14 DEC.
Teatro de Pontevedra

Piezas del alumnado del campus realizadas en el taller impartido por Adrián Canoura.

“I am an artist, an anti-artist, no shrinking ego, modest, a feminist, a profound misogynist, a romantic, a realist, a surrealist, a funk artist, conceptual artist, minimalist, postmodernist, beatnik, hippie, punk (…) My work is described as beautiful, horrible, hogwash, genius, maundering, precise, (…), contemporary, iconoclastic, sophisticated, trash, masterpieces, etc. It’s all true”.
Bruce Conner

Expanded cinema was the first to consider video, digital and electronic images as an art form, marking a milestone in art history and settling itself as the source of thought about what we know today as media art, electronic art, video art, art and technology.
Since its inception, video has been proposed as a communication alternative and as an active review of the mass media. The new communication channels support the hybridisation between the most conventional cinema and the expanded cinema, enabling the different aspects to mix with greater ease and recognition from the exhibition spaces.
The flexibility of this work context facilitates the access of the amateur —word derived from the Latin amator “the one who loves”— to this artistic recreation of cinema, which finds in audiovisual language a huge field of experimentation and research not found in some other traditional artistic disciplines.
This workshop aims to approach a medium, a language, a way of making cinema from the combination of artistic elements closer to poetry than prose, in what we can call experimental cinema, expanded cinema or as Bruce Conner quotes as “It’s all true”, or what we can call by saying “It’s all worth it”.
One of the keys of the workshop was to question or value the author’s creative freedom, precisely at a time when individual freedom is constantly being questioned, through a series of conditions that had limited or expanded the possibilities of creation. We can see it reflected in the film The Five Obstructions (De fem benspaend, 2003) by Danish director Lars Von Trier, in which he commits one of his mentors to watch again one of his films under a series of conditions that make him rethink the history, use different formats and take his creativity to the limit.

Adrián Canoura

Canoura begins his formation at Fundación TIC in Lugo, in Audiovisual Production and Realization studies. He continues with a specialization in Camera and Realization at Escola de Ficción de Voz Audiovisual. In 2016, he moved to Madrid to study the Master LAV: Laboratory of Practice and Contemporary Audiovisual Creation. Outstanding as a new talent for the Galician Audiovisual Academy in 2018, he can be revealed as a filmmaker or video artist whose creations are included in music videos, films, designs, performances or projects related to live visual creation with music bands like Guerrera, Nistra or Baiuca.

He works in different manners, from hybrid projects between documentary and fiction, to more experimental approaches to mystical anthropology of disappearing worlds. His film Caerán Lóstregos do Ceo was included by the prestigious critic and theorist of avant-garde cinema Nicole Brenez, as one of the best works of 2018, and won the Award for Best Avant-Garde Film and the Camira Award in FILMADRID. His films have been screened at numerous festivals around the world such as Sao Paulo, Fibda, Fracto, Nouveau Cinema, Curtas Vila do Conde or Curtocircuito.