tag:blogger.com,1999:blog-9009097762154784342024-03-18T20:42:34.900-07:00Nelida MendozaAnonymoushttp://www.blogger.com/profile/14944642069825169339noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-900909776215478434.post-69408949569613815132013-12-02T10:33:00.005-08:002014-08-29T04:24:02.569-07:00CLORINDA (IT) <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPDzwshp1paagS0NOMLTOjE20InRgp4zL1dbqkGfXhJB2xnSW9NvFVGqufZ5CcuufTXFl7rJAvo18_XT2tjSQPLnRlcviOh-MclRXvYn6g2wchUBXcDBx1zJFvDpOC5wvSlIb8NNw3FAW/s1600/definitiva.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPDzwshp1paagS0NOMLTOjE20InRgp4zL1dbqkGfXhJB2xnSW9NvFVGqufZ5CcuufTXFl7rJAvo18_XT2tjSQPLnRlcviOh-MclRXvYn6g2wchUBXcDBx1zJFvDpOC5wvSlIb8NNw3FAW/s1600/definitiva.jpg" height="355" width="400" /></a><br />
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<b style="font-family: Times, 'Times New Roman', serif; text-align: justify;"><i>Clorinda </i></b><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">si
propone di decostruire alcuni termini problematici come </span><i style="font-family: Times, 'Times New Roman', serif; text-align: justify;">identità, diversità, territorio
e confine</i><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">. Segnalo la difficoltà di questi concetti, perché nonostante essi
siano necessari per il futuro della cultura contemporanea, questa stessa
necessità li ha fatti diventare cliché svuotati di potenziale critico
e</span><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;"> </span><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">dimensione poetica.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">Decostruire un concetto
non significa distruggerlo, ma renderlo provvisorio e precario, sottometterlo
alla variabilità del gioco del linguaggio, privarlo di ogni fondamento.
Pertanto, decostruendo le figure di territorio e margine, la mostra <b><i>Clorinda</i></b> tira a sorte gli
stereotipi multiculturalisti, l'esotismo delle frontiere e la metafisica dell’identità
e il diverso, in modo da suggerire spazi terzi, intermedi; posizioni instabili, "zone di
pattegiamenti ", siti di incrocio e di
passaggio tracciati in qualsiasi territorio.</span><span lang="ES-PY"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="ES-PY">La mostra si
sviluppa intorno ad una istallazione di Nelida Mendoza, che sviluppa l’idea di
“membrana che suda”: contenitori/cantari di terracotta carichi d’acqua; le
superfici di questi elementi traspirano, essudano umidità di vapore e rugiada.
Le filtrazioni rimandano alla frontiera, non come posto prestabilito di
transito o demarcazione territoriale, ma bensì</span><span lang="ES-PY"> come vincolo
oscillante fra l’interno e l’esterno , relazione espressa nella figura della <i>piega deleuziana</i>, dove il movimento di
arricciamento comprende un lato e
l’altro. Ognuno trascina l’altro nel suo avanzare o ripiegare. Questo movimento
di piega e ripiega implica una linea
divisoria flessibile , una non-frontiera, che media fra entrambi i lati senza
compromettere la diversità di ognuno di loro.<o:p></o:p></span></span></div>
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<span lang="ES-PY"><span style="font-family: Times, Times New Roman, serif;">Da questo movimento continuo , la prima
proposta rimanda ad altre due.<o:p></o:p></span></span></div>
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<span lang="ES-PY"><span style="font-family: Times, Times New Roman, serif;">Il primo contesto è elaborato da Alessandro Aiello di CANECAPOVOLTO, che
reinterpreta immagini dell’artista da una prospettiva europea. Cinque schermi
mostrano video basati su movimenti di accelerazione, rallentamento, avvicinamento
e distanziamento. Così come in dispositivi di sfocatura e distanziamento.<o:p></o:p></span></span></div>
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<span lang="ES-PY"><span style="font-family: Times, Times New Roman, serif;">Questi travasi ricadono, in modo impressionista
ma verso una riflessione concettuale, su una tematica ancora fluttuante di
suoni, rumori, riflessi e visioni d’acqua e colore: di paesaggio acelerato
nella sua apparizione, fissato nell’analisi che provoca.<o:p></o:p></span></span></div>
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<span lang="ES-PY"><span style="font-family: Times, Times New Roman, serif;">Il secondo, curato da Fernando Moure,
presenta una selezione di opere di artisti/cineasti, frutto di una grande
produzione che sta guadagnando uno spazio privilegiato nell’ambito delle arti
audiovisive del Paraguay, grazie a promotori entusiasti, tra i quali si
incontra, senza dubbio, Moure…</span><o:p></o:p></span></div>
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<span lang="ES-PY" style="color: blue;"> </span><span style="clear: left; font-family: Times, Times New Roman, serif; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4XPI2whozgXYj7_-h37g5vJjwx-QguB2rkTIemyK2nL2aiUgaBN0NsLKUI4mNMr6DtNXmr8wswX1SQMpSIzZD8RDBSUTlG6Hlx9329GJB7WG9qJMuw1o__60HvqEIpoHwtncQHaSgjin/s1600/fotopat_5.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4XPI2whozgXYj7_-h37g5vJjwx-QguB2rkTIemyK2nL2aiUgaBN0NsLKUI4mNMr6DtNXmr8wswX1SQMpSIzZD8RDBSUTlG6Hlx9329GJB7WG9qJMuw1o__60HvqEIpoHwtncQHaSgjin/s1600/fotopat_5.jpg" height="640" width="426" /></a></span></div>
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<b>Viaggio e Morte - Storia di Frontiera</b></div>
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Sembra il nome di una delle <i> Città invisibili </i>di Italo Calvino, Clorinda, ed é invece una località al confine tra Argentina e Paraguay da dove passano migranti ed esuli, un confine rigido e poroso come tutte le frontiere. Su questo tema indaga Nélida Mendoza, artista paraguaiana da anni residente a Palermo, con un progetto che dopo questo esordio nella sede dell'Istituto Cervantes nella chiesa di Sant'Eulalia (via Argenteria Nuova 33, sino al 18 ottobre) sarà ulteriormente sviluppato in due tappe a Catania e Buenos Aires.</div>
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Da cinque monitor le immagini e i suoni dei viaggi in Paraguay, elaborati da Alessandro Ajello di Canecapovolto, si riverberano nella navata cinquecentesca intorno a uno scannatoio da macellaio ai cui ganci pendono involucri in terracotta; forme morbide, visivamente e tattilmente, da cui trasuda l'acqua che scorre sui binari dove in origine veniva dilatato il sangue delle carcasse. La rigida ferocia delle frontiere e la permeabilità delle culture e delle persone che continuamente le traversano convivono così nella medesima struttura, in un oggetto-immagine di grande forza e suggestione che mescola la variazione delle voci e dei racconti e l'universalità del suono metallico come emblema del dolore della storia che viviamo.</div>
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Sergio Troisi - La Reppublica - 13/10/2013</div>
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<span style="font-family: Times, Times New Roman, serif;">E’
sempre un’esperienza complessa montare immagini e suoni registrati da un’altra
persona in luoghi luoghi dove non siamo <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Mai
stati e dove probabilmente non andremo mai; è come entrare <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">E
vivere per un po’ in casa altrui ed essere costretti a mettere ordine, per
qualche motivo misterioso. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Montare
tutto il materiale registrato da Nelida Mendoza ha significato per me non solo
rimettere ordine e catalogare ma soprattutto interpretare i suoi viaggi,
dialogare con lei a distanza attraverso immagini e suoni che ha scelto di
raccogliere e conservare per vari motivi, condividere i suoi incontri, le sue
emozioni legate al viaggio ed alla frontiera ma anche prendere <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">delle
scelte arbitrarie ed irreversibili.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Di
solito abbiamo paura di entrare dentro le memorie altrui per timore di
tradirle, di rompere gli equilibri preziosi che vi sono nascosti… sappiamo di
non potere capire fino in fondo le immagini ed i suoni che non abbiamo
registrato noi ma credo sia proprio questa la condizione ideale che ci permette
di entrare dentro queste memorie e di testimoniarne il valore inestimabile.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Times, Times New Roman, serif;">Alessandro
Aiello_giugno 2013</span><span style="font-size: 16pt;"><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM6JB-FDi6UhWa_S8Hushb2AJmymnJ5Ny2O26lSTIpk8Nf9vjXXc_a_tSeRTLrVesBIRwFQJzOGFCJ_Tw8pXZ2_Cg-r5VC5y-Up695-UU4W50a7cJpyv7aiMKg1TGAQUTH2r-DCqMNUCG7/s1600/pais-paisache_titel.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM6JB-FDi6UhWa_S8Hushb2AJmymnJ5Ny2O26lSTIpk8Nf9vjXXc_a_tSeRTLrVesBIRwFQJzOGFCJ_Tw8pXZ2_Cg-r5VC5y-Up695-UU4W50a7cJpyv7aiMKg1TGAQUTH2r-DCqMNUCG7/s400/pais-paisache_titel.jpg" height="266" title="" width="400" /></a></div>
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</div>
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<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">In relazione alla tematica di <b>Paese / Paesaggio, l'arte del film e del video in Paraguay</b>, si può sostenere che lo spazio geografico proietta una presenza forte sia nel paesaggio fisico che in quello culturale. La lentezza del tempo, l'austerità e la morosità, l'uso della lingua Guaraní o l'intensa presenza della natura potrebbe essere dimostrazioni che illustrerebbero delle peculiarità del territorio paraguaiano.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">L’etimologia della parola “paesaggio”, fortemente connessa a quella di “paese”, suggerisce la necessità di ospitare uno spazio nel mondo al Paraguay, che forse non lo può dare la politica, invece sí l’arte e il pubblico che crede nel suo potenziale simbolico. Questi lavori recenti tracciano un “stare e vivere” di attualità, affrontando criticamente la situazione e le sfide del Paese sudamericano.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">L’insieme contiene sguardi intensi verso l’identità, in una sorte di paesaggio umano sviluppato dai suoi bordi culturali, sociali e politici. La selezione si propone di avvicinare il pubblico a questo luogo concreto e alla composizione del suo mondo fisico, temporale e della sua anima.<o:p></o:p></span></span></div>
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<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">Le opere pretendono dare conto di un tempo, quello genericamente chiamato di “transizione alla democrazia”, iniziato nel 1989 dopo la caduta della dittatura più lunga di Latino America; oggi invece è un tempo un po’ nel buio dopo il ritorno di un ordine politico regressivo e conservatore. La proposta di questo programma audiovisivo vuole suscitare nel pubblico un esercizio di pensiero e riflessione critici sull’attualità paraguaiana.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">Noi crediamo che la vocazione cosmopolita e multiculturale di Palermo e della Sicilia sia ideale e propizia per connetterla con la “isola di terra” paraguaiana, questa è la metafora che ha creato la scrittrice e artista Josefina Plá (1903–1999) per descrivere questo territorio interiore e isolato.<o:p></o:p></span></span></div>
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<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">Infine, porre l’accento sul fatto che la filmografia con degli scopi artistici prodotta in, da e sul Paraguay si sviluppa ancora in uno scenario fragile ed emergente, ed è stata una realtà grazie alla tenacità dei suoi creatori. Soltanto da fini del secolo XX e inizi del XXI, il film, il video e dei mezzi digitali accendono una prima luce permanente per l’immagine in movimento, tuttavia l’insufficienza degli stimoli.<o:p></o:p></span></span></div>
<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">Il fatto di generare nuovi circuiti e spazi di diffusione per la creazione audiovisiva favorisce lo scambio di sensibilità verso e dal nostro paese, conduce degli stimoli che ci integrano e ci connettono al mondo, al tempo di offrire un canale per questa produzione simbolica. Un’esperienza, un transito delle idee e delle immagini per costruire immagini di una realtà lontana, sebbene sempre simili.</span></span><br />
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Fernando Moure - Giugno 2013</div>
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<b><span style="line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">LUNGOMETRAGGI:</span></span></b></div>
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</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Cuchillo
de palo. </span></b><span lang="ES" style="line-height: 115%;">Renate Costa (98´, 2010)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Novena. </span></b><span lang="ES" style="line-height: 115%;">Enrique Collar (94´, 2010)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Tren
Paraguay. </span></b><span lang="ES" style="line-height: 115%;">Mauricio Rial (60´, 2011)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">CORTOMETRAGGI:<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Isla Alta. </span></b><span style="line-height: 115%;">Federico
Adorno (18´, 2011)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Resistente. </span></b><span style="line-height: 115%;">Renate
Costa, Salla Sorri (19´, 2011)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Manohara. </span></b><span style="line-height: 115%;">Dominique
Dub</span><span lang="ES" style="line-height: 115%;">osc (21´, 1968)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Noche
adentro. </span></b><span lang="ES" style="line-height: 115%;">Pablo Lamar (18´, 2009)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Ahendu
nde sapukai. </span></b><span lang="ES" style="line-height: 115%;">Pablo Lamar (12´, 2008)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Presos.
Juan C. Maneglia </span></b><span lang="ES" style="line-height: 115%;">(13´, 1987)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Espejos.
Juan C. Maneglia </span></b><span lang="ES" style="line-height: 115%;">(9´, 1988)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Artefacto
de primera necesidad. </span></b><span style="line-height: 115%;">Juan C.
Maneglia y Tana Schembori (8´, 1995)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Karai Norte. </span></b><span style="line-height: 115%;">Marcelo
Martinessi (18´, 2009)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Calle Ultima. </span></b><span lang="ES" style="line-height: 115%;">Marcelo Martinessi Marcelo
(22´, 2010)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><u><span style="line-height: 115%;">PROGRAMMA VIDEO ARTE</span></u></b><b><span style="line-height: 115%;">, durata 58 minuti.<o:p></o:p></span></b></span></div>
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<b><span style="line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;"> <o:p></o:p></span></span></b></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">La cocina de Josefina. </span></b><span style="line-height: 115%;">Pedro
Barrail<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Surco en gualambá. </span></b><span lang="ES" style="line-height: 115%;">Gustavo Benítez,
Edith Correa, José Elizeche<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Chaco fantasma. </span></b><span style="line-height: 115%;">Fredi Casco<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Raudal. </span></b><span lang="ES" style="line-height: 115%;">Martín Crespo<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">Influenza
Colorada. </span></b><span lang="ES" style="line-height: 115%;">Luvier Casali<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">El gusto
de la mirada. </span></b><span style="line-height: 115%;">Ricardo
Migliorisi<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Kambuchi. </span></b><span style="line-height: 115%;">Joaquín
Sánchez<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">Celeste. </span></b><span style="line-height: 115%;">Valentina
Serrati<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">María bonita. </span></b><span style="line-height: 115%;">Patricia
Wich<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">CURATORE:
</span></b><span lang="ES" style="line-height: 115%;">Fernando <o:p></o:p></span><span style="line-height: 18px;">Moure</span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span lang="ES" style="line-height: 115%;">APPOGGIO:
</span></b><span lang="ES" style="line-height: 115%;">NauART - Comunidad de Artistas<o:p></o:p></span></span></div>
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<span lang="ES" style="line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">Consolato del Paraguay in Barcellona<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;"><b><span style="line-height: 115%;">EDIZIONE AUDIOVISIVA: </span></b><span style="line-height: 115%;">Petra
Eicker<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><b>FOTOGRAFIE : </b>Patrycja Este</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b><a href="https://vimeo.com/96611931"><span style="color: black;">CLORINDA</span></a> - PARAGUAY</b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><b><br />YLAB - CCEJS - VIDEO</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>Alessandro Aiello</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>editing audio-video</b></span><br />
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>Fernando Moure</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>País/Paisaje</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>El Arte del Cine y el Video de Paraguay</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>proyecto de Nelida Mendoza</b></span><br />
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<span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><br /></span><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>AECID Centro Cultural Juan de Salazar</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>Herrera 843 c/ Tacuary</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>Asunción, Paraguay</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>+595 21 44 99 21</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>centro@juandesalazar.org.py</b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>www.juandesalazar.org.py</b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><a href="http://www.juandesalazar.org.py/index.php/agenda/detalles/clorinda_de_nelida_mendoza">http://www.juandesalazar.org.py/index.php/agenda/detalles/clorinda_de_nelida_mendoza</a>/</span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><a href="https://vimeo.com/96611931" target="_blank">https://vimeo.com/96611931</a></span><br />
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<a href="http://www.blogger.com/blogger.g?blogID=900909776215478434" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
CLORINDA<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPDzwshp1paagS0NOMLTOjE20InRgp4zL1dbqkGfXhJB2xnSW9NvFVGqufZ5CcuufTXFl7rJAvo18_XT2tjSQPLnRlcviOh-MclRXvYn6g2wchUBXcDBx1zJFvDpOC5wvSlIb8NNw3FAW/s1600/definitiva.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPDzwshp1paagS0NOMLTOjE20InRgp4zL1dbqkGfXhJB2xnSW9NvFVGqufZ5CcuufTXFl7rJAvo18_XT2tjSQPLnRlcviOh-MclRXvYn6g2wchUBXcDBx1zJFvDpOC5wvSlIb8NNw3FAW/s1600/definitiva.jpg" height="355" width="400" /></a></div>
<a href="http://www.blogger.com/blogger.g?blogID=900909776215478434" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span lang="ES-PY"><br /></span>
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<div style="text-align: justify;">
<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">Clorinda se orienta a deconstruir ciertos
términos problemáticos como <i>identidad</i>,
<i>diversidad</i>, <i>territorio</i> y <i>frontera</i>.
Menciono la dificultad de estos conceptos, pues a pesar de que los mismos
resultan necesarios para el devenir de la cultura contemporánea, esa misma
necesidad los ha convertido frecuentemente en clisés descargados de potencial
crítico y dimensión poética. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">Deconstruir un concepto no significa
destruirlo, sino ponerlo en contingencia y zozobra, someterlo al vaivén de
juegos de lenguaje, desarraigarlo de todo fundamento. Por eso, al deconstruir
las figuras de territorio y margen, la exposición titulada <i>Clorinda</i> sortea los estereotipos multiculturalistas, el exotismo de
las fronteras y la metafísica de la identidad y lo diverso para sugerir
terceros espacios, intermedios; posiciones inestables, “zonas de pacto”, sitios
de cruce y paso trazados en cualquier territorio. <o:p></o:p></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=900909776215478434" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">Clorinda se desarrolla en torno a una
instalación de Nélida Mendoza que desarrolla la idea de “membranas que sudan”: maderas
claras de timbó y contenedores/cántaros de terracota cargados de agua; las
superficies de ambos elementos transpiran, exudan humedades de vapor y rocío.
Las “membranas” de madera blanca actúan como pantallas móviles; sobre ellas se
proyectan imágenes de video. La filtración remite a la frontera, no como lugar
establecido de tránsito o marcación territorial, sino como vínculo oscilante
entre el interior y el exterior, relación expresable en la figura del pliegue
deleuziano, cuyo movimiento de frunce involucra uno y otro lado. Cada cual
arrastra al otro en su avance o retirada. Este movimiento de pliegue y
repliegue implica una línea divisoria flexible, una no-frontera, que media
entre ambos lados sin arriesgar la diferencia de cada uno de ellos. <o:p></o:p></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">Desde este movimiento continuo, la primera
propuesta remite a otras dos. Ambas señalan los puntos entre los que transita,
sin fronteras, la obra de Nélida Mendoza: el contexto italiano y el paraguayo. <o:p></o:p></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">El primer contexto es trabajado por Alessandro Aiello del colectivo siciliano, CANECAPOVOLTO, que
reinterpreta imágenes de la artista a partir de una perspectiva trazada desde
Europa y sus propias miradas. Cinco monitores proyectan videos basados en
movimientos de aceleración, detención, acercamiento y distanciamiento, así como
en dispositivos de desenfoque y desplazamiento. Estos trasiegos recaen, de
manera impresionista pero desde una reflexión conceptual, sobre una temática
también fluctuante de sonidos, rumores, reflejos y apariencias de agua, luz y
color: de paisaje acelerado en su mostración, detenido en el análisis que
provoca. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">El segundo, corresponde a la curaduría de
Fernando Moure, que presenta una selección de obras de artistas/cineastas.
Según el concepto curatorial, estas producciones no serían presentadas en
formato de festival o de muestra de cine nacional, sino como un discontinuo panorama
articulado, un paisaje quizá. La filmografía comprende dos piezas históricas y un
importante listado de obras realizadas en la última década. Éstas marcan la
emergencia de una producción potente que está ganando un espacio privilegiado
en el ámbito de las artes audiovisuales del Paraguay, gracias a promotores
entusiastas, entre quienes se encuentra, sin duda, Moure. <o:p></o:p></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Ticio Escobar</span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif;">Asunción, julio de 2013<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4XPI2whozgXYj7_-h37g5vJjwx-QguB2rkTIemyK2nL2aiUgaBN0NsLKUI4mNMr6DtNXmr8wswX1SQMpSIzZD8RDBSUTlG6Hlx9329GJB7WG9qJMuw1o__60HvqEIpoHwtncQHaSgjin/s1600/fotopat_5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4XPI2whozgXYj7_-h37g5vJjwx-QguB2rkTIemyK2nL2aiUgaBN0NsLKUI4mNMr6DtNXmr8wswX1SQMpSIzZD8RDBSUTlG6Hlx9329GJB7WG9qJMuw1o__60HvqEIpoHwtncQHaSgjin/s1600/fotopat_5.jpg" height="400" width="266" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnPnOFFixUV2ev8JiynxzWRmzatxZfB8DJh2Kq44h0akafmFO3EqvcKfZO3fITW7NyXEeyh0MxSC3HfvIuuKCgKStWhyCOx5XZnBOeDIJMKOIH7gmhEgyO-nbU3v4IVrKhCZuSZpq7O6x6/s1600/fotopat_84.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnPnOFFixUV2ev8JiynxzWRmzatxZfB8DJh2Kq44h0akafmFO3EqvcKfZO3fITW7NyXEeyh0MxSC3HfvIuuKCgKStWhyCOx5XZnBOeDIJMKOIH7gmhEgyO-nbU3v4IVrKhCZuSZpq7O6x6/s1600/fotopat_84.jpg" height="400" width="265" /></a></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Viaje y Muerte - Historia de la Frontera</span></b><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><br /></b>
</span><br />
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Se parece al nombre de una de Las Ciudades Invisibles de Italo Calvino, Clorinda es en vez una localidad en el confín entre Argentina y Paraguay, donde pasan exilados y emigrados, un confín rigido y poroso, como todas las fronteras.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Sobre este tema indaga Nélida Mendoza, artista paraguaya que vive en Palermo, con un proyecto que luego de este debut en la sede del Instituto Cervantes, en la Iglesia de Santa Eulalia a los Catalanes serà presentado a Catania, Buenos Aires y Asuncion.</span></div>
<div style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Desde cinco monitores las imagenes y los sonidos de los viajes en Paraguay, elaborados por Alejandro Aiello de Canecapovolto se reverberan en la nave del '500 alrededor de un "masacratorio" de carnicero; de sus ganchos cuelgan membranas en terracota; formas movibles tactiles y visivas, de las cuales trasuda el agua que corre entre las vías donde originariamente venia lavado el sangre de las carcazas.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">La rigida ferocidad de las fronteras y la permeabilidad de sus culturas y de las personas que continuamente las atraviesan, conviven así en la misma estructura, en un objeto - imagen de gran fuerza y su gestión - que mezcla la variación de las voces, de los cuentos, la universalidad de sonidos metálicos como emblema del dolor de la historia que vivimos .</span></div>
<span style="font-family: Times, 'Times New Roman', serif; text-align: justify;"><span style="font-size: x-small;">Sergio Troisi - 13/10/2013 - La Reppublica 2013</span></span><br />
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif; font-size: x-small;">Es
siempre una experiencia compleja montar imagenes y sonidos registrados por
otras personas, en lugares donde
nunca estuvimos y que probablemente no veremos jamàs. Es como
vivir por un poco en casa ajena y por algun motivo misterioso obligados a poner orden .<o:p></o:p></span></div>
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<span lang="ES-PY" style="font-family: Times, Times New Roman, serif; font-size: x-small;">
</span><br />
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<div style="text-align: justify;">
<span lang="ES-PY" style="font-family: Times, Times New Roman, serif; font-size: x-small;">Montar
todo el material registrado por Nelida Mendoza fue para mi no solo poner orden
y catalogar sino que tambien interpretar sus viajes, dialogar con ella en la
distancia a travez de imagenes y sonidos che ha elegido de conservar por varios
motivos, compartir sus encuentros, sus emociones legadas al viaje, a la
frontera y a decisiones arbitrarias e irreversibles. <o:p></o:p></span></div>
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<span lang="ES-PY"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Normalmente
tenemos miedo de penetrar memorias ajenas en el temor de enganar , de romper
equilibrios preciosos que estan escondidos…sabemos que no podemos entender
totalmente las imagenes que no hemos registrado pero creo que sea esta justo la
condicion ideal que nos permite de entrar dentro de estas memorias y de
testimoniar el valor inestimable.<o:p></o:p></span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">Alessandro Aiello giugno 2013</span><br />
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<span style="font-size: x-small;"><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 18px; text-align: justify;">En relación al eje temático de</span><span style="line-height: 18px; text-align: justify;"> </span><b style="line-height: 18px; text-align: justify;">País/Paisaje, el arte del cine y el video de Paraguay</b><span style="line-height: 18px; text-align: justify;">, puede afirmarse que el espacio geográfico proyecta una fuerte presencia tanto en el paisaje físico como en el cultural. La lentitud del tiempo, la austeridad y la morosidad, el uso de la lengua guaraní o la intensa presencia de la naturaleza podrían ser manifestaciones que comentarían rasgos distintivos del territorio paraguayo.</span></span><span style="font-family: Times, 'Times New Roman', serif; line-height: 18px; text-align: justify;">La etimología de la palabra paisaje, claramente asociada a la de país, sugiere la necesidad de alojar un espacio en el mundo al Paraguay, que quizás no puede dar la política, pero sí el arte y el público que cree en su potencial simbólico. Estos trabajos recientes inscriben un "estar y vivir" actualizador afrontando críticamente la situación y desafíos del país sudamericano.</span></span></span></div>
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<span lang="ES-PY"><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 18px;">El conjunto contiene miradas intensas a la identidad, en una suerte de paisaje humano desarrollado desde sus aristas culturales, sociales y políticas. La selección busca aproximar al público a este lugar concreto y a la composición de su mundo físico, temporal y anímico.<o:p></o:p></span></span></div>
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<span lang="ES-PY"><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 18px;">Las obras pretenden dar cuenta de un tiempo, el genéricamente llamado de “transición a la democracia”, iniciado en 1989 tras la caída de la dictadura más larga de América; hoy un tiempo oscurecido tras la vuelta de un orden político regresivo y conservador. La propuesta de este programa audiovisual desea generar en el público un ejercicio de pensamiento y reflexión críticos sobre la actualidad paraguaya.<o:p></o:p></span></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 18px;">Creemos que la vocación cosmopolita y multicultural de Palermo y Sicilia son ideales y propicias para conectarla a la “isla de tierra” paraguaya, en la metáfora para describir a este territorio interior y aislado que inventara la escritora y artista Josefina Plá (1903-1999).<o:p></o:p></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 18px;">Finalmente, destacar que la filmografía con fines artísticos producida en, desde y sobre Paraguay se desarrolla aún en una escena frágil y emergente, y es posible gracias a la tenacidad de sus creadores. El cine, el video y los medios digitales encienden recién, entre el fin de siglo y comienzos del XXI, una primera luz permanente para la imagen en movimiento, aún pese a la carencia de estímulos.<o:p></o:p></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 18px;">El hecho de generar nuevos circuitos y espacios de difusión para la creación audiovisual fomenta el intercambio de sensibilidades hacia y desde nuestro país, transfiere estímulos que nos integran y conectan al mundo, al tiempo de ofrecer un cauce a esta producción simbólica. Una experiencia, un tránsito de ideas e imágenes para construir imágenes de una realidad lejana, aunque siempre semejante.</span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">Los cortos, largometrajes y
piezas de videoarte que componen el programa <b>País-Paisaje, el arte del cine y el video de Paraguay</b> comprenden
una filmografía realizada en la última década junto a dos piezas históricas, y
que fuera exhibida en numerosos festivales y muestras. El público italiano ha
podido verlas en la Mostra de Venecia, el Festival di Popolo de Roma o el de
Turín.<o:p></o:p></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">El programa está conformado por un
cuerpo de ficciones, documentales, cine experimental, videoarte y animaciones
con subtítulos al inglés, y reúne la obra de los siguientes realizadores y
artistas.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES">Federico Adorno, Pedro Barrail,
Gustavo Benítez, Fredi Casco, Luvier Casali, Hugo Cataldo,</span></b><span lang="ES"> <b>Enrique
Collar, Edith Correa, Renate Costa, Martín Crespo, José Elizeche, Juanchi
Franco, Dominique Dubosc, Pablo Lamar, Javier López, Juan C. Maneglia, Marcelo
Martinessi, Erika Meza, Ricardo Migliorisi, Mauricio Rial, Joaquín Sánchez,
Tana Schembori, Salla Sorri, Valentina Serrati y Patricia Wich.<o:p></o:p></b></span></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">FICHA TÉCNICA<o:p></o:p></span></div>
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<b><u><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">PROGRAMA CINE<o:p></o:p></span></u></b></div>
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<b><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">LARGOS:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Cuchillo de
palo. </span></b><span lang="ES" style="line-height: 115%;">Renate Costa (98´, 2010)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Novena. </span></b><span lang="ES" style="line-height: 115%;">Enrique Collar (94´, 2010)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Tren Paraguay. </span></b><span lang="ES" style="line-height: 115%;">Mauricio Rial (60´, 2011)<o:p></o:p></span></span></div>
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<b><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">CORTOS:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Isla Alta. </span></b><span lang="ES" style="line-height: 115%;">Federico Adorno (18´, 2011)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Resistente. </span></b><span lang="ES" style="line-height: 115%;">Renate Costa, Salla Sorri (19´, 2011)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Manohara. </span></b><span lang="ES" style="line-height: 115%;">Dominique Dubosc (21´, 1968)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Noche adentro. </span></b><span lang="ES" style="line-height: 115%;">Pablo Lamar (18´, 2009)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Ahendu nde
sapukai. </span></b><span lang="ES" style="line-height: 115%;">Pablo Lamar (12´, 2008)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Presos. Juan C.
Maneglia </span></b><span lang="ES" style="line-height: 115%;">(13´, 1987)<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=900909776215478434" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Espejos. Juan C.
Maneglia </span></b><span lang="ES" style="line-height: 115%;">(9´, 1988)</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Artefacto de
primera necesidad. </span></b><span lang="ES" style="line-height: 115%;">Juan C. Maneglia y Tana
Schembori (8´, 1995)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Karai Norte. </span></b><span lang="ES" style="line-height: 115%;">Marcelo Martinessi (18´, 2009)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Calle Ultima. </span></b><span lang="ES" style="line-height: 115%;">Marcelo Martinessi Marcelo (22´, 2010)<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><u><span lang="ES" style="line-height: 115%;">PROGRAMA
VIDEOARTE</span></u></b><b><span lang="ES" style="line-height: 115%;">, duración 58 minutos.<o:p></o:p></span></b></span></div>
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<b><span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;"> <o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">La cocina de
Josefina. </span></b><span lang="ES" style="line-height: 115%;">Pedro Barrail<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=900909776215478434" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Surco en
gualambá. </span></b><span lang="ES" style="line-height: 115%;">Gustavo Benítez, Edith Correa,
José Elizeche<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Chaco fantasma. </span></b><span lang="ES" style="line-height: 115%;">Fredi Casco<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Raudal. </span></b><span lang="ES" style="line-height: 115%;">Martín Crespo<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Influenza
Colorada. </span></b><span lang="ES" style="line-height: 115%;">Luvier Casali<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">El gusto de la
mirada. </span></b><span lang="ES" style="line-height: 115%;">Ricardo Migliorisi<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Kambuchi. </span></b><span lang="ES" style="line-height: 115%;">Joaquín Sánchez<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">Celeste. </span></b><span lang="ES" style="line-height: 115%;">Valentina Serrati<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">María bonita. </span></b><span lang="ES" style="line-height: 115%;">Patricia Wich<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">CURADOR: </span></b><span lang="ES" style="line-height: 115%;">Fernando Moure <o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">ASISTENCIA: </span></b><span lang="ES" style="line-height: 115%;">NauART - Comunidad de Artistas<o:p></o:p></span></span></div>
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<span lang="ES" style="font-family: Times, Times New Roman, serif; font-size: x-small; line-height: 115%;">Consulado de Paraguay en Barcelona<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b><span lang="ES" style="line-height: 115%;">EDICIÓN
AUDIOVISUAL: </span></b><span lang="ES" style="line-height: 115%;">Petra Eicker<o:p></o:p></span></span></div>
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<span style="color: black;"><a href="https://vimeo.com/96611931"><span style="color: black; font-size: large;">CLORINDA</span></a><span style="font-size: large;"> - PARAGUAY</span></span><br />
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<b style="font-family: Times, 'Times New Roman', serif; font-size: small;">Alessandro Aiello</b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>editing audio-video</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>Fernando Moure</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><b>País/Paisaje</b></span></div>
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<span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><br /></span><span style="font-family: Helvetica; font-size: x-small;"><b>AECID Centro Cultural Juan de Salazar</b></span></div>
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<span style="font-size: x-small;"><b>Herrera 843 c/ Tacuary</b></span></div>
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