos espacios para la exploración de otros formatos para el arte contemporáneo, así como para la internacionalización de nuestra escena artístico-cultural, 10 . tareas que, sin la labor sostenida y en convergencia de los equipos de UNTREF y MUNTREF, a los que siempre agradezco, no sería posible. This is the third edition of the BIM-UNTREF, a project that started several years ago thanks to the initiative of two of our professors, Andrés Denegri and Gabriela Golder. The UNTREF is the ideal place for this kind of project, since as an academ- ic space the university has since its beginnings been closely tied to experimen- tation, development and innovation in all areas. The area of art and culture at the university is highly dynamic one, projecting out in both Argentina and further afield. The work that the university has been doing in these areas, as well as its commitment to the possibility of offering a space to show and circulate works by artists of different origins in the field of video and expanded cinema, make this new edition of the BIM-UNTREF possible. The BIM is receiving growing support from international organizations, embassies and, on this occasion, a simultaneous BIM at the Centre d’Art Contemporain Genève, with which we will share part of the programme. This year, forty years after the coup d’etat that brought in the last civic-military dictatorship in Argentina, the UNTREF has invited ten artists to produce ten four-minute videos to perform (like one decade ago) the Exercises of Memory. It is these productions commissioned by our university as part of the BIM that will also be projected in Geneva. Lastly, the BIM-UNTREF will also be a fitting place to host one of the first -BI ENALSUR Actions, which are part of the International Biennial of Contemporary Art of South America, a work in progress that our university is also involved in. On this occasion, we will be presenting the production Confusion/Diffusion by film- maker Jeannine Meerapfel (Germany), in collaboration with the musician Floros Floridis (Greece.) So it is that we progress in our mission to establish new spaces for the explo- ration of other contemporary art formats, as well as for the internationalization of our artistic-cultural scene, work that without the sustained efforts and collabora- tion of the UNTREF and MUNTREF teams, to whom I am always grateful, would not be possible. BIM 2016 . 11 CATÁLOGO SOBRE LA TERCERA EDICIÓN DE LA BIM ON THE THIRD EDITION OF THE BIM Por / by Andres Denegri y Gabriela Golder Directores BIM / BIM directors Imágenes para descreer de las imágenes Images to disbelieve images Creemos en las imágenes técnicas, aún hoy, cuando somos testigos del alto desarrollo que han alcanzado las imágenes de síntesis, fundamental- mente las simulaciones digitales. Frente a una fotografía o un video, tam- bién ante la televisión y el cine, vemos el mundo y no una imagen. Man- tenemos una mirada fascinada; es asombrosa la solidez de su vigencia. Esto puede constatarse en lo cotidiano: si la fotografía de mi pasaporte está dañada, no podré atravesar ninguna frontera. Una imagen técnica de mí me da identidad, tiene más valor por mí que yo mismo. Frente a las imágenes técnicas somos ingenuos, y lo somos en un sentido doble. Si les creemos es porque entendemos que conllevan la verdad de un mundo del que son documento, como si la Verdad existie- ra. Entonces creemos que hay una Verdad y no versiones variables, diná- micas, sobre el mundo. Quizá sea por esto que nos cuesta comprender una imagen como una imagen, porque no logramos entender que no hay Verdad a la cual referirse. Esto se vuelve singularmente peligroso porque vivimos, cada vez más, rodeados de pantallas. Ellas nos educan, forman nuestra estructura de valores y, en coro, despliegan una versión del mun- do que se impone como verdad. En la década del 60, con su comercia- lización popular, el video entró en la escena del underground con un es- peranzador discurso de diversidad. Paradójicamente, hoy estamos en un lugar aún peor; ese instrumento antes inimaginable, esa potencial herra- mienta de liberación que es Internet, es utilizada por niñas para difundir sus tutoriales de maquillaje y así expanden gratuitamente una cultura que las cosifica. Esto es coherente con el sistema social en el que vivimos, un modelo que niega su ideología y la presenta como verdad natural. Así aceptamos la injusticia en la que se basa y de la cual es presa la grandí- sima mayoría de los humanos. El arte no es capaz de transformar esta realidad, no puede cambiar el mundo, para eso estaría la política. El arte simplemente genera nuevas re- laciones entre las cosas y, en el mejor de los casos, a partir de esto tal vez 12 . llegue a producir en alguien una reflexión antes improbable. Sabe a esca- so, pero en realidad no es poca cosa. Por eso en la BIM desplegamos una multitud de imágenes pensativas, pantallas que vibran repletas de ideas. Son imágenes que se saben imágenes y que invitan al espectador a ver- las como tales, que le indican que no hay una verdad a la cual referirse. El diálogo que se entable entre ellos podrá tomar un sinfín de direcciones y, si es auténtico, producirá el germen de un conocimiento nuevo. Ojalá que ese crecimiento nos sirva para ser menos ingenuos y más libres. We believe in technical images, even today, when we are witnesses to the way synthetic images, especially digital simulations, have developed.
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