LAPIEZA ART SERIES | 50 | SED | 12.2012 : VIDEOART

ART SERIES 50 | SED | 12.2012 : VIDEOART

641 LUCIA C PINO – SIN TÍTULO (I WOULD RATHER NOT TO)
642 LEFT HAND ROTATION – SUMMER 2008
643 SINQUENZA – WATER
644 CARLOS LLAVATA – PENITENT BRIDGE
645 TOMOTO – EAU NON POTABLE – FRANCE 2012
646 KHOSRO KHOSRAVI – WATCHES TV
647 YAN NAZCA – ANIMAL QUE CAVA SU PROPIA TUMBA (5) SED
648 KRAPOOLA OOND GANDOOLA – CERTAIN PEOPLE – BERLIN 2012
649 ROBERTO EQUISOAIN – RIVER
650 OMAR JEREZ – ESTADOS UNDIOS (4) TOWERS

RIVER – ROBERTO EQUISOAIN – VIDEOART

Entonces el Ángel me llevó al centro de la llanura donde estábamos. Había allí un árbol cuyas raíces estaban al aire y la copa abajo y que tenía muchas ramas. Entre las ramas inferiores, que eran las de la copa, la primera era la fe.
Hadewijch, Visiones
El agua que sube, Río 1, Roberto Equisoain, 09:14 min, Berlín, 2011
Un río cuya agua sube hacia arriba, hacia su origen. Literalmente invertir el sentido con el objetivo de recuperar algo íntimamente humano: lo sobrenatural, lo irracional y el pensamiento estético: la relación del hombre con lo sagrado.
Roberto Equisoain es videocreador y fotógrafo. Desde 1998 vive y trabaja en Berlín, donde expone con regularidad. En sus obras investiga la relación entre texto e imagen en el ámbito del reciclaje audiovisual. Los textos se presentan como reflexiones, juegos de palabras, fragmentos de conversaciones o reelaboraciones de otros textos. Las imágenes consisten en una intervención, manipulación o recontextualización de material fílmico recuperado. Ambos lenguajes entran en contacto descubriendo y creando nuevos sentidos. Experimenta asimismo con la observación documental, la exploración del entorno urbano, el azar como elemento constructivo y la intervención poética de espacios.
Then the Angel brought me to the center of the plane in which we were. There there was a tree whose roots were in the open air and the crown below and which had a lot of branches. Among the inferior branches of the crown, the first one was faith.
Hadewijch, Visions
 
A video piece of a river whose water flows upwards, to its source. A new inversion literally takes place this time with the aim of recovering something more intimately human: the supernatural, the irrational and aesthetic thinking: the relationship of man to the sacred.
Roberto Equisoain is videoartist and photograph. Since 1998 he lives and works in Berlin, where he regularly exhibits his pieces. In his work he investigates the relationship between text and image within the frame of audiovisual recycling. His texts consist of reflections, puns, fragments of conversations or reprocessing of other texts.  The images develop on the basis of reused film material which is intervened, manipulated or recontextualized. Both languages come into contact generating and creating in this way new meanings. He also experiments with different forms of intimate documentary film, the exploration of urban space, with chance as a constructive element and with the poetic intervention in spaces.
ESTRENO EN LA NAVE DE BASURAMA
EL 22 DE DICIEMBRE – 8PM
AVENIDA DE DAROCA 49 CALLEJÓN MADRID
VIDEOART BY
KRAPOOLA  – YAN NAZCA – LUCIA C PINO
KHOSRO KHOSRAVI – LEFT HAND ROTATION – ROBERTO EQUISOAIN
CARLOS LLAVATA  – OMAR JEREZ – SINQUENZA  – TOMOTO

VIDEOART SERIES
PART OF PROYECTOR VIDEOART FESTIVAL
2012 – 5TH EDITION
http://proyectorvideoartfestival.blogspot.com

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arbor inversa/21st January/Photo-Video Exhibition/Galerie ZeitZone

Vernissage: Friday, 21st January 2011,  19:00

Roberto Equisoain: arbor inversa

Galerie ZeitZone, Adalbertstr. 79, 10997 Berlin Kreuzberg

January 21 – February 02, 2011

arbor inversa

Trees and rivers:

10 photographs of inverted trees with their crowns upside down.

3 video pieces of rivers whose water flows upwards, to its source.

1 fake painting with tree and river in a golden frame.

Then the Angel brought me to the center of the plane in which we were. There there was a tree whose roots were in the open air and the crown below and which had a lot of branches. Among the inferior branches of the crown, the first one was faith.

Hadewijch, Visions

Inverted trees appear in the Hebrew cabala and in Hindu and Christian iconography representing God’s wisdom and virtues. In 13th century, Hadewijch of Antwerp, in full ecstasy in the first of her visions, describes how an angel brings her to a garden in whose center is an inverted tree. It is the tree of the knowledge of God.

This exhibition consists of a series of portraits of mystic trees. They are absolutely normal trees, which only through a particular kind of attention are transformed into sacred ones. As Georges Perec suggests, a infraordinary reality leads to a extraordinary one when it is carefully observed. In this exhibition the mechanism that allows for this transformation is very simple: to turn them. Nevertheless, this simple operation implies something more than a mere perceptual change: it also indicates a rebel attitude: a basic and legitimate protest of reversing (and subverting) the real through searching its unforeseen, playful and critical dimensions.

This inversion of coordinates is a very simple action, but with far reaching consequences. Trying to mitigate an excessive scientism that abandons a human dimension in our perception and study of world, the philosopher Edmund Husserl in The Originary Ark, the ‘Earth,’ Does Not Move (1934) inverses the Copernican revolution: the earth does not turn around the sun, bur rather is again back under man’s feet as his essential geographical reference. In the photographs of this exhibition a new inversion literally takes place (the floor is up), this time with the aim of recovering something more intimately human: the supernatural, the irrational and aesthetic thinking: the relationship of man to the sacred.

But these are no more than words which, as mystics insist, don’t say anything; this text is actually superfluous.

…………………………………………………………………………………………..

arbor inversa

Árboles y ríos:

10 fotos de árboles invertidos, con la copa mirando hacia abajo.

3 vídeos de ríos cuya agua fluye hacia arriba, hacia el origen.

1 pintura falsa con río y árbol en marco dorado.

Entonces el Ángel me llevó al centro de la llanura donde estábamos. Había allí un árbol cuyas raíces estaban al aire y la copa abajo y que tenía muchas ramas. Entre las ramas inferiores, que eran las de la copa, la primera era la fe.

 

Hadewijch, Visiones

Los árboles invertidos aparecen en la cábala hebrea y en la iconografía religiosa india y cristiana, representando la sabiduría y cualidades de Dios. En el siglo XIII Hadewijch de Amberes, en pleno éxtasis, en la primera de sus visiones describe cómo un ángel la lleva a un jardín en cuyo centro se encuentra el árbol invertido. Es el árbol del conocimiento de Dios.

Esta exposición consiste en una serie de retratos de árboles místicos. Son árboles absolutamente normales, que sólo un determinado tipo de atención los convierte en sagrados. Como dice Georges Perec, una realidad infraordinaria conduce a lo extraordinario cuando se la observa con suficiente detenimiento. En esta exposición, lo que posibilita esa mirada transformada es un método muy sencillo: darles la vuelta. Pero esta operación tan simple conlleva algo más que un mero cambio perceptivo: también participa de una actidud contestataria; se trata de la protesta básica y legítima de invertir (y subvertir) lo real buscando lo inesperado, lo lúdico y lo crítico.

Esta inversión de las coordenadas es una acción simple, pero con unas consecuencias que se extienden mucho más allá. Intentando mitigar un excesivo cientificismo que abandona la dimensión humana en la percepción y estudio del mundo, el filósofo Edmund Husserl en El Arca originaria ‘Tierra’ no se mueve (1934) le da la vuelta a la revolución copernicana: la tierra no gira en torno al sol, sino que vuelve a estar bajo los pies del hombre como su referencia geográfica esencial. Con las fotos de esta exposición, literalmente, se da una vuelta más (el suelo está arriba) en este caso para recuperar algo todavía más esencialmente humano: lo sobrenatural, el pensamiento no racional y estético: la relación del hombre con lo sagrado.

Pero esto no son más que palabras que, como insisten los místicos, nada dicen; así que este texto en realidad sobra.


Lügen Mentiras/ 2010 ZEBRA Poetry Film Festival

LügenMentiras

Roberto Equisoain, Spanien, 2010, 6 min, Musik: Jorge Palomino, Gedicht: Lügen, Silvana Franzetti

2010 ZEBRA Poetry Film Festival

Kino Babylon (Mitte), Rosa-Luxemburg-Str. 30, 10178 Berlin
Samstag, 16.10.
20:30 Kino 3

Programm:

http://literaturwerkstatt.org/index.php?id=770


MINNEMYSTIK, 25.-27. Juni 2010, Kunstfestival 48-Stunden-Neuköln, Video

Minnemystik (Mystic of Love)

25.-27. Juni 2010

Sex-Kino-Shop

Friedelstr. 49
12047 Berlin

Fr 19:00 — 22:00

Sa 19:00 — 22:00

So 12:00 — 18:00

Minnemystik is a videoart piece in loop that is meant to be watched in a private cabin of a sex shop.
Minnemystik, mystic of love, consists of a collection of texts by Christian mystic women, mixed with images of faces of people who are reaching orgasm. These texts were written in a moment of full ecstasy, of mystic vision. The pictures are also images of abandonment, of renunciation to reason.


ZELIG/EQUISOAIN, 15th May, Photo-Video Exhibition

ROBERTO ZELIG

ROBERTO EQUISOAIN

Photo-Video Exhibition

Saturday 15th May, 20:00

Buntesdruckerei

Treppenhauskunst

Axel-Springer, 40, 3.OG

ROBERTO ZELIG

Photo

Chameleon Pictures

Site-specific pictures (scale 1:1), hanging in the very same space they’re showing. With this exhibition I want to call attention to the invisible, the unnoticed mundane. This pictures aim to pay attention to those small details which usually go unnoticed. Therefore these pictures do not add new images, but adapt themselves to existing reality and architecture, textures and colors. They are Chameleon Pictures.

Roberto Zelig  (Santiago de Chile, 1976) is a social quick-change artist who works in the field of site-specificity, mainly on the issue of multiple-personality, neurotic insecurity, as well as physical and mental mimicry.

ROBERTO EQUISOAIN

Video films

Series “Mujeres (Woman)”

Darling… I love you, 2003-2007, 5:20 min

Innocence, 2007, 2:58 min

All of us women are Joan of Arc, 2005, 7:00 min

Comedy 7, 2003, 2:37 min

The Insel, 2004, 7 min

Place, 2007, 4:48 min

Eternity,  2008, 6:45 min

Mistic of Love, 2010, 14 min

Photo

Gas stations

Night photographs of buildings of gas stations. The idea starts from a quotation from the film Breakfast at Tiffany’s: “I don’t want to own anything until I know I’ve found the place where me and things belong together. I’m not quite sure where that is just yet. But I know what it’s like. It’s like Tiffany’s.”  It represents the search of an imaginary paradise, the place that provides security – physical and mental security -, fictitious security, maybe fake security, but security after all, security more than enough for our own peace of mind.

Ramps

Series of photographs of interior ramps of car parks. It starts from a cinematographic quotation in Gilda: “I hate you so much, I think I’m going to die from it… darling.”  Hatred as a contradiction, as the beginning of passion. Maybe these photographs are the innards of an animal, a clean and cold animal, without viscosity, made of darkness and depth whose name, to put it without any kind of dramatism, is hatred.

Roberto Equisoain (Pamplona, 1973) is videoartist and photographer. He has lived and worked in Berlin since 1998, where he regularly exhibits his work.

He investigates the relationship between text and image within the frame of audiovisual recycling. His texts consist of reflections, puns, fragments of conversations or the reprocessing of other texts.  The images develop on the basis of reused film material which is manipulated or recontextualized. Both languages come into contact generating and creating new meanings in this way.

He also experiments with different forms of intimate documentary film, the exploration of urban space, with chance as a constructive element and with the poetic intervention in spaces.


No haikus. Autumn, Winter, Spring, Summer

Nohaikus. They are haikus and at the same time they are not. They are not haikus because they do not respond to the features of this genre of traditional poetry and they are because they are inspired by it and they intend to transfer it to the language of the images. A fragment of a river, a piece of sky, a part of a tree. Over a year I periodically recorded a video of the river, the sky and the tree: the passing of time, the seasons, the fall of leaves, the thaw or light changes are reflected in this way. Within this monotony the surprise is the great capacity of change of a landscape we believe static. I have chosen a particular place, which actually could have been any place; although the images seem to portray different spaces, they are always the same one. Maybe the important issue is simply to observe: stop and take the time to look at daily space, in which nothing happens, as though something extraordinary were taking place.

Título: No haikus. Autumn, Winter, Spring, Summer
Autor: Roberto Equisoain
Formato: 21 x 21 cm, tapa blanda, 88 páginas, con un dvd de 60 min.
Autoedición de 25 ejemplares, Berlín , 2009
Género: Arte, poesía, foto, vídeocreación

Los nohaikus son haikus y no lo son. No lo son porque no poseen los requisitos de este tipo de poesía tradicional y sí porque se inspiran en ella e intentan transferirla al lenguaje de las imágenes. Un fragmento de río, un trozo de cielo, una parte de árbol. Durante un año, de forma periódica y desde el mismo lugar he grabado en vídeo el río, el cielo y el árbol: así se refleja el paso del tiempo, las estaciones del año, la caida de las hojas, el deshielo o los cambios de luz. Dentro de esta monotonía la sorpresa es lo muy cambiante de un paisaje que creemos estático. Quizá lo importante es simplemente observar: detenerse y quedarse mirando como si en lo cotidiano, donde aparentemente no pasa nada, estuviese sucediendo algo extraordinario.


PORNOMYSTIC, 27th-29th January, Die SpukKommune, Video

PORNO
MYSTIC

Video Exhibition by Roberto Equisoain
27th-29th January, Vernissage 19:00
Die SpukKommune
Rauchhaus
Mariannenpl. 1A