The power of archiving and audiovisual remixing


The archive is linked to historical memory, but also to expropriation and cultural criticism. The audiovisual archive (found footage) is a tool for the preservation and reconstruction of both scars and past findings. To look back is to make an exercise in archaeology from the anachronism and dialectics of images. This gives the image a unique power.

This course offers the opportunity to explore the richness and diversity of audiovisual work based on archives. From a selection of productions by singular artists and creators, from local pioneers to contemporary practitioners, the contexts and concerns that gave rise to these pieces will be addressed. And also the technological changes in relation to the archive, its legal aspects, the expanded and challenging uses of archives in documentary and essay, the construction of plots and senses of memory or the montage as a political operation in the encounter of public and private materials.

Aimed at
Artists interested in the audiovisual field. No specific knowledge is required.

Workshop Program
1. Legal aspects of archiving
Genealogy, foundations of appropriationist practices
3. The recovery of archives and their reactivation at present
4. Assembly as a political and cultural tool

Duration: 12 hours
Dates: Monday, June 25 | Tuesday, June 26 | Tuesday, June 26
Hours: 10.00-13.00h / 16.00h-19.00h
Cost: free

In charge of

Ingrid Guardiola is an audiovisual producer, researcher and producer. PhD in Humanities from the Pompeu Fabra University with the thesis La imagen dialéctica found footage: un hiperarchivo de conceptos visuales. She is an associate professor of the degree of Cultural Communication at the University of Girona and a member of the Executive Committee of the Council of Culture of Barcelona City Council. In the field of cultural management and production, he coordinates the MINIPUT (Quality TV Showcase), and coordinates, produces and carries out some of the contents of the audiovisual essay project Soy Cámara (CCCB). He has just made his first full-length documentary film, Casa de nadie (Nobody’s House) (2017).

Flor Aliberti, who focuses on experimental video and cinema, explores, through the editing and recovery of diverse materials and the possibilities of resignifying images, providing them with new contexts for reading and interpretation.
Eugeni Bonet plays several keys in the fields of video, film and digital media. Since the 1970s, his activity has been between reflection and practice, and between the framework of the visual arts and the moving image. Since 2005 he has been directing a postgraduate course in Video Art and applications to the performing arts for the Universitat Ramon Llull.
Abel Garriga, practicing lawyer since 1995. He is a specialist in copyright and industrial property. His professional practice focuses on the articulation of the possibilities opened up by digital technology and the current legal framework. He wrote the first copyleft license adapted to the Spanish legal framework and has collaborated with Creative Commons.
Diana Toucedo is a filmmaker. He recently presented Trinta Lumes at the Berlinale and the D’A for which he received the Critics’ Prize. He studied filmmaking at the ESCAC (UAB) in the speciality of editing and a master’s degree in contemporary film theory at the Pompeu Fabra University. She is a lecturer in the Master’s Degree in Creative Documentary at the UAB.



Categories: Training Program |

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