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home  |  news 2017  |  Isidoro Valcárcel will take part in Punto de Vista with a talk and the screening of his film, La Celosía, presented at the Pamplona Encounters 1972
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Isidoro Valcárcel will take part in Punto de Vista with a talk and the screening of his film, La Celosía, presented at the Pamplona Encounters 1972
Isidoro Valcárcel will take part in Punto de Vista with a talk and the screening of his film, <i>La Celosía</i>, presented at the Pamplona Encounters 1972
Courtesy of El País. © Claudio Álvarez

The Spanish artist, Isidoro Valcárcel Medina, is the star of the space that Punto de Vista dedicates to the least widespread films of our past. His film, La Celosía, will be screened at a special Heterodocsias session and the artist will give a talk on his vision of the film industry and art in general. La Celosía is a film made in 1972 in which Valcárcel makes a literal transcript of the novel of the same name by Alain Robbe-Grillet, exclusively through the text itself, lasting two hours.   

Presented during the legendary Pamplona Encounters 1972, Valcárcel’s film is an extreme case of the literal adaptation of a literary work and will be exhibited in the city where It was premiered 43 years later. The footage includes text fragments overlays and read by different voices, including Esther Ferrer, participating in Encounters and recently awarded with Velázquez Visual Arts Prize. The film is based on the French book La Celosía, published in 1970 under the title of La Jalousie by Alain Robb-Grillet (Brest, 1922 - Caen, 2008), French writer and filmmaker renowned as the most important figure from the New Roman School. In his third novel, Robb-Grillet presents a narrator who the reader never sees or hears, in spite of the fact that he begins and finishes all of the gestures and objects of the work. 

Considered as one of the most representative artists of conceptual art, the work of Isidoro Valcárcel Medina (Murcia, 1937) is characterised by the rebellion an the proposition of social events that disrupt the daily evolution. His art is more related with situations and reality than with the production of objects. Therefore, elements such as playing, movement or luck are constant in his works. Valcárcel Medina constantly repeated: "The hard part is being in the World, not doing a work of art". His path begins with painting (Plastic Arts National Prize in 2007), first of all from informalism and later from budgets similar to constructive art. He later becomes involved in large dimensions in the urban space, with his Tubular Structures, a specific creation for the Pamplona Encounters 1972, where he also presented La Celosía. From then on, Valcárcel began a cycle of works aimed at diverse movements and urban spaces, with photographic works and sound references; as well as sociological art, using surveys, public announcements, anonymous photographs, joins exams, dictionaries or telephone recordings. He is famous for designing the Tower for Suicides, his book Stories of the History titled 2000 d. of J. C. and his People dictionary gathered on the street in Sao Paulo. At the end of the 1970’s, his work evolved towards poetic intervention and postal action. In the 1980’s, he moves towards architecture, getting involved through specific projects in real situations. Present in retrospectives and exhibitions at the Reina Sofia, the Tapiés Foundation and MACBA, Valcárcel Medina is proud of never having sold a work of art. And, critical of evolution of contemporary art, he says that "today is more difficult to escape from money than police. "

La Celosía will be screened by Punto de Vista in a special session called Heterodocsias. Although Heterodocsias gave its name to a section of the festival that included a dual programme (Heterodocsias-rewind and Project X Films) in previous editions, this will be separated from Proyecto X Films, which is now an independent section. With La Celosía, Heterodocsias maintains its spirit of rescuing the most heterodox and experimental Spanish documentary film. It is a platform to present the riskiest, unknown and provocative non-fiction filmmakers in Spain, as well as recovering forbidden names or those that have disappeared and take a look at the history of Spanish films from the other side.


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