The Spanish artist, Isidoro Valcárcel Medina (Murcia, 1937), 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 following day, the artist will give a conference under the title of 9 on-screen sequences the hall that the Festival devotes to this type of events at its new venue in the Baluarte Auditorium. This artist attention will be completed with the premiere of a recently completed documentary dedicated to his figure: No escribiré arte con mayúscula.
According to the poster that the artist himself devised: “In 1957, Alain Robbe-Grillet published La celosía. In 1972, Isidoro Valcárcel made it into a film”. In 2015, Punto de Vista is screening it again. Valcárcel made a literal transcription of the novel segmenting pages, paragraphs and phrases superimposed on the screen and read by different voices, such as the voice of Esther Ferrer. The premiere was at the legendary Pamplona Encounters 1972. A film that is an exercise on disassociation and the frontiers of the film medium, based on the intervention of the editing rhythm, the duration of the shot and the selection of the written fragment.
The documentary, No escribiré arte con mayúscula, directed by Luis Deltell and Miguel Álvarez-Fernández, will be premiered the previous evening, in which part of Isidoro Valcárcel Medina’s work will be revealed through accounts by people close to the artist and essentially using words.
Considered as one of the pioneers of conceptual art in our country, the work of Isidoro Valcárcel Medina is characterised by the rebellion and the proposition of social events that disrupt daily evolution. His training includes Architecture and Fine Arts studies in Madrid. His career begins with painting (winning the 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. 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. At the end of the 1970’s, his work evolved towards poetic intervention and postal action. Present in retrospectives and in exhibitions at the Reina Sofía, the Tapiés Foundation or the MACBA, Valcárcel Medina is proud of never having sold a work of art and critical of the evolution of contemporary art.
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.