The system proposed biennial curatoria of hybridization between the methodologies of exhibition of visual arts (curatoria) and cinematographic (programming), approaching a possible context reading of works, concepts and dialogue that aims to provoke this meeting. The biennial meeting in if filmmakers of both worlds, and many others who have been interested in quickly this convergence, increasing the complexity of conceptual transit between the works and the general public. That’s why we decided to form a Curatorial Program, a result of reflection and management of a comprehensive system that conceptually traverse different component sections where hopefully cause a coherent, constructive and that embraces the complexities of video practices and media arts representing the contingency of identity and society.
As in all the Biennials, its curatorial narrative fields audiovisual transitions from conventional to advanced space exploration, with an axis enrolled in the capacity of the works by interpelar_criticar_transmutar contingency and current state of society through art. The ownership by citizens and institutions of information technology and communication, and participatory technologies are more urgent every day issues in a society that seems to be hypnotized by the media. Science, Technology and Culture gravitate inseparable in their essential constitution, coupled structurally to human evolution, for better or for worse. Inevitably fields where the biennial fueled his Curatorial Program, but yet in the next version will be evident from programmatic initiatives, knowledge transfer and technological, configured through a process where participants will overturn filmmakers and artists a powerful swap contendios and extended production time.
The relationship Autonomy, Energy and Society, will intertwining concepts in relational axes serve as paradigms to understand the art and the state of the domestic and international. The need to identify a curatorial scope that contains various concerns links itself, taken as a criterion basic issues, most video artists and the technological means electrical energy. The provocation is inscribed in reflection on one of the fundamental sources of animation works, without the intention of evoking a green key. Energy as a phenomenon with the ability to move a body of mass given by the application of a force, creating an analogy with the transformative power of art. This by the need to identify various agents of change and transformation that identifies a hinge time analog> digital humanity, both cultural, economic, scientific, technological and social in general.
This search energy is closely linked to culture and science in a high-field magnetic focus due to their unpublished results and contents, the search for fundamental answers to humanity. How to bring this knowledge to a common reflection field? The application of energy through various technologies, and also several variables drastically modified forms of social relations since the industrial revolution, and determine the paradigm that represents the collective development of our communities to digital. They have been identified as areas of consistent and significant relationship for empowering citizenship and art scene increasingly aware of the need to live collectively and sustainably. These themes, installed as linked fields from aesthetics, science and sociology, are interconnected at a time with a number of other fields, such as economy, education, ethics and culture, building a legible and purposeful plot for a community that is in the process of change from the way in which we relate to daily energy key driver for a society addicted and interdependent use and consumption.
This curatorial proposal is presented as a provocation to approach an essential paradigm, which, through a process of continuous research, the creation of a collective of interdisciplinary artists, and a program that runs as a system of active relations between contemplation, participation, and auto_aprendizaje experience achieved interpret, process, charting and amplifying a coherent system for both artists and the general public, consisting of two specific approaches: The Process and Experience. Framing process and adds value to the life cycle of creation and production of the play, moving the exclusive focus of the exhibition process to the research and production, balancing the life cycle in order to recognize and publicize these practices through workshops and other actions, and; Experience focuses public interaction in relation to the works and contents proposed, applying participatory curatorial strategies, both museology and its self-training plan, creating a comprehensive system whose axis is the subject visitors, both physical and virtual.