Punto de Vista presents DOKBIZIA, an interdisciplinary meeting that aims to bring together languages and artists concerned with the real

The programme invites stage, visual and sound artists and proposes an itinerary comprising diverse formats: projections, performance lectures, stage pieces – site-specific and performances.

One of the most relevant new aspects of this twelfth edition of Punto de Vista is DOKBIZIA (living documentary). This encounter between filmmakers, visual artists, writers and performers focuses on documentaries on and off the screen and beyond film, to open the door to discussions from other spheres that otherwise would not meet. This confluence of creators aims to bridge the gap between disciplines to exchange, reflect and live out experiences of the real from different angles.

This year the backbone of this edition of DOKBIZIA is subtitled ‘DADME, PUES, UN CUERPO’ (GIVE ME, THEN, A BODY’), inspired by the text by the philosopher Gilles Deleuze: “it is not that the body thinks, but, obstinate and stubborn, it forces us to think, and forces us to think what is concealed from thought, life…”. With this as its starting point, DOKBIZIA aims to reflect and experience different ways of relating the body with image in movement, different policies and aesthetics through which the body is the channel for reaching the real.

Within the DOKBIZIA programme, there will be sessions that reflect upon the representation of the body (films by Laida Lertxundi, Basma Alsharif and Abigail Child), readings that include choreographic actions (Thing Said Once by Esperanza Collado), conferences that study the politics of the female body (Master Class by Trinh Minh-ha and by Marta Selva), stages pieces that question the state of democracy in Mexico (Tijuana de Lagartijas Tiradas al Sol), performance lectures such as La Trilogía de Propiedad Privada by Nico Pereda, a live piece by Avalanche (Carlos Casas in collaboration with Audiolab), collective listenings (LEVE), interventions in public spaces about the perception of reality (Naturaleza y su temblor, Idoia Zabaleta and Tomás Aragay).

In short, DOKBIZIA is a pathway that wants to be followed with an urge to be surprised, with an open approach and readiness to be moved by all the layers and folds. This is the detailed programme of the offering:

1. CONFERENCES 

• Trinh T. Min-ha: THE EVERYDAY INTERVAL OF RESISTANCE
• Marta Selva: FROM A BODY TO THIS PART 
• AMA LUR. Néstor Basterretxea Arzadun, Fernando Larruquert Aguirre. Spain. 1968, 103’. Techniscope - 35 mm [transfer. DCP]

2. PROJECTIONS

• Put the Body
  AT LAND. Maya Deren. USA. 1944. 14’. 16mm
  HA TERRA ! Ana Vaz. France. 2016. 13’. Digital
  PALMS . Mary Helena Clark. USA. 2015. 8’. 1mm [transfer. Digital]
  DEEP SLEEP . Basma Alsharif. Greece, Malta, Palestina. 2014. 13’. Digital
  025 SUNSET RED . Laida Lertxundi. USA. 2016. 14’. 16mm
  MUTINY - IS THIS WHAT YOU WERE BORN FOR . Abigail Child. USA. 1989. 10’. 16mm
   
• I AM WONDERING AT THE SKY BEING WHATEVER IT IS  
  FOGOS. Marcos Pérez, Martin Pawley. Spain. 2017. 14’. Fulldome
  POWERS OF TEN. Charles, Ray Eames. USA. 1977. 9’. Digital
  OBSERVANDO EL CIELO. Jeanne Liotta. USA 2007. 18’. 16mm [transfer. Digital] 
  KILPISJÄRVELLÄ. Axel Straschnoy. Finland. 2012. 17’. 4K fulldome
  ALLURES. Jordan Belson. USA. 1961. 7’. 16mm [transfer. Digital] 
  KARL'S PERFECT DAY. Rirkrit Tiravanija. Germany. México. 2017. 100’. 16mm
  ENCUENTROS 72, PAMPLONA. José Antonio Sistiaga. Spain. 1972. 51’

3. PERFORMATIVE LECTURE

• TRILOGÍA DE LA PROPIEDAD PRIVADA. Nico Pereda. México, Canada. 2018. 45’

4. NATURE AND ITS TREMOR

• TIJUANA. Mexico. 2015. 75’
• LA NATURALEZA Y SU TEMBLOR. Tomás Aragay, Idoia Zabaleta. Spain. 2013. 80

5. PERFORMANCE

• AVALANCHE#10. Carlos Casas
• THINGS SAID ONCE. Esperanza Collado,. 2015, 30’
• LEVE #6., 2018, 10’’