15/01/2020

How many films have you seen on the recommendation of a friend? How many scenes have you imagined through someone else's story? And how many images have you created yourself, while you described to a lover that gesture which captivated you so?

The relationship between film and radio is an interesting one. The screen appears to be indispensable for the cinema but, at the same time, we always make cinema greater beyond the screen´s limits, transforming ears into eyes and watching through our ears. Similarly, we enjoy those conversations about films which have yet to be shot. That is also cinema.

The history of canonical cinema has been constructed upon images made by men. But we will work on films directed by women using cinematographic elements which are not images. Playing. Experimenting. Words, sounds, music, stories, news, thoughts, letters. Because we believe that there are many ways of watching films.

Lur Olaizola and Jone Uriarte met one summer. In the summer of 2015. Not just any old summer and not on any old beach. To begin with, they were wearing safety helmets and size XXL yellow reflective vests. That day they would visit their new workplace:  a movie theatre and an exhibition hall under construction. Although reported to be haunted, within a few months the site would become a new contemporary culture centre: Tabakalera. Currently, Lur is the coordinator of the film department and Jone works in the exhibition department. 

Jone always endeavours to go to the films programmed by Lur, and Lur never misses the opportunity to attend the exhibition openings. Now, finally, their conversations and conspiracies regarding images, works, texts, sounds, scripts, rhythms, dreams and dances converge in Phoenix Ragazza, their first project together.

Episode #04. 'Marguerite Duras. Le Camion'

Silence. And suddenly, music.

A shady and closed place. The curtains are drawn. The lamps, on. Carpets. Mirrors. It is a room. Through a white curtain, daylight. The place, therefore, is protected from light. A round table in the center. Next to it, two seated characters: Gérard Depardieu and Marguerite Duras. Manuscripts on the table. It means that the story of the movie will be read. The two will read the story.

G.D:

Is it a movie?

MARYLAND:

It could have been a movie

(pause)

It is a movie. Yes.

 

15/01/2020

How many films have you seen on the recommendation of a friend? How many scenes have you imagined through someone else's story? And how many images have you created yourself, while you described to a lover that gesture which captivated you so?

The relationship between film and radio is an interesting one. The screen appears to be indispensable for the cinema but, at the same time, we always make cinema greater beyond the screen´s limits, transforming ears into eyes and watching through our ears. Similarly, we enjoy those conversations about films which have yet to be shot. That is also cinema.

The history of canonical cinema has been constructed upon images made by men. But we will work on films directed by women using cinematographic elements which are not images. Playing. Experimenting. Words, sounds, music, stories, news, thoughts, letters. Because we believe that there are many ways of watching films.

Lur Olaizola and Jone Uriarte met one summer. In the summer of 2015. Not just any old summer and not on any old beach. To begin with, they were wearing safety helmets and size XXL yellow reflective vests. That day they would visit their new workplace:  a movie theatre and an exhibition hall under construction. Although reported to be haunted, within a few months the site would become a new contemporary culture centre: Tabakalera. Currently, Lur is the coordinator of the film department and Jone works in the exhibition department. 

Jone always endeavours to go to the films programmed by Lur, and Lur never misses the opportunity to attend the exhibition openings. Now, finally, their conversations and conspiracies regarding images, works, texts, sounds, scripts, rhythms, dreams and dances converge in Phoenix Ragazza, their first project together.

 

Episode #03. 'Lucrecia Martel. La Cienaga'

Unmade beds, wrinkled sheets, muddy feet on the bed, a phone ringing. Brothers and sisters running around the house, the last summer days of a sad couple who hate each other. Outside, there is a viscous pool, with green and dark waters, half abandoned. On the edge of it, hammocks that have known better times, piled up in a messy row. The atmosphere is heavy, a hot and humid day that precedes storm.

In this third program of Phoenix Ragazza, we talked about the movie La Ciénaga, by the Argentine filmmaker Lucrecia Martel. As the film is linked to literature, we propose the following writers and filmmakers living around us - and to which we greatly appreciate - to perform this exercise: to tell us stories of horror and fantasy of his childhood, as if we were on one of those beds of the film, telling us summer stories. Thus, we will have Aintzane Usandizaga, Kimia Kamvari and Maren González.

 

15/01/2020

How many films have you seen on the recommendation of a friend? How many scenes have you imagined through someone else's story? And how many images have you created yourself, while you described to a lover that gesture which captivated you so?

The relationship between film and radio is an interesting one. The screen appears to be indispensable for the cinema but, at the same time, we always make cinema greater beyond the screen´s limits, transforming ears into eyes and watching through our ears. Similarly, we enjoy those conversations about films which have yet to be shot. That is also cinema.

The history of canonical cinema has been constructed upon images made by men. But we will work on films directed by women using cinematographic elements which are not images. Playing. Experimenting. Words, sounds, music, stories, news, thoughts, letters. Because we believe that there are many ways of watching films.

Lur Olaizola and Jone Uriarte met one summer. In the summer of 2015. Not just any old summer and not on any old beach. To begin with, they were wearing safety helmets and size XXL yellow reflective vests. That day they would visit their new workplace:  a movie theatre and an exhibition hall under construction. Although reported to be haunted, within a few months the site would become a new contemporary culture centre: Tabakalera. Currently, Lur is the coordinator of the film department and Jone works in the exhibition department. 

Jone always endeavours to go to the films programmed by Lur, and Lur never misses the opportunity to attend the exhibition openings. Now, finally, their conversations and conspiracies regarding images, works, texts, sounds, scripts, rhythms, dreams and dances converge in Phoenix Ragazza, their first project together.

Episode #02. 'Spell Reel'

In the second session of Phoenix Ragazza we will take the movie Spell Reel as a starting point. A collective film created by the Portuguese artist and filmmaker Filipa César. On the axis of the proyect is the archive of the militant cinema of Guinea-Bissau: images and sounds that show the war of independence against the Portuguese colony (1963-1974). When the file was recovered in 2011, it was in a very bad state, just like the country's own history. What to do with an image and sound file that reaches your hands? Itziar Orbegozo, Maddi Barber, Mirari Echávarri and Tamara García will be the guests who will answer this question.

 

15/01/2020

How many films have you seen on the recommendation of a friend? How many scenes have you imagined through someone else's story? And how many images have you created yourself, while you described to a lover that gesture which captivated you so?

The relationship between film and radio is an interesting one. The screen appears to be indispensable for the cinema but, at the same time, we always make cinema greater beyond the screen´s limits, transforming ears into eyes and watching through our ears. Similarly, we enjoy those conversations about films which have yet to be shot. That is also cinema.

The history of canonical cinema has been constructed upon images made by men. But we will work on films directed by women using cinematographic elements which are not images. Playing. Experimenting. Words, sounds, music, stories, news, thoughts, letters. Because we believe that there are many ways of watching films.

Lur Olaizola and Jone Uriarte met one summer. In the summer of 2015. Not just any old summer and not on any old beach. To begin with, they were wearing safety helmets and size XXL yellow reflective vests. That day they would visit their new workplace:  a movie theatre and an exhibition hall under construction. Although reported to be haunted, within a few months the site would become a new contemporary culture centre: Tabakalera. Currently, Lur is the coordinator of the film department and Jone works in the exhibition department. 

Jone always endeavours to go to the films programmed by Lur, and Lur never misses the opportunity to attend the exhibition openings. Now, finally, their conversations and conspiracies regarding images, works, texts, sounds, scripts, rhythms, dreams and dances converge in Phoenix Ragazza, their first project together.

Episode #01. 'Born in flames'

How many scenes have you imagined through someone's story? And how many images have you created yourself, while describing to a lover that gesture that so captivated you?

The relationship between cinema and radio is curious. It seems that the screen is indispensable for the cinema, but, at the same time, we always make the cinema bigger outside of it. Turning ears into eyes. Seeing through our ears. We also enjoy those conversations about those films that have not yet been filmed. That is also cinema.

The history of canonical cinema has been built based on images made by men. We will work on films directed by women using cinematographic elements that are not images. Playing. Experimenting. Words, sounds, music, testimonials, news, reflections, letters. Because we believe there are many different ways to watch movies.

 

 

09/01/2020

VOCES QUE CAMINAN

With Gabriel Villota Toyos 

According to Bruce Chatwin, the aborigines would leave a record of their journeys on foot through their songs: when these songs were sung, not only was there a mnemonic resource activated which facilitated the interpretation of a sound map, but likewise the sound of the song itself, from the voices and stories, turned material. The cities in which we live are saturated with noise: this saturation precludes listening, something for which silence is required. And that silence is produced away from the city centre, in places far away from power and capital.

This programme commences from the crossover of both ideas: the pursuit of the silence necessary to listen to the sound of the voice, on the one hand, and the observation of the body and its sound when moving, on the other, as a necessary support for the voice.

Gabriel Villota Toyos (Bilbao, 1964). PhD in Audiovisual Communication and professor at the University of the Basque Country, where he was director of cultural programming, he has worked since the early 90s in various activities in relation to the sound and visual arts. His works have been published in numerous specialist magazines, catalogues and books. He recently curated the “Displaced bodies” and “Displaced bodies II” cycles on performance, dance and film at the Reina Sofía Museum (Madrid) and Azkuna Zentroa (Bilbao).

Episode #03: “Derivas sonoras del cuerpo por la periferia urbana”

There are especially fertile film genres when it comes to showing the urban periphery: one of them was Neorealism, and also Cinema Nuovo, both in Italy. But in this program we will first walk along the peripheral boulevards with the flâneur de Baudelaire and Benjamin, and we will continue with the surrealist ambitions and the situationist drifts, which guide us through those liminal landscapes that open before our eyes in the Pasolini films, Antonioni or Sica; In this program we will chat with Professor Leire Ituarte (UPV / EHU) about all this.

- Euskaraz -

Bruce Chatwin-ek kontatzen duenez, aborigenek oinez ibilitakoa gogoan izateko kantuak erabiltzen zituzten; kantu horiek abestean, soinu-mapa bat interpretatzeko aukera ematen zuen baliabide mnemotekniko bat aktibatzeaz gain, ahotsean eta kontakizunean oinarritutako kantuaren sonoritatea bera material bihurtzen zen. Bizileku ditugun hiriak zarataz beteta daude: saturazio horrek ez du entzuten uzten, horretarako isiltasuna behar baitugu. Eta isiltasun hori hiriguneetatik urrun dago, boterearen eta kapitalaren eremuetatik bereizita dauden lekuetan. 

Programa honen abiapuntua bi ideia horiek gurutzatzea izan zen: ahotsaren soinua entzuteko isiltasun nahitaezkoa bilatzea, alde batetik, eta gorputza eta haren soinua behatzea, beste alde batetik, bestea behatuz, ahotsaren euskarri ezinbesteko gisa.

Gabriel Villota Toyos (Bilbo, 1964). Ikus-entzunezko Komunikazioan doktore eta irakasle Euskal Herriko Unibertsitatean, kultura programazioko zuzendari izana da unibertsitate horretan bertan. 90.eko hamarkadaren hasieraz geroztik, ikus-entzunezko arteekin lotutako hainbat jardueratan lanean ari da, aldizkari espezializatu, katalogo eta liburu askotan bere lanak argitaratuz. Duela gutxi performancea, dantza eta zinemari buruzko “Cuerpos desplazados” ["Gorputz lekualdatuak"] eta “Cuerpos desplazados II” zikloetan komisario lanak egin ditu Madrilgo Reina Sofía museoan eta Bilboko Azkuna Zentroan.

3. Saioa: “Derivas sonoras del cuerpo por la periferia urbana”

Genero zinematografiko bereziki emankorrak daude hiri periferia erakusteko orduan: horietako bat Neorrealismoa izan zen, eta baita Cinema Nuovo ere, biak Italian. Baina programa honetan, lehenago, bulebar periferikoetan ibiliko gara, Baudelaire eta benjaminen flâneurrarekin, eta deanbulazio surrealistekin eta noraezean dabiltzanekin jarraituko dugu, Pasolini, Antonioni edo Sicaren filmetan gure begien aurrean zabaltzen diren paisaia liminal horietan barrena gidatzeko balio digutenak; programa honetan Leire Ituarte (EHU) irakaslearekin hitz egingo dugu.