o the wind ands a cinema essayhasFic Dirigit for Mar Reykjavik, composed of three variations. L’work records a day of recording a RMV Studios, In the city d’Stock, studies on ABBA gravehas his lastlbum. During the sessifrom dues intAndamateur rivers practice and translate to Englishs la cançó Al Vent, written by Raimon in 1964 The censorship for the repressedfrom Francoist. The for·joint to be l’rehearsal with conversations, materials i plhasnols resource with which l’artist (of the)Encrypt his autobiographical repertoire.
The translation s’has turned for Mar Reykjavik into a d -field’investigation oriented a qüestionar lògiques i categories objectives i rIgides. A job with quAnd brims yourshasMinority miclsfrom I Invisibilitzacifrom DO THE DOMINhasncies lingüiSticles and identityhasries operating in their contexts: artustics, Valencian i queer. Sing Al vent A Anglands is an exercise of qüstion on censorship, about which sfromn the spaces and what sfromn the voices of resistAndcurrent ncia and in which language they are built.
As in previous work, Registration mode implies construction D’a situation in which the performers start d’oneRie of materials and exercises to relate to them in a non-hyphen. A methodology that allows at IntAndRPRETS unfold their conditions and singularities. This one Andproduction tica againstandn to move away from the fashions of making the indmúStria of cinema, they usually impose enclosed scripts, Hierarchies Ríguides i una allUnidirectional Author.
This cinematic praxishasFica produces a being inntim and shared, where vulnerability does not ands hidden but acollide, and where the shoot becomesand Una prhasCtica D'Furicior of the differenceAndncience. Instead of producing a closed and homogeneous story, the for·Licate is conceived as a superfineCie d'ApaRicifrom in which you see them, gestures and prisonersAndNces of IntAndRPRESTS CAN ENGNTED WITHOUT YOU HAVE TO ASK TO THE Lògio of the show or to the expectations of the representationfrom normative.
