CINE INFINITO / CINEMA INFINIT / INFINITE CINEMA - Cultural Work

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[46] workShopS, produCCióN CuLturAL y CoNoCimiENto: bruSELAS, LoNdrES, mAdrid, muNiCh, pAríS, bArCELoNA, máLAGA. VirGiNiA ViLLApLANA, 2001 / 2007. ---------------------------------------------------------
Page 1: [CAS]/[VAL]/[ENG] -----------------
Page 5 and 6: [3] [CAS] INTRODUCCIÓN -----------
Page 7 and 8: [5] [CAS] [VAL] SESIÓN CONTÍNUA.
Page 9 and 10: [7] [CAS] [VAL] Sesión 5 .........
Page 11 and 12: [9] [CAS] [VAL] CURRICULUM DE LOS C
Page 13 and 14: [11] [CAS] [VAL] el Museo Wiesbaden
Page 15 and 16: [13] [CAS] [VAL] Programa 1 .......
Page 17 and 18: [15] [CAS] [VAL] profundamente dese
Page 19 and 20: [17] [CAS] [VAL] disfrutaban en Bos
Page 21 and 22: [19] [ENG] INTRODUCTION -----------
Page 23 and 24: Session 5 .........................
Page 25 and 26: exhibitions in the Wiesbaden Museum
Page 27 and 28: of these bodies and their labours,
Page 33 and 34: [CAS]/[VAL]/[ENG] -----------------
Page 35: [CAS]/[VAL]/[ENG] -----------------
Page 41 and 42: [39] [CAS] [VAL] iNtroduCCióN ----
Page 43 and 44: [41] [CAS] [VAL] público general.
Page 45 and 46: [43] [CAS] [VAL] ‘Versiones desor
Page 47: [45] [CAS] [VAL] planificadas narra
Page 64 and 65: 62 -castellano- 14 de novembre de 2
Page 66 and 67: 64 -cas- Pero, antes, permitidme qu
Page 68 and 69: 66 -cas- La Fundación Antoni Tàpi
Page 70 and 71: 68 -cas- ciudad “nueva”. La par
Page 72 and 73: 70 -cas- (5) Diapositiva es un espa
Page 74 and 75: 72 -cas- (7) Diapositivas, y más d
Page 76 and 77: 74 -cas- (8) Aplauso del público d
Page 78 and 79: 76 -cas- (10) Proyección diferenci
Page 80 and 81: 78 -cas- pocas galerías y museos s
Page 82 and 83: 80 -cas- (11) Aplausos del público
Page 84 and 85: 82 -cas- público. Como directora,
Page 86 and 87: 84 -cas- molt concentrat en el seu
Page 88 and 89: 86 -cas- la informació va passar a
Page 90 and 91: 88 -cas- Sune Nordgren/ No sé si a
Page 92 and 93: 90 -cas- que em seduïsquen, que em
Page 94 and 95: 92 -cas- implicacions, anar a veure
Page 96 and 97: 94 -cas- a Kassel mateix, però al
Page 98 and 99:
96 -cas- -és un tema específic pe
Page 100 and 101:
98 -cas- (15) Dirigiéndose al púb
Page 102 and 103:
100 -cas- aprofitar el potencial de
Page 104 and 105:
102 -cas- Perquè, al principi, era
Page 106 and 107:
104 -cas- Membre del públic/ ¿Cre
Page 108 and 109:
106 -cas- Ute Meta Bauer/ ¿Et refe
Page 112 and 113:
Valencià Com a resposta al text Th
Page 114 and 115:
mr rimentades en l’esfera econòm
Page 116 and 117:
mr Una de les primeres exposicions
Page 118 and 119:
mr També recentment, és habitual
Page 120 and 121:
mr mr: Sincerament, a penes detecte
Page 122 and 123:
mr mr: Abans us deia que, arran de
Page 124 and 125:
yp entrevistador (e): Abans de come
Page 126 and 127:
yp cat en una segona fase, a fi que
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yp la cultura, sinó que és un mal
Page 130 and 131:
yp de ser coneixedors dels disposit
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arribar a compaginar amb un pensame
Page 134 and 135:
mo xarxa o estructura de treball ad
Page 136 and 137:
mo Es tracta, com estem veient, d
Page 138 and 139:
mo Per descomptat, en el món de la
Page 140 and 141:
m0 dat l’atenció que alguns dire
Page 144 and 145:
Susana BLAS, Lapses d’amor y dolo
Page 146 and 147:
Tampoc esperes entrar en les seues
Page 148 and 149:
Confesse que fa temps que vaig veur
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esta sort de punt mort…, atrevir-
Page 152 and 153:
En este valent itinerari, Virginia
Page 154 and 155:
Villaplana, que coneix “els dos r
Page 156 and 157:
de sintaxi…, el significat de les
Page 158 and 159:
contínuament, que només adquirixe
Page 162 and 163:
Jorge Blasco aian - Arxiu d’Imatg
Page 164 and 165:
val cas que són molt més fàcils
Page 166 and 167:
cas truint així la memòria del qu
Page 168 and 169:
La tenía mi madre, que en paz desc
Page 172 and 173:
-val- Bambilàndia Elfriede JELINEK
Page 174 and 175:
-val- només menjar, només menjar.
Page 176 and 177:
-val- on el petroli estancat crema
Page 178 and 179:
-val- ba de dir. Constantment corre
Page 180 and 181:
-val- ple de noms, alguns els conei
Page 182 and 183:
-val- Resposta de Virgina Villaplan
Page 184 and 185:
-val- absència. Durant anys vaig b
Page 186 and 187:
-val- la memòria cimentada es van
Page 188 and 189:
-val- ser compresa amb l’ajuda de
Page 191:
[189] ENGLISH TRANSLATION
Page 194 and 195:
[192] [ENG] of public art. On the o
Page 196 and 197:
[194] [ENG] language of disciplines
Page 198 and 199:
[196] [ENG] 1 always ask myseff,
Page 200 and 201:
[198] [ENG] We created a lounge des
Page 202 and 203:
[200] [ENG] Sune Nordgen Thank you
Page 204 and 205:
[202] [ENG] which would value that
Page 206 and 207:
[204] [ENG] democracy as an ongoing
Page 208 and 209:
[206] [ENG] group of artists decide
Page 210 and 211:
[208] [ENG] record labels, festival
Page 212 and 213:
[210] [ENG] under the slogan of imm
Page 214 and 215:
[212] [ENG] YP. Well, maybe we summ
Page 216 and 217:
[214] [ENG] aware of the limitation
Page 218 and 219:
[216] [ENG] that it is impossible t
Page 220 and 221:
[218] [ENG] too involved and discov
Page 222 and 223:
[220] [ENG] fragmentation, and coll
Page 224 and 225:
[222] [ENG] complexity which might
Page 226 and 227:
[224] [ENG] BAMBYLANd -------------
Page 228 and 229:
[226] [ENG] For this reason, the wo
Page 230:
[228] [ENG] Villaplana Ruiz, Virgin
Page 236 and 237:
[234] [CAS] > Outsourcing, Institut
Page 239:
[237] [CAS] idAS y VenidAS pOr LA r
Page 251:
[249] [CAS] StOp-trAnSit ----------
Page 265:
[263] [CAS] dAydreAM MeChAniCS ----
Page 279:
[277] [CAS] teAtrO Mundi (wOrk in p
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