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Stereoscopic photography was a medium that was more important and common than what is generally remembered. This is evidenced by extensive commercial and private collections that are held in the archives. The fact that this medium includes a particular viewing device —the stereoscopic viewer, which is needed to give a 3D image— gives it a character that is something between photography and audiovisual techniques, antique yet contemporary. In the viewer, the photographs lose their physicality of objects to take on an intangible presence.
 

The festival headers have retrieved stereoscopic images from the archives of the Photographic Library of Navarra. The three-dimensional device is recreated thanks to the frame-by-frame succession of the two images of each pair, just like a flicker. In this way, the photography regains its sense and form. It is in this imaginary relief that they are present as they were.
Instead of a single header, a multi-header format was selected. This makes
it possible to recreate the source of the images, an archive, and the fact that they are part of a collection. If each image has its own particular fascination then, as a set, they echo each other and multiply their effects. They are the echoes and relationships of juxtaposition, whether this be in the archive in which they are held or the setting in which they are exhibited. 

Estampa is an artistic group of filmmakers, programmers and investigators, working in the areas of experimental audiovisual techniques and digital environments. Its work is based on a critical and archaeological approach to audiovisual and digital technology, making it possible to understand how it works, its uses and its construction as a discursive object. The last few years have seen the implementation of different projects regarding the uses and ideologies of artificial intelligence and its influence on contemporary visual culture, in experimental artistic pieces such as El mal alumno. Pedagogía crítica para inteligencias artificiales (2017-2018) or at installations such as Auspicios (2019) or Especies marcianas (2021), among others. The group’s work also includes experimental animation pieces (such as En la colonia penitenciaria, 2010) and video-essay (the latest being The Process of Seeing, 2020, and Qué es lo que ves, YOLO9000?, 2019).