Isaki lacuesta biography sampler
Fernán Gómez Theater, Madrid. May 9, 2019 The producer and musician Raül Fernández (Refree) and the filmmaker Isaki Lacuesta inaugurated the Flamenco Madrid 2019 festival last Thursday, May 9 (after the suspension due to illness of the El Cabrero concert that was to be held the night before) in the Guirau room from the Cultural Center of the Villa "Fernán Gómez", in a brave and successful start in favor of the creative alternative to the flamenco universe, despite the misunderstanding of some orthodox, where the roots and new interpretations of a genre come together so linked not only to our most indigenous culture but, above all, to the emotions it provokes (the "sleeping gene", as the musician Antonio Arias says). The show offered by the Catalan artists went beyond the mere musical stage representation since they built a perfect symbiosis between the emotions caused by naked and hypnotic music amplified with the reinterpretation of a cinematographic work. The bet seemed risky within a festival of this type, and hence the great merit of having been able to combine the talent of two creators who are above creative labels and sanitary cords. On stage a selection of songs that Refree composed for Lacuesta's latest film, "Entre dos aguas" (in addition to his others from previous albums) were shown with a selection of images from this film that the filmmaker was showing as it was he developed the show, without a pre-established script, simply translating what the music suggested into a visual discourse. Despite the spaciousness of the room, the atmosphere was quite intimate. Faced with scenic minimalism (three guitars: one classical, one acoustic and one Gibson-type electric) the entire performance took place in a respectful silence that Refree interrupted between tracks to comment on the creative process with Lacuesta, whom he accompanied during the filming and with which he shared anecdotes that he was rescuing, such as
Catalonia and the Venice Architecture Biennale 2023
From May 20 to November 26, the 18th Venice Architecture Biennale takes place. This exhibition includes a remarkable Catalan participation since 2012, when Catalonia participated for the first time with its own national pavilion. Since then, the Catalan Pavilion enjoys growing health and prestige and seeks to renew itself edition after edition.
It all started with the Grand Tour, this bourgeois custom of greeting adulthood with a trip, starting in Calais, which crossed Europe until reaching Italy, the mother of all heritages. The Grand Tour, at the end of the 17th century, had Venice as an obligatory stop. The city, one of the most charismatic in Europe, quickly became a memory and began to represent itself in the form of landscapes like those of Canaletto.
The Venice Biennale
At the end of the 19th century, when the competition between cities to attract Grand Tour practitioners (who were beginning to be called tourists ) became apparent, Venice entered the circuit of major events with its art exhibition. The first edition of what we now call the Venice Biennale was born then, in 1895, and instantly became a success, with a quarter of a million attendees, and has continued to be held, virtually uninterrupted, ever since. .
In 1930 the Biennale already had its own archive and did nothing but increase its prestige. In fact, it only stopped because of the two world wars. Thus, the Venice Biennale has contributed to the global significance of art, and has grasped (and, often, instigated) its evolution up to the present day.
In 1980, architecture was having a sweet moment. Postmodernism was the first truly popular cultural movement in global architecture since Art Nouveau . Italy flagged both the discourse and the dissemination. In this context, the Venice Biennale diversified and inaugurated an architecture exhibition, which alternated with the art exhibition, highlighting their relationship. That Isaki Lacuesta is to run a screening with live audio intervention at the closing event and there will be a chance to see “Zumiriki” in Basque Paisaia brings together the most recent and daring films of Basque-Navarran documentary production; a sample of works proposed as an open exercise of aesthetic and narrative exploration. This year, the selection of titles question the concept of memory. Each filmmaker addresses different acceptations – intimate, family, and historical memory – and from their aesthetic or narrative representation, they delve into the human need to set memory in the form of a story, or to manipulate it through film and writing. .Special sessions at Punto de Vista present the latest in Basque-Navarrese documentary and a homage to Barbara Hammer
Two programmes will be screened: the feature-length “Enero”, by Ione Atenea from Pamplona, showing for the first time in Navarra, and a session with the shorts “Para ver lo que quiero ver necesito más que los ojos” by Arnau Padilla, “Ura sartu zen barrera” by Peru Galbete, “Xulia” by Lur Olaizola, “Medvedek” by Ainhoa Gutiérrez and “Labo” by Jesús María Palacios.
Barbara Hammer has helped, over eighty films, to write the history of feminist cinema. With her sensual exploration of lesbian identity, she confronted the dominant narrative and proposed new ways of telling about sexuality and the body. The writer and activist So Mayer describes her as an experimental pioneer who put lesbian life on screen. “Hammer defined lesbian cinema almost single-handed, with the double strength of her formal experimentation and her political commitment. Her generosity of spirit, intellect and embodiment lives on in the films she made that changed the landscape not only of cinema, but of our queer lives and histories.” One year after her death, Punto de Vista pay