El vidEo ExpErimEntal En argEntina y sus procEsos

463 Pages·2012·10.57 MB·English

El vidEo
ExpErimEntal
En argEntina y
sus procEsos
(2000-2010)
clara garavElli
Tesis doctoral dirigida por Dra. María Luisa Ortega Gálvez
Co-directora Dra. Marta Elena Casáus Arzú
Doctorado del POP en Estudios Latinoamericanos
Departamento de Historia Moderna
Facultad de Filosofía y Letras
Universidad Autónoma de Madrid
Mayo 2012
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ÍndicE
Introducción [English Version]
Primera parte 23
1. Problemáticas 25
1.1 El video en la era digital. 25
1.1.1 Una terminología polifónica. 25
1.2 Lo experimental, esa categoría en constante resignificación. 37
1.2.1 Alternativo, independiente, de vanguardia. 39
1.2.2 Encuentros y desencuentros con el cine experimental. 43
1.3 Acerca del video experimental “nacional”. 46
1.3.1 Clasificaciones. 48
2. Estado de la cuestión: el objeto y su producción 51
2.1 Entre memorias, genealogías, historias críticas, hazañas y peripecias. 53
2.2 El video experimental en Argentina. Antecedentes. 68
2.3 Dinámicas del campo videográfico actual. 82
Segunda parte 101
La “Crisis del 2001” y su producción videográfica de urgencia
1. Explosión cultural y colectivización del arte. 106
1.1 El arte (de la) protesta: más allá del registro. 113
1.1.1 Los videos del Grupo de Arte Callejero (GAC). 114
1.1.2 20122001 (sueños) (Etcétera 2004-2005). 122
1.1.3 La “proposición dialógica” del Grupo Recolectivo. 128
1.2 El “videoactivismo”: una relación dialéctica truncada. 133
1.2.1 Por un nuevo cine, un nuevo país (ADOC 2002). 137
1.3 Las otras formas de la urgencia: apelando a la hibridez y el reciclaje. 155
1.3.1 Silencio modular (Oligatega Numeric 2006). 158
1.3.2 Naim (Arteproteico 2004). 171
2. Tvideo politics: el diálogo con los medios masivos de comunicación. 184
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2.1 Retando la unidireccionalidad: entre el video y el net-art. 189
2.1.1 Argentinian snuff (Gómez Tolosa 2002). 191
2.2 Bordeando lo amateur. 205
2.2.1 20/12 (Cohn 2002). 207
2.3 Apropiación: entre la postproducción y el found footage. 219
2.3.1 El ticket que explotó (Galuppo 2002). 220
2.4 Video-Televisión alternativa. 231
2.4.1 Videos del 2002 de La Conjura TV. 233
3. Resignificación de viejas formas de resistencia. 241
3.1 La figura del cartonero. 244
3.1.1 La estética del videojuego: Cartonero (Florido 2006). 247
3.1.2 Entre la caja negra y el cubo blanco: Casilla (del proyecto
“Estrellas”) (León, Martínez 2007). 258
3.2 Los piqueteros. 269
3.2.1 El videoclip y los “videopiqueteros”: ¡A la calle! (Santa
Revuelta 2001). 271
3.3 Los saqueos. 279
3.3.1 La usurpación videográfica: Vacas (Golder 2002). 281
Tercera parte 291
La “estabilización”, entre el video reflexivo y la vuelta hacia una producción
“nacional”
1. Recomposición de la estabilidad política y de la confianza institucional. 296
1.1 Pensar el presente. 301
1.1.1 Lucharemos hasta anular la ley (Díaz Morales 2004) 301
1.2 Federalización: la vuelta a la tierra y la “Crisis del campo”. 310
1.2.1 Una curva gigante se vuelve recta (El Halli Obeid 2006) 311
1.3 La nueva ley audiovisual. 318
1.3.1 Incrustaciones, solapamientos: fragmentos de Peter
Capusotto y sus videos (2007-2010) 319
2. Políticas de la memoria. 327
2.1 La denuncia 332
2.1.1 1978/2003 (Trilnick 2003) 332
2.2 Los procesos de duelo. 340
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2.2.1 Granada (Taquini 2005) y El pozo (Hanono 2004) 340
2.3 La segunda generación. La post-memoria. 347
2.3.1 Grito (Denegri 2008) 348
3. Los “bicentenarios” y el resurgir de lo nacional. 354
3.1 Reivindicación de figuras “patrias” 356
3.1.1 El género y lo corporal: Homenaje a Juana Azurduy
(Coll 2009) y Ser prócer (Olivera 2010) 357
3.2 Una mirada a la comunidad imaginada y sus proyectos de
consolidación. 363
3.2.1 El video “nacional” y la reflexividad: Minimal.ar (Ares 2006)
y 5 acciones sobre la memoria colectiva 2010 (Plano 2010) 363
3.2.2 Proyecto Pulqui 2 (Pons 2001-2011) 367
Conclusiones [English Version] 371
Fuentes 377
Bibliografía 378
Obras citadas 424
Obras analizadas 424
Otras obras mencionadas 425
Traducciones
Introducción [versión en español] 434
Conclusiones [versión en español] 448
Entrevistas 452
Anexos 462
Lista de realizadores
Lista de colectivos
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introducción1
ENGLISH VERSION
1Dado que esta tesis opta a la mención de Doctorado Internacional, tanto la
Introducción como las Conclusiones han sido escritas en una segunda lengua, in-
cluyendo las respectivas traducciones al español en la sección de “Fuentes”, como
dicta la normativa correspondiente.
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Introduction1
Since the beginning of the 21st century, experimental video production in
Argentina has grown at great speed. Far from being a cult product created by
only the few, as was the case in previous decades, it has gained in popularity
and acquired multiple characteristics. This explosion in videography can
be traced to various factors, including technological advances and the
establishment of a global information society. Nevertheless, despite a period
of intense production, the lack of attention paid by critics, historians, and
researchers in general is notable. There is very little published work on the
subject, and the majority of it is difficult to access. Most of the literature
is in the form of catalogues or limited edition print runs that are quickly
out of circulation. It appears, then, that the increase in production has been
overshadowed by the difficulty of recognizing a group of productions with
a common internal logic amongst the multiplicity of videos from other
creative spheres. In other words, seeing these works as a group would
permit the use of a more precise theoretical and methodological approach
than that which has been the norm up until now, and would permit,
therefore, a better handling of the subject by the academy.
The difference in aesthetics and production techniques, conceptual
referents, where and how the videos are exhibited, in addition to video’s own
changes as both material and medium, have problematized the categories
of analysis and relegated the so-called “experimental videos” to a place
that’s difficult to approach from traditional areas of knowledge. Because
experimental video cannot be approached from a single perspective, a
unique interdisciplinary approach is necessary. Therefore, the main objective
of this research is the systematic study, using a plurality of lenses, of these
types of productions that increased in Argentina over the last ten years, and
which shed light on the changes that have occurred in the field of local
1 Given that this thesis elects the mention of International Doctorate, the Introduction and Conclusion have
been written in a second language, including the translations to Spanish in the “Fuentes” (Sources) section, as
required.
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audiovisual production. Such changes require a reevaluation of both the
theoretical frameworks used to view certain contemporary productions,
as well as the institutions and structures that, since the appropriation of
technological video as an artistic medium in the sixties and seventies, have
solidified a specific creative sphere whose nature paradoxically arises from
constant transformation and change.
It’s a question, therefore, of analyzing a group of works that
are in dialogue with the tradition of video production and that, at the
same time, find themselves redefining the borders of their sphere of
action, whether as an artistic, cinematographic, or mass communication
medium. “Experimental video” arises from a body of work that forms
a new conceptual category, like a language in and of itself, is more
than medium or technological determinism, and makes reference to a
specific kind of artistic production in which the audiovisual is constantly
being reinvented. Therefore, one of the hypotheses that runs through
this analysis is that to speak of experimental video necessarily entails
arduous epistemological work. Not only because the analog technology
from which experimental video sprung and which granted it its own
characteristics has practically expired, but also because the shift to the
digital era has put other areas related to audiovisual creation, such as film
and television, in conflict, as their differences become more and more
difficult to discern.
The artistic field’s own process of development, from the
experimentation of the avant-garde and the loss of the Benjaminian aura,
to later periods of conceptualization and declarations of the “death of art,”
in addition to digital advances and the development of the Internet and
communication media, entail what various critics have termed the period
of “images of images” (Noé 2007), the “inter-image” (Bellour 2009), and
the advent of new hybrid, or “postproduced,” productions (Bourriaud
2007). This recent change in criticism, mutating in dialectical fashion with
the artistic field itself, is reflected, for example, in the increasingly frequent
intersections between the artistic institution and the film industry. It is in
these intersections that we find the experimental videos we’re concerned
with, productions that explore aesthetic as well as the various forms of
production, distribution, and consumption.
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