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Acciones para la pantalla

2o22, LAS SYNERGYS (together with Paula Guerrero, Esperanza Collado and Javi Montero)

Duration variable,
sequence of actions performed outdoors&indoors plus film programme

Portable screen frame 2,44x1,83m plus legs, window, white projection screen fabric, red and pink 90’s raincoats, regional walnuts and dried figs, 2 wooden Haritz walnut crackers, 16mm CIR Catozzo splicer, waxed paper cones, KARBA projektiontisch, 16mm and Super-8mm projectors, film loop platform, electricity and sound cables (50m), microphone

Photo series: 6x6 B&W and colour negative
“The rectangle was here before we came, and it will be here after we have gone. So it seems that a film is, first, a confined space, at which you and I, we, a great many people, are staring.”
(Hollis Frampton)
But were the light reflected on our faces to come from a window, and the image projected parallel to it were to be lost in the sunlight of the landscape, were the film to have been sustained in time for a week or so, and we found ourselves there, observing, waiting, what form would the absence of the screen then take? We think of the missing rectangle, and yet, from our empirical location and experience, we always saw a trapezoid, many trapezoids, all different, and each person, at each instant, had ours.
Starting up the screen, giving it certain autonomy, could help us confirm the proposition that Isidoro Valcárcel Medina expounds in 9 secuencias sobre la pantalla: projection as servant of the support on which it rests. In the projection environment, the audience’s level of attention fluctuates and is nuanced according to different environmental parameters while some specific elements are maintained, favouring attention as a shared gesture, a filmic gesture. Kidnapping the screen would undoubtedly disrupt attention, but what if the state of confusion and the need to search for a support for the light brings back that shared gesture?