CINE INFINITO / CINEMA INFINIT / INFINITE CINEMA - Cultural Work

[22] [ENG]
INVITED SPEAKERS’ BIOS
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Marta de Gonzalo and Publio Pérez Prieto
They have been living and working in Madrid since
1996, when they met in the Rietveld Academie
in Amsterdam. They have exhibited in Fundació
La Caixa, Lleida; Sala Europa, Badajoz (2006),
Fundació Espais, Girona (2005), MediaLabMadrid
(2004) and the MEIAC, Badajoz (2002). They have
also participated in the collective exhibitions
Laberinto de Museos. Instituto Cervantes.
Beijing; Carte Blanche. Le Commissariat.
París (2006); Becas Generación 2004. Arco’05,
Madrid and Reales Atarazanas, Valencia (2005);
Ahalegina/Esfuerzo. Koldo Mitxelena Kulturunea,
San Sebastián (2004); Banquete. Metabolismo
y Comunicación. C. C. Conde Duque, Madrid;
Corpos de Producción. Santiago de Compostela
(2003). Dé[s]règlements. Galerie Art & Essai,
Rennes (2002); Ecosofías. Sala Amadís. Youth
Institute, Madrid (2001). Their audiovisual
produttion has been shown at the Andalusian
Film Archive, Córdoba, Zinebi 46, Bilbao;
the Mostra Internacional de Film de Dones,
Barcelona o Monocanal. MNCARS, Madrid [travelling
exhibition]. Since 2005, they have directed the
project Estancias Injuve para la Creación Joven
for the Youth Institute, Madrid.
www.martaypublio.net
Miriam Lozano
Taking up painting as a starting point, Miriam
Lozano has found her own field ow work in the
photographic medium. The combination of her Ph.D
research on photographher Joel Peter Witkin and
her current participation as a member of the
board of directors of Valencia’s Visor Gallery,
have caused her to obtain enough reference points
to develop a highly personal line of work,
halfway between the traditional photographic
portrait and contemporary art.
For many years now, Miriam Lozano’s
trajectory has been related to photography,
especially to small scale, black and white
photography. Throughout her many projects,
Miriam has developed a line of work in which
the relationship between artist and model — or
models, depending on the occasion — has come to
become the central conceptual common point. In
this manner, in all her projects, once the model
has been chosen, they have to do more than just
pose in front of the camera; they have to become
actively involved in the project — either by
inviting a friend to pose with them (Instalación
fotográfica, 1998), or her partner (Retratos,
2004), or a family member (El espejo de Yesi,
2006)., depending on the nature of the project.
Pedro Ortuño
He bases his production on the existing
relationships between three-dimensional elements
and the implications of image, sound, the time
vector and the registry of movement. In the
past few years, he has been researching the
connections between the sculptural and the media
in the social. He has taken part in a variety
of collective and individual exhibitions, as
well as a number of public art initiatives, the
most notable among which are: “Fire Within, Calm
Without” Sala Verónicas, Murcia, “Identidades
Críticas: Arte Español en los 90” Museo de
Arte Contemporáneo Español Patio Herreriano,
Valladolid (2006), “Trencadís d´un horitzó”,
in PhotoEspaña04, in the Conde Duque Cultural
Centre, Madrid, and in the Fundación Metrònom
(2002), Barcelona; “Señales de video” (1996),
“Monocanal” (2002) y “Locuras contemporáneas”
(2006) en Museo Nacional Reina Sofía de Madrid;
“El extraño honor de las gallinas” (1998) in la
Gallera, Valencia; “Desde la Imagen” (1997) in
the Sala Parpalló, Valencia; “Getting There is
all that Matters” in the New York undeground
(1994); “European Media Arte Festival” in
Osnabrück, Germany (1991) and “El quinto Sentido
del Pájaro carpintero” (1990) in San Estebán,
Murcia. Currently, he teaches sculpture in the
Fine Arts Faculty of the University of Murcia.
David Domingo
He lives in Castellón. He is an expert in super
8 film. At the height of the VHS era, he produced
his homage to Ryan Philipe on borrowed video
tapes of “I Know What You Did Last Summer”,
for the delight of those who stay on to watch
the credits. When invited by Consonni and the
French Institute of Bilbao, he locked himself
in a hotel in Bilbao with hundreds of VHS tapes
in order to recycle them into a series for a
local TV channel. He has made his own cut of “The
Exorcist”, making Linda Blair not only vomit,
but also sing. He has taken part in collective