The filmmaker Guillermo G. Peydró and the artist Enrique Radigales start their respective residencies at LABoral
The filmmaker will prepare a documentary focusing on Gijón and Radigales’ work 'Totem evanescente' will be exhibited in LABoral’s exhibition hall
Model of 'Totem evanescente', the work of Enrique Radigales that will be shown from March in the exhibition Datascape. Photo: Courtesy of the artist
The filmmaker Guillermo G. Peydró, winner of the award Universo vídeo, awarded jointly by LABoral and Gijón Film Festival, and the artist Enrique Radigales will undertake during February two art production residencies at LABoral to work on their next art pieces.
One of the cornerstones of Laboral’s programme is the artistic residencies and enterprise residencies. The Centro de Arte y Creación Industrial encourages artists and developers to make use of the spaces and resources at its disposal. Most times this is done through open calls. This results in new pieces of art that, subsequently, are exhibited in the halls of LABoral, as a preliminary step before its roaming through other national and international venues. In other cases, residencies result in workshops or presentations, where creators share the result of their research with diverse audiences.
Guillermo G. Peydró (Madrid, 1981) will go about the city with his camera interacting with the city in order to make a short documentary. He will start from his perception as an art historian in this vision of Gijón. His new work will premiere at Gijón Film Festival and will be incorporated to the Archive of the Gijón Film Festival, which is kept at LABoral Centro de Arte, with promotional, educational and research purposes.
Furthermore, on Friday, February 14, at 7 p.m. he will present his work in a session open for the public, where he will reflect upon film-essay practice as a part of the production of his new Project. In addition, two of his two most recent works will be shown: El Jardín imaginario and Las variaciones Guernica
Guillermo G. Peydró (Madrid, 1981) is a filmmaker and art historian. He has been programmer of the Greenpoint Film Festival (Brooklyn, NY). Currently he is completing his PhD programme at Museo Reina Sofía in Madrid with a thesis focused on “film-essays on art”, where he analyses the different forms of critical dialogue between cinema and visual arts since the beginning of the twentieth century, as well as their aesthetic, academic and political applications. His film-making is based on a second-degree re-reading of images of the past, that may be related with the fields of art or personal memories, as well as images of the present, specifically those which refer to on-going creative processes. His two first film-essays about art, Las variaciones Guernica and El jardín imaginario, are an indictment of the violence against civilians and its opposite: a meditation about European culture and creativity. They both pemiered in the official section of the festival Documenta Madrid 2012 and have been shown in movie-theatres, museums, universities and cultural centres in Europe, North America and Latin America.
On the other hand, Enrique Radigales will prepare at LABoral his next work, Tótem evanescente, where he explores the hypothesis of the intangible in the production of a work of Net.art.
Using the Totem, understood as a principle or origin of a specific group or beehive of users, and making use of the practice of painting and the resources of fabLAB at LABoral, the artist explores in Tótem evanescente the economic relationships between physical and virtual art production. Radigales will complete a production residency at LABoral and the results of his work will be shown in the Datascape exhibition which will open on March 14.
Enrique Radigales (Zaragoza, 1970) specialised in painting in Escuela Massana in Barcelona and later he studied Interactive Systems at UPC, Barcelona. He’s been resident at Casa de Velázquez, Museu da Imagem e do Son de Sao Paulo and Eyebeam, New York City. One of the main references in his work is landscape out of any geographical space. Due to the new information technologies, there is a delocalisation of the observing subject in front of nature that results in an expedition through an uncertain topography (whether actual or virtual). This new romanticism lives on with a melancholy resulting from the obsolescence of the storing tools and systems which encourage the artist not to forget the tangible dimension and leverage the archaeology of traditional systems without neglecting the language and the digital tools that the technological people use.
