pantalla fantasma is an Audiovisual Competition held on an annual basis oriented specifically towards radical, extreme, destructive, subversive audiovisuals…
pantalla (screen) because it is conceived as a kind of exploration that detects what is happening on the boundaries of a light zone.
fantasma (phantom) because it demands the “ghost´s” attitude of attempting something unattainable, without fear of succumbing to the media.
“The replaced body” describes an arbitrary Armenian girl’s summer day in Yerevan. The video is presented in a traditionally cinematographic manner, based on the vision of the character with whom the identification is established. In one hand we have the cinema as a declining institution that switches from its hegemonic psychological identification to a sensory experience ground, while in the other hand runs correlative the activity of the environment in which the video is developed, like as in the case of the ancient domains of the cinematographic institution as values source is already part of a time that gets displaced in front of any future attempt. In other words that’s a video about a crisis of the identity codes. http://vimeo.com/55355585
A man dedicates himself to kidnapping people, torturing them with sound, and converting them into vegetables without a soul or face. Nevertheless, one of them, who was the centre of the man’s attention for some reason, recovers his humanity and decides to take revenge by using the most deadly weapon of all: a super 8 camera. http://vimeo.com/54598726
A group of women, perhaps ghosts, perhaps devils, are buried in the crypt of a cemetery, condemned by an ancient curse. These lascivious and perverse succubi do not seem to lament their fate and dedicate all their time to pleasure-seeking. But the wretched women do not know that God wants to punish their shamelessness and to do this He sends an exterminating angel… http://vimeo.com/54776602
Gallician sailors work on a ferry between the Danish city of Romo and the German island of Sylt. One of them buys a video camera and begins to film his daily life and that of his companions on innumerable voyages during a winter that gets harder and harder. Document on the emigration from Gallicia to northern Europe. Transposition of “Moby Dick” by Herman Melville. http://vimeo.com/55313678
Reflecting hidden places in mind and space, Ebir Nari traces a story of mythical geography and ancient death ritual, shot in India, the Caucasus and England. Inspired by the concept of the Tibetan Book of the Dead, the film is a raw contemplation on the images of life and the hereafter, which smears intellectual borders and reassembles the spiritual atlas of human beliefs. The foundation of the narration is a sketch, a drawing, a landscape of a language with all its variety of discursive formations and surrogates. It is a synthetic story, the conglomerate of all likenesses, reflections and human delusions. Intertextuality layers text over text, meaning over meaning, creating the wholeness of a metatext where the objective referents dissolve in linguasphere. In harmony with the pictures the plot develops into the marginal tale of a cartographer. http://vimeo.com/54948139
Two scenes of family in collaboration. One scene of lounge and walkway. Two centres of subversive action. Fantasy and reality as is usual. I want to highlight the initiative of the actresses for doing what they like. The accompanied rhythm, the voice and the unseemly remarks. When desires coincide and ride towards the end of the film. http://vimeo.com/54763333
“A comedy in five parts full of excitement, suspense, logic, cruelty and madness like the fairy tales we tell children to help them through life until death” (From the screenplay of “The Third Generation”, by R.W. Fassbinder) “When I was a little girl my mama used to lock me in the attic when I was bad, which was pretty often. And I would pretend I was a princess trapped in a tower by a wicked queen. And then suddenly this knight on a white horse with these colors flying would come charging up and draw his sword. And I would wave. And he would climb up the tower and rescue me. But never in all the time that I had this dream did the knight say to me: ‘Come on, baby, I’ll put you up in a great condo’. (From the screenplay of “Pretty Woman”, by J.F. Lawton). The film start from a premise of fiction: how would “Pretty Woman” (the famous movie with Julia Roberts) be, if it had been made by the German filmmaker Alexander Kluge?: Surely it would have been darker, and more ironic, chaotic and fragmented, than the original. But also a way to think about what was wrong before, between and after the Reunification of Germany. In a conversation with Heiner Muller, Alexander Kluge asked him to say what kind of thing, animal, job, whatever… could Deutschland be. Heiner Muller answered: “just a pretty woman”. Maybe it’s such a small world, just a coincidence, or maybe not. The first Pretty Woman was released in 1990, between the fall of the Berlin Wall – November 1989 – and German Reunification, on October 3rd 1990. So, the main character, the pretty woman, who is played by Julia Roberts, has here an allegorical function and can be read in several ways. She can refer to a country, according the words of Heiner Müller, or also to the working-class, (she is a worker, a prostitute, undertaking the kind of work that the Left has excluded from their remit). Her circumstances represent the decadence of the class struggle and the entrance of the entire working class to consumerist society with its consumer worries and consumer happiness. Therefore, as historical context, in the film, the 90’s play the role of a black, broken mirror, in which the reflections provide the link with the consumer dimension of human relations… In this allegorical sense, she could be also a building – a Hotel, a 100 unit housing project, apartment blocks in soviet style, maybe a skyscraper or a great condo- but, definitely, a building… slated for demolition. Although, of course, that was also the end of the 20th Century. http://vimeo.com/54601560
Inside, time stands still. Outside, times of tragedy. http://vimeo.com/55090425
A community that functions autonomously, led by agents with very specific tasks. Everything is concentrated into two hectares. Neither primitive nor modern. Its rent is an economic unit and a home. http://vimeo.com/54777610
Concert-talk based on the book “Primeros materiales para Una Teoría de La Jovencita” by Tiqqun, published by Acuarela Libros in early 2012. This is a book about love. It deals with the impossibility of love in our economic structure. What does this mean? Capitalism is not out there: in the IMF, the WTO and the ECB. Capitalism is the promise of paradise on earth, and idea of success and realisation, a power of fascination. Tiqqun gives it a name and form: the Young Girl. The Young Girl is not a woman or a man but an image, a model, an ideal. Eternal youth, unlimited seduction, indifferent pleasure, love insured against all risks, control of appearances, zero defects. http://vimeo.com/54948138
A sweet, frazzled, fragile, mentally unbalanced young girl obsessed with crystals, dolphins, Plieadians, David Icke and Richard Hoagland becomes increasingly disillusioned with the realm of the new age. In particular her obsession and connection with the Billy Meier Pleiadian contacts. She is evicted from her room and forced into the outside world subject to the effects of “The Dead Zone”. A world we know as a time not meant to exist. A period where everything turns in circles, where the true original experience of life simply doesn’t exist anymore. Now she must discover the secret of the year 1982 and it’s connection to the present day 2012. http://vimeo.com/54758413
Musical alter ego of the artist Lehior Bilbao (Donostia, 1983) at his performances as a one-man band on keyboards, programmings and voice, he started out as a DJ in 2007, playing records at a number of clubs, inaugurations and fiestas. Since his return to Bilbao in 2009 he has deejayed at several clubs both in Bilbao and Donostia (Ondarra 16bis, Doka, Bukowski, Txondorra, Bullit Groove Club…).
This is the pseudonym used by the multitalented Álvaro Matilla in musical projects such as KRPNTRS, OPUS GLORY IGNOMINIA, TARUHO, ETRANGLER L’ETRANGER and ZARATATHUSTRA, with which he has created almost 20 works. Now he is going it alone using the same nickname under which he brought out in the autumn “Dead Chickenhead’s Revenge”, his first work. He blends improvisation, “performance” and abstract sound, his live shows do not leave one indifferent, and the “Ghost Screen Concert” which he will cause a surprise with at the festival Pantalla Fantasma will not be an exception. http://www.myspace.com/karpenters www.facebook.com/AlKarpenter
Artist born in Bilbao, Vizcaya in 1964. In 1989, he joined the BFA San Francisco Art Institute in San Francisco. This controversial and multifaceted artist started out in 1994 at the Art Dealers Introductions exhibition held at the Jack Hanley Gallery in San Francisco. In 1995, he collaborated as an actor in “El Día de la Bestia” by Alex de la Iglesia and in Death of an Anarchist by Bruce Miller in the USA. That same year, Churruca took part in Sótano Primero, and Festimad at the SolGallery in Madrid and in Masturbatoria at the Fine Arts Faculty of the Basque Country. His vocation as a “performer” was defined more clearly as of 1996, the year in which he carried out, among others, actions such as Yak the Performer at the Fine Arts Faculty of Salamanca or Superhighways of the Fine Arts Faculty of the Basque Country. In 1997, he was in Videoacciones, El Cuerpo y sus Fronteras held at the IVAM in Valencia and at the Reina Sofia Museum in Madrid and at El Kiosco de Kioscos, at the Ziemur space in Bilbao. In 1998, he took part in several actions organised by Mediaz, the Basque Artists Association, at the Protest Fiesta held at the Montehermoso Centre in Vitoria and at the collective exhibition Champion League, at the Arsenal Gallery in Bilbao. In 1999, he presented the performances Tecnoaldeano Urbano at the Caos space in Bilbao, the Guggenheim explained to children, at the Bilbao stock exchange, and POP at the Abisal space in Bilbao. He collaborated once again as an actor in the film by Alex de la Iglesia, “Muertos de Risa” and produced the action video VIEJOCALVOLOCOFEORAROPASTILLERO, for the “Temas” programme of Canal Plus. These were followed by participation at the Anti-Pessimismus Group Show, Show’n’Tell in Prague and he took part in the II Performance Festival in Segovia. In 2001, he did the videos La Mancha de Acteón that show the presentation of “Elektronikaldia” in San Sebastián and 51 vs 49% Confesión, which he presented at Espai Miau in Barcelona. At that time he also created Muro de las Quejas for Espacio Abisal and exhibited at the Catálogo General Gallery in Bilbao. In 2003, he received first prize for the “Caos” video in Bilbao. In 2004, he took part in the projection of the prologue of use forthcoming film El Payaso, included among the actions designed to provide the setting for La Stanza by Fausto Grossi, that took place at the “La Caraba” bookshop in Barakaldo. The most noteworthy of his parasitic works with other filmmakers include De Mente Mutua with Manuel Ortega Lasaga, made between 2007 and 2008 Los cuentos de Negruri and Anomalía Anormal. A retrospective exhibition of his audiovisual works took place in 2009 during the Ex Is cycle at Zinebi. Also at Zinebi, but during the 2012 show, he presented together with Elbio Aparisi the web-series Feisles in the Bizarrismos Audiovisuales Contemporáneos section. He is a frequent collaborator of the Caóstica festival.
PF2013ko hautaketa-batzordeko kideak hauek izan dira:
Marion Cruza Le Bihan is an artist. She has been involved with audiovisual projects and collaborations since 2005. She has exhibited her work at the Montehermoso Cultural Centre (Vitoria-Gasteiz 2010), at the Sala Rekalde (Bilbao 2010) and General Catalogue (MEM 2008, Bilbao). She also took part in Pantalla Fantasma I (2012) and ZINEBI (Bilbao, 2008). Dissipation and chaos are the environments in which she moves and represent her centre of operations. Since 2011, she has been engaged in research on her doctoral thesis “Transit and Representation”, a paper on duration at the time of filming and the relationship with what may be generated “there”. She thinks that being a member of the PFII jury has been an excellent opportunity to put into practice observation as gesture, a gesture uninterested in confirming anything.
Txuspo Poyo graduated from the University of the Basque Country. In 2001, the Marcelino Botín Foundation gave him a grant for a residence at the ISCP (Internation Studio and Curatorial Program) in New York and he studied at CADA (new technologies centre) at the University of New York. In 2006, the Arts and Law Foundation and the Arts Foundation of Valencia awarded him a grant to carry out the Delay Glass project. That same year he received the Gure Artea prize of the Basque Country. In 2008, he received the Unión Fenosa award. Txuspo has taken part in the 15th Image Study seminars in Madrid. 2010 he was one of the guest artists on the Masters programme of the University of Cuenca. His exhibitions include, among others, the one presented at Artium of Vitoria, the Panera Centre in Lerida, the Art and Design Museum of Costa Rica, the Montcada Gallery in Barcelona and BizBAK in Bilbao. He has taken part in collective exhibitions such as Remance: Looking for McLuhan. Pratt Manhattan Gallery, Nueva York. Geopolitics of animation at the CAAC in Seville and at Marco in Vigo, Les Recontres Internationales Paris/Madrid/Berlin, the 2nd triennial of Angola, File in Sau Paulo, Brazil. Cine y casi Cine at the Reina Sofía Museum, Madrid. Multitude at Artist Space, New York. Fondazione Sandretto Re Rebaudengo, Guarene-Turín, Italy. Using montage and pre-technological devices, he constructs stories in which the tension is created in crossed images. A storyline in which historical and unfinished residues flow together with fragments of both individual and collective cultural imagery, captured from the history of art, the world of cinema, architecture and science fiction literature. His oeuvre contributes a rereading of production and representation modes and models.
Jorge Núñez de la Visitación (Santurtzi, 1983). Fine arts graduate. I live in Bilbao (Basque Country). Winner of Injuve 2012. My work includes the production of films such as Poder Exótico (Screaming tides) (2009), Cabudanni (2010) -together with Ander Lauzirika-, La Momia Invisible (2010), Rasputín y elpasadizo mágico (2012), Marrón de Momia (2012) -together with Miguel A. García-, DkeeM / RoT / La secoya del Mundo Futuro (2012) or Bath Salts (2013); the most performative aspect with music groups Grumos Lalai (together with Héctor Rey), Delicias 140 (together with Rosa Parma) and Niebla Fascista and the direction of the audiovisual exhibition Pantalla Fantasma and the film magazine Fuerza Vital since 2009. At this time I am completing my doctoral thesis entitled “Frictions. Artistic artifices in Contemporary Cinema” at the Basque Country University.
