H\u00e9ctor Bourges (Mexico City)<\/strong><\/p>\n To demothernise:<\/em> to disfigure, disengage, de-learn, divest, decolonise, disappear, discharge, displace, dismember, de-skin, disobey, disrobe, depopulate, dehumanise, disinter, disclose, discourage or desire.<\/strong><\/p>\n Like a panel from Aby Warburg\u2019s Atlas Mnemosyne,<\/em> the aim of this conference is to compare possible combinations of gestures, images and historical accounts creating tensions \u2013 that still remain active today \u2013 on drafting a \u201cghost contract\u201d that is the basis for a constant building up and knocking down of Mexico’s national project. It is a contract filled with open secrets:<\/em> things that \u201ceveryone knows\u201d, but things we cannot mention, cannot name, cannot let out. The aim of this art research project by Teatro Ojo is to explore and \u201cbring into play\u201d different forms of staging and performance (nahualism<\/em>, masks, metamorphosis, ventriloquism, etc.) that political powers have unleashed throughout Mexican history, turning a frankly colonialism-inspired policy on its head and giving rise to what Jacques Ranci\u00e8re calls \u201cthe part that has no part\u201d in the democratic contract.<\/p>\n H\u00e9ctor Bourges Valles<\/strong> has been a member of the theatre group Teatro Ojo since 2003. Teatro Ojo are currently preparing to take part in an exhibition at the Reina Sof\u00eda National Art Museum in Madrid and working on a new project for the exhibition Words as an Excuse<\/em> at the Mario de Andrade Library in S\u00e3o Paulo, Brazil. The group recently took part in the first Online Biennial,<\/em> curated by Jan Hoet and Cuauht\u00e9moc Medina, among others. Teatro Ojo\u2019s most recent projects are Xipe T\u00f3tec (Put yourself in my shoes),<\/em> Athens\/Madrid (2013) and Lo que viene (Coming up),<\/em> a stage project, El Gale\u00f3n Theatre, INBA, Mexico City (2012). In 2007 and 2010 Teatro Ojo received the gold medal for the \u201cbest work\u201d in the category Theatre Architecture and Performance Space. Prague Quadrennial 2011.<\/em> In 2012 Bourges coordinated an experimental academic project at the San Luis Potos\u00ed Arts Centre (CASLP), Theatre and Social Imagination Laboratory.<\/em> He is a member of the UNAM Theatre Management Advisory Board and the CASLP\u2019s Performing Arts Area. He has a degree in Political Science from the Ibero-American University and a postgraduate degree in Documentary Cinema from the Autonomous University of Barcelona.<\/p>\n Tuesday, 26 November at 7 pm.<\/strong><\/p>\n Catarina Sim\u00e3o (Lisbon)<\/strong><\/p>\n Staging a Decolonisation Process: Cinema Denying its own Present<\/strong><\/p>\n \u201cThe future of cinema needs to emerge from the denial of its own present.\u201d These were the words of Mozambique\u2019s Information Minister at the first African Cooperation Cinema Conference in 1977, and it was precisely the idea of \u201ccinema denying its own present\u201d that made Mozambique so appealing to film directors like Jean-Luc Godard, Jean Rouch and Ruy Guerra in the late 1970s.<\/p>\n Since 2009, Catarina Sim\u00e3o has worked on recovering the remaining footage collection of the Mozambique Liberation Front (Frelimo), kept in the Maputo State Archives.\u00a0Through a series of presentations, screenings and conversations held at a variety of venues, she discusses these visual narratives from a viewpoint going above and beyond the initial backdrop against which they were made, detecting their potential for creating new versions of the history of pictures.<\/p>\n This talk aims to structure a dialogue between the images of the Mozambique footage archive and texts written in conjunction with curator Leire Vergara. Using different examples, Sim\u00e3o attempts to recover the ambivalent and\/or contradictory relationship between the ideology-based official programme and the work of a group of intellectuals who intrude on the cinema industry of an African country that had recently emerged from a war of independence.<\/p>\n Catarina Sim\u00e3o<\/strong> is an independent Portuguese artist, architect and researcher. Her areas of research and collaboration include installation, video, cinema curating, radio programmes and participative workshops. In 2009 she began the project Fora de Campo\/Off-screen Project \u2013 Mozambique Film Archive<\/em> in Maputo, which combines research work with artists\u2019 presentations, conferences and lectures. This project has been shown at the Manifesta 8 Biennial in Murcia, the Andalusian Centre of Contemporary Art in Seville, the Serralves Museum in Oporto and Africa.cont in Lisbon. In 2012 she collaborated with the Living Archive programme at the Arsenal Cinema in Berlin. Fora de Campo\/Off-screen Project \u2013 Mozambique Film Archive<\/em> has recently been presented at the Sweet Sixties<\/em> conferences and the Home Works 6 Biennial,<\/em> both at the Ashkal Alwan Centre in Beirut. Catarina Sim\u00e3o has also written texts and publications on subjects such as film archives, political imagery, education and emancipation and the artistic practices that make this process central. At present she is collaborating with the Portuguese publishers GHOST on a project for reading and indexing theoretical texts written by artists in contexts of conflict.<\/p>\n Tuesday, 10 December at 7 pm.<\/strong><\/p>\n Filiep Tacq (Kortrijk)<\/strong><\/p>\n A Journey through Art Books<\/strong><\/p>\n How to think up a book. How to make a readable object from a set of ideas and intentions, and how to do this when the object is the result of dialogue between a designer and an artist. This lecture analyses questions arising on creating an art book: thinking of the cover like the fa\u00e7ade of a building, transferring a film to a book, how a book can unexpectedly disappear just as soon as it comes out or how a catalogue \u2013 the publication that records what has happened in an exhibition \u2013 can actually become a work of art itself. It reviews the work of authors such as Ibon Aranberri, Dirk Braeckman, Marcel Broodthaers, Rodney Graham, Boris Groys, Anna Torfs and Lawrence Weiner. All the issues discussed focus on a single idea: the idea of the book as a specific entity with its own vocabulary, its own means and its own internal logic.<\/p>\n Filiep Tacq<\/strong> has worked as an independent graphic designer specialising in books, art catalogues and artist’s books since 1984. He has taught at the Sint-Lucas Instituut in Gante and the Jan van Eyck Academie in Maastricht. He has worked on publications by artists including Francys Al\u00ffs, Ibon Aranberri, Marcel Broodthaers, James Coleman, Lili Dujourie, Abbas Kiarostami, Chris Marker, Juan Mu\u00f1oz, Pedro G. Romero, Michael Snow and Lawrence Weiner, and with institutions such as the Antoni T\u00e0pies Foundation of Barcelona, the New York DIA Centre for the Arts, Manifesta 2 in Luxembourg, the Argos Centre in Brussels, Birmingham\u2019s IKON Gallery, the Lisson Gallery in London, the New York Guggenheim, the Barcelona MACBA, the Reina Sofia National Art Museum in Madrid and the Georges Pompidou Centre in Paris.<\/p>\n Tuesday, 28 January at 7 pm.<\/strong><\/p>\n Elena Casado (Madrid)<\/strong><\/p>\n The Power of the Ordinary<\/strong><\/p>\n Just what it is that makes Comic Sans or Gand\u00eda Shore so irritating, so despicable? What are our stakes in this consensus? Playing with different senses of the ordinary can give us some clues. Ordinary things are vulgar, inferior. But they also have a lot to do with our routine day-to-day life. Ordinary sounds a bit like ordering, setting out categories and hierarchies, even if the lowly positions of ordinary things don\u2019t inspire us enough to take them on as values. Some would talk about empowerment. We\u2019re going to talk about vigour and chutzpah.<\/p>\n
![\"\"](\"https:\/\/bulegoa.org\/sites\/default\/files\/images\/logo_alhondiga_95.jpg\" "\\"\\""){kind=logo}
<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"