LA COOPERATIVA DE ARTE EN VIDEO

To view this page ensure that Adobe Flash Player version 9.0.124 or greater is installed.

Please login or register to make a comment!

LA COOPERATIVA DE ARTE EN VIDEO www.video-mexico.org Credits: DVD Design: Alfredo Salomón and Alejandro Loera Print design: Fernando Llanos and Alejandro Loera Translation: Andrea Willnhammer Subtitles: Alejandro Loera Acknowledgments: Thanks to all artists, curators and promoters who have participated in the marathons of cLa Cooperativa de Arte en Video d, specially those involved in this DVD. We believe that closing ranks now is more than necessary. Thanks to the Patronato de Arte Contemporáneo, in particular Viv- iana Kuri, because without their support this DVD wouldn´t exist, many thanks also to the Laboratorio Arte Alameda (Tania Aedo and Karla Jasso) and the Fundación / Colección Jumex, for their support in presenting this compilation.

Antonio Barquet, Tobias and Ramiro at the Tamayo. Paula Astorga, Ingrid and other friends of the FICCO. Susan Grilo and Centro Cul- tural Muros in Cuernavaca.

Carmen Garrido and Rosa in the Medi- ateca de la Caixa Forum. Laura Baigorri, Susana Blas, Nilo Casares and other accomplices for the support. Byrt Wamak, Arcángel Con- stantini, Hector Falcon, Alejandro Loera, Lucia Cavalchini, Tanya Escamilla, Monica Quijano, Tech-mex band and other national part- ners, for generating synergy.

Of course thanks to all who acquire this DVD, which still believe in the national industry ... more. less.

and that consume contemporary art in video. 2009 Cooperativa de Arte en Video, some rights reserved. This videogram is authorized for private and domestic use only. Copy, edit, reproduce, modify all or part of the work, public exhibition or commercial sale exploitation, rent or exchange requires the explicit authorization of the authors. The video is culture. Sponsors: Art in Video Cooperative Mexican art in video marathon DVD compilation Art in Video Cooperative Mexican art in video marathon DVD compilation Curators: Fernando Llanos and Alfredo Salomón Duration approximately: 85 minutes Carolina Esparragoza Víctor Manuel Dzul Chi Sharon Toribio Alejandra Echeverría Guillermo Gómez Peña Paulina del Paso Ximena Cuevas A. Salomón Arcángel Constantini Manolo Arriola Fabiola Torres-Alzaga Simon Gerbaud Fernando Llanos César Martínez Doble A Héctor Falcón Roberto de la Torre Yibrán Asuad Antonio Domínguez Laura Cuello y Esteban Azuela Alejandro Coronado Cortés Edgar Orlaineta Mauricio Alejo Miguel Calderón Sarah Minter Pedro cZulu d González Emilio Valdés REGION 0 NTSC 1. The Cooperative cA cooperative is an association of people that joins voluntarily to satisfy their common social, cultural and economic needs and aspirations, through an enterprise that is collectively owned and democratically managed. d (1) Mexico is considered one of the countries with the highest con- sumption of soft drinks in the world. Pascual Boing is a mexican soft drinks industry that began selling fruit drinks in the decade of the forties. In the 80 9s, after a three years strike because of trouble in pay- ments and after the owner declared in bankruptcy, the workers bought it and became a cooperative, the most famous of Mexico. According to left-wing sectors on the country, and also Fox, former president of the republic, is an example of a successful workers movement. (2) The cooperative Pascual Boing is the only brand that has been able to sell, for a time, more than transnational cola drinks. (3) With a tenth of +avors and a logo inexplicably cexpropriated d from Dis - ney 9s Donald Duck, Pascual Boing today employs over four thou- sand people, favoring country 9s agricultural sector, consumes more than 20 thousand tons of non transgenic fruit annually. In addition, the cooperative has a cultural foundation and a col- lection of one thousand paintings from important artists, that were donated to fund it. (4) The history of this cooperative is what inspired us to form our cCo- operativa de Arte en video d. 2. Art in Video The video is an increasingly used media among artists of all kinds of disciplines. After four decades of artistic use it has proved to be a very accessible tool; suitable for the approach of personal speeches and experimentation; capable to withstand a wide audio- visual richness, and +exible concerning to gender understanding and presentation of its contents. This is why one of the most important contributions stated by this contemporary audiovisual media is the +exibility in the understand - ing of gender and presentation of their contents. The richness of what today might be considered cvideo d is formed in great part from the human memory, either on tape or in bytes. Within this sea of possibilities there are contents that can or can 9t be considered art, depends on its proposal, bet, contribution, commitment, socializa- tion, rigor, or simply the validation system where inserted. For this reason we decided not to use the word cvideo art d in this project, cArt in Video d is an open term to all kinds of options and contents. More horizontal and less speci*c, more inclusive and less castrating, trying to cover the richness of the video phenomenon. 3. The History cLa Cooperativa de Arte en Video d was born four years ago at the Museo Tamayo de Arte Contemporáneo. One Sunday of 2003, a compilation of 119 videos was showed for seven hours, with a re- cord attendance of over one thousand people. It wasn 9t an cextra-large d collection, it was an extensive review of material produced by people who use the video with artistic inten- tions in Mexico. It was a small sample of what is and can be done at a proposal level, and with a joint of efforts. Fourteen programs of 30 minutes were armed. The blocks were curatorial selections of very de*ned sites and responded to arbi - trary groups of all kinds of nature. The second time that this project took place was during the Festi- val Internacional de Cine Contemporáneo de la Ciudad de Mexico (February 2007). For over twelve Sunday hours were screened over 160 videos of 140 Mexican artists. It was subsequently pre- sented at the Centro Cultural Muros in Cuernavaca. 4. The collection From the 279 videos that participated in the two editions of the cCooperativa de Arte Video d above, Alfredo Solomon and I have selected a program with the 27 works that we believe represent the most interesting and unique to what has been presented in such reviews. This selection was presented in May 2007 in the Mediateca de la Caixa Forum, at the Festival Loop, the most important and largest of Barcelona. This is the *rst Mexican video compilation to be ac - quired for reference by the Mediateca. Here is a form that makes the project move in a more dynamic format than with the marathon. Strictly speaking, what we present is not La Cooperativa de Arte en Video, as a drop of sea is not the sea, rather it is a refreshing taste of some +avors that we consider important to share. Enjoy! Fernando Llanos General Coordinator cbe happy, consume video d 1) http://es.wikipedia.org/wiki/Cooperativa 2) http://es.wikipedia.org/wiki/Pascual_Boing 3) http://www.pascualboing.com/historia.html 4) http://www.sodepaz.net/modules.php?name=News&*le=article&sid=1119 1. Morphological Character Carolina Esparragoza, 1:35 min., 1999. Bloody animation that does not lose the sense of humor. 2. The Shadow Víctor Manuel Dzul Chi, 2:00 min., 2003. Video made by a young mayan in his community. 3. Ladies in Red Sharon Toribio, 4:30 min., 2002. Witchcraft in video. 4. I did not chose this body, I am not this body Alejandra Echeverría, 3:18 min., 1998. The body as container of something else ... 5. Videogra 0ti Guillermo Gómez-Peña, 2 min., 2001. Video-Short and solid performances. 6. Magic Silhouette Paulina del Paso, 4:30 min., 2001. About the contemporary obsessions of the slim body. 7. Raf 1e Ximena Cuevas, 7 min., 2003. Action documented from television where the artist questions the content of the idiot box. 8. When the sun heats A. Salomón, 2:27 min., 2002. Tribute to Ray Conniff. 9. Robot Arcángel Constantini, 3:00 min., 1999. The arti#cial intelligence does exist. 10. Magré-tout Manolo Arriola, 4:24 min., 2001. Sadomasochists re$ections on the comings and goings of video blur. 11. Rabbit crossing the forest Fabiola Torres-Alzaga, 2:00 min., 2002. Brief city absurd 12. Mystery 8 Simon Gerbaud, 1:00 min., 2006. That is a deceitful shadow. 13. C I T t A Fernando Llanos, 3:30 min., 2004. How do you live loneliness in a city of 23 million people? 14. Love is blind César Marínez, 4:00 min., 2006. A music band of blind sings cLove at #rst sight. d 15. Microphthalmia Andrea Robles and Adriana Bravo, 6:00 min., 2005. Moments of memory in monochrome. 16. Mock Héctor Falcón, 0:40 min., 2005. Life and work of a cdummy d. 17. Shouters Roberto de la Torre, 4:44 min., 2005. Shouting is one of the most vital expressions that has the human being. 18. Police Yibrán Asuad, 3:56 min., 2007. Scene from the feature #lm cPolice d, work in progress. 19. Bleur Antonio Domínguez, 5:30 min., 2006. Re$ections about landscape, time and space. 20. S. Hamaliuk Laura Cuello and Esteban Azuela, 1:00 min., 2006. Lauro #nds out how to alter time with his bathtub faucet. 21. Persevering Alejandro Coronado Cortés, 1:08 min., 2006. A clear goal: to cross the wall. A foolproof method: perseverance. 22. Draw dead Edgar Orlaineta, 3:00 min., 2001. Found drawing. Upside down $y drawing his death on the dust. 23. Universe 2 Mauricio Alejo, 0:55 min., 2004. A starry night. A #nger gets in frame and points to the distance. 24. MTV Spots Miguel Calderón, 3:25 min. Documented television actions. 25. The 0rst bath Sarah Minter, 2:00 min., 2006. A voyeur camera from a #xed point is witnessing a love encounter. 26. So you can know how does it feels Pedro cZulu d González, 3:57 min., 2006. Animation that tells a rock story with ecological purposes. 27. Happy Birthday #25 Emilio Valdés, 5:07 min., 2006. The loss of time in my life during night tours at D.F. + info@video-mexico.org www.video-mexico.org

less