{"id":25489,"date":"2026-10-02T19:01:53","date_gmt":"2026-10-02T17:01:53","guid":{"rendered":"https:\/\/bulegoa.org\/?p=25489"},"modified":"2026-10-02T19:01:53","modified_gmt":"2026-10-02T17:01:53","slug":"zinema_ilegaleko-124-saioa","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/eu\/zinema_ilegaleko-124-saioa\/","title":{"rendered":"ZINEMA_ILEGALEKO 124. SAIOA"},"content":{"rendered":"<p><b>Carole Douillard<\/b>ek proposatutako Tariq Teguiaren <b><i>Ha\u00e7la<\/i><\/b> (2004), Faith Wildingen <b><i>Waiting<\/i><\/b> (1972) eta Luigi di Gianniren <b><i>Il culto delle pietre<\/i><\/b> (1967) filmen proiekzioa, eta, gero, solasaldia.<\/p>\n<p>Aurkeztutako hiru film labur bakoitzak oso gertutik ezagutzen dudan gai bat lantzen du. Lehenengoak, <i>Ha\u00e7la<\/i> izenekoak (Tariq Teguia, 2004), aljeriarrek herrialdea uzterakoan izaten dituzten zailtasunak eta erbesteratzea ditu hizpide, oso aukera gutxi eskaintzen baitie emantzipatzeko. Bigarrena <i>Womanhouse<\/i> lanaren (Johanna Demetrakas, 1974) pasarte bat da, eta <i>Waiting<\/i> (1972) performancea dokumentatzen du; bertan, Faith Wilding artista feministak aurrez aurre jartzen ditu bere bakardade fisikoa eta 1970eko hamarkadaren hasieran AEBko emakumeek zuten patu existentziala. Hirugarren film laburrak,<i> Il culto delle pietre<\/i> (Luigi di Gianni, 1967) izenekoak, 1960ko hamarkadan Italiako hegoaldean egiten zen erritu kolektibo bat aztertzen du: komunitate baten eta bere ingurune naturalaren \u2014leku baten\u2014 arteko harremana, gizakiek errealitatearekin eta kontatzen diren istorioekin duten lotura sakratuaren bidez. Sekuentzia horietako bakoitzak, garai jakin bat eta testuinguru kultural eta sozial bat aztertzeaz gain, espazioarekiko oso harreman pertsonal bat ere ikertzen du: gorputzarena eta intimitatearena.<\/p>\n<p><b>Carole Douillard<\/b> artista, performerra eta ikerlaria da. Bere edo interpreteen presentzia erabiltzen du, espazioan gutxieneko esku-hartzeak sortzen dituen eskultura baten gisa. Bere lana ikusgarriaren mugan dago \u2014saihestu nahi baitu\u2014, eta, haren bidez, berriz definitu nahi ditu ikuslearen figura, performancearen espazioa eta performerren eta publikoaren arteko botere-borrokak. Bere lanek, askotan, dokumentuak, filmak, testuak eta argazkiak edukitzen dituzte. Azken urte hauetan, bereziki interesatzen zaizkio artxibo feministak, memoriaren kontserbazioa espazioan eta denboran, eta arte-arloko keinuak. Bere performance berrienak toki hauetan aurkeztu dira, besteak beste: The Judith Foundation, CalArts &amp; LACE, Los Angeles; Kadist, San Francisco eta Beijing; <i>Dance First Think Later<\/i>, Les Communs, Geneva; Douglas Gordon-en <i>The Morning After<\/i> erakusketaren barruan, Institut Giacometti, Paris; eta Oslo Kommunes Collection &amp; Oslo Biennalen 2019-2021, Oslo.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Carole Douillardek proposatutako Tariq Teguiaren Ha\u00e7la (2004), Faith Wildingen Waiting (1972) eta Luigi di Gianniren Il culto delle pietre (1967) filmen proiekzioa, eta, gero, solasaldia. Aurkeztutako hiru film labur bakoitzak oso gertutik ezagutzen dudan gai bat lantzen du. Lehenengoak, Ha\u00e7la izenekoak (Tariq Teguia, 2004), aljeriarrek herrialdea uzterakoan izaten dituzten zailtasunak eta erbesteratzea ditu hizpide, oso [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":25490,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[48],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>ZINEMA_ILEGALEKO 124. 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