ULTIMA FILA, The Culturplaza and Plaza Podcast film program published the podcast on September 22 with the chronicle of the film exhibition ˂VHS/VOD/TikTok/Cine˃ Cinema and its formats (in La Posta from September 15 to October 14), which includes an interview with the curator Aitor de Maenza.
The journalists who host the program, Álvaro Devís and Clara Gorria, review the works on display, by Jorge Suárez, Sergio Martin, Mike Kelley and Alberto Barinaga, after having seen the exhibition and the way in which the different works have been presented, inviting the public to visit it with time (because the time required to enjoy a cinematographic exhibition and, in general, audiovisuals, is greater than that applied to an exhibition of plastic arts), and when giving the floor to Aitor de Maenza, you are offered the possibility of making a reading of the different cinematographic formats that have occurred in recent decades in a generational key, your own and that of some artists participating in the exhibition, which provides the curatorial discourse with a personal, autobiographical content, which is not common and which gives it a notable strength, full of positive hope, not common in institutionalized film-loving circles, which have been predicting the death of cinema for many decades, in response to which, Aitor de Maenza vindicates the inexhaustible vitality of cinema that continues to be self-aware of being cinema.
The podcast can be heard here [starting at minute 12’54” ˂VHS/VOD/TikTok/Cine˃ Cinema and its formats]
Still from Bob Klerk’s film “Porky’s” (1981), included by Mike Kelley in his 2002 installation: “A Continuous Screening of Bob Clark’s Film, Porky’s (1981), the Soundtrack of Which has Been Replaced with Morton Subotnik’s Electronic Composition, The Wild Bull (1968), and Presented in the Secret Sub-Basement of the Gymnasium Locker Room”.
