DOKBIZIA is an interdisciplinary encounter that sets out to stimulate a cross-pollination between language and artists who are working on reality. The programme, which deals with the documentary genre on and outside the screen, proposes a journey in different formats: projections, performative conferences, staged and site-specific pieces, and performances. It will also be attended by filmmakers, visual artists, writers and performers.
Contemporary practices are increasingly impure in terms of their formal approach to working with reality. DOKBIZIA wants to attract practices and discourses from other domains, ones that otherwise would not come together to exchange, reflect and live out the experience of reality from different angles.
Curated by Garbiñe Ortega
“The voice never lies”, said Meredith Monk. The voice is a universal channel but also an instrument in itself, with endless nuances, textures and tones that sometimes contain meaning, while at other times proposing new forms of communication that are removed from the word.
This cycle proposes an interdisciplinary encounter that brings together fillmmakers, theoreticians, sound artists, writers and performers under Monk's premise, which is both suggestive and thought-provoking. The experimental session titled “Los aires llevan mentiras” of Niño de Elche, the film making and the 'forensic' research into listening of the Lebanese artist Lawrence Abu Hamdan, the whispered cinema of the writer Ixiar Rozas in “Mapa ez da paisaia”, the mantras on contemporary ills and their care proposed by the dancer Idoia Zabaleta in the stage piece “Tengo Tiempo”, the proposition of "cinema for the ears" in the session titled “La voz como interferencia” of the sound artist and curator Xabier Erkizia, the performative conference “En voz alta” by the French filmmaker and theoretician Érik Bullot and the conference “Amor Mundi” by the writer and academic Erika Balsom make up this expanded programming cycle; we hope it will be a stimulus that will accompany us for a long time.
Érik Bullot (Soissons, 1963) is a filmmaker, theoretician and film teacher. He studied photography at the National School of Photography and later at the Institute for Advanced Cinematographic Studies (Paris). His filmography includes more than 20 titles, among which are Le Singe de la lumière (2002), Glossolalie (2005), Trois faces (2007), L'Alliance (2010), Tongue Twisters (2011) and Faux amis (2012). His work has been shown in Jeu de Paume, Georges Pompidou Center, the Biennial of Moving Images and the CCCB. Érik is currently a professor at the École nationale supérieure d'art de Bourges.
Erika Balsom is a senior lecturer in Film Studies and Liberal Arts at King's College London. Her book After Uniqueness: A History of Film and Video Art in Circulation, was published by Columbia University Press in 2017. She is the author of Exhibiting Cinema in Contemporary Art (2013), the co-editor of Documentary Across Disciplines (2016), and a frequent contributor to magazines such as Artforum, frieze, and Sight and Sound. Her scholarly work has appeared in journals including Cinema Journal, Screen, and Grey Room. In 2017, she was the international curator in residence at the Govett-Brewster Art Gallery/Len Lye Centre, New Zealand. In 2018, she was awarded a Leverhulme Prize and the Katherine Singer Kovacs essay award from the Society for Cinema and Media Studies.
Choreographer. In the Faculty of Biology she specialised in ecosystems and population dynamics. She studied modern dance and improvisation in Barcelona, Florence, Amsterdam and New York. She worked with the company Mal Pelo from 1995 to 1999. Since 2000, she has been co-producing and creating her own work, collaborating with other artists and investigators such as Isabel de Naverán, Filipa Francisco, Antonio Tagliarini, Ixiar Rozas, Sofía Asencio, among others. Her work has been shown at international festivals and workshops.
Ixiar Rozas Elizalde. Writer. She explores the materiality of voice and language. Her books and materials have been published in several countries and languages: Negutegia (2006-2009), Ejercicios de ocupación. Afectos, vida y trabajo (2015), Beltzuria (2014-2017), 20.20 (2016). Phd in Visual Arts, she is currently an arts education teacher and a member of Azala espazioa.
Rafael Martínez del Pozo. Musician, organiser of sounds in the air, amplified or recorded. Currently working on the A A Tigre song project and workshop Protomúsica. He works with artists like E. Collado, L. Alvarez, M. Borthwick, A. Urra, B. Fluxá, F. de La Flor and I. Rozas. He has lived and worked at his sound studio Grabaciones de Campo, in Castro de Cepeda (Leon), since 2009.
Francisco Contreras Molina (Elche, 1985), aka ’Niño de Elche’, is a multidisciplinary artist who is recognised as one of the main renovators of contemporary flamenco. A versatile and unclassifiable creator, he has blended musical genres such as flamenco, jazz or electronic music. He has released five discs: Mis primeros llantos (2007), Sí, a Miguel Hernández (2013), Voces del extremo (2015), Calle de Arriba, 73 (2015) and Antología del cante flamenco heterodoxo (2018), and has also participated in the soundtracks of the films Carmina y Amén (2014) and Vivir y otras ficciones (2016). He has also worked in a range of artistic expressions, among them performance, poetry, dance or audiovisuals.
Xabier Erkizia (Lesaka, 1975) is a sound researcher, producer and artist. He works in the field of the culture of listening, as a freelance researcher and in collaboration with many institutions, groups and artists. He composes music, researches the sound landscape and creates installations, radiophonic works and sound design for films. He is one of the organisers of the ERTZ event (1999-2018), coordinated the sound department at the Arteleku centre (2002-2014) and has curated various exhibitions and programmes. His work has been presented in countries in Europe, Asia and Africa. He is a member of the AUDIOLAB association.