Planetarium is a session dedicated to the technical avant-garde of contemporary audiovisuals, focusing on an area still in exploration, such as dome cinema. The selection counts with a great variety of aesthetic languages and narratives, which play in the hemispherical space of the screen to create almost architectural illusions, defining an immersive and unusual audiovisual experience. The creators use video dance, 3D animation, optical effects, videomapping or stopmotion -among other resources-, to develop the pieces that make up each of the sessions.
In Liminality, the landscape, urbanism and rhythms of Wales and India are hybridized to create a continuity of settings and bodies. A kind of mandala is generated in the image, a danced kaleidoscope of the border: it is danced in a suspended place, neither in one place nor in another, but in the territory created after the collision of two spaces. There is also a certain liminality in Urban Levitation, where the city becomes a stage between the heavy and the weightless. The violence of the urban gear and its immense interlocking structures suspended in the void, are traversed by the viewer like an astronaut observing its deconstruction, floating around as in a futuristic expedition. And that is precisely what Emersive proposes: an entrance to an infinite tunnel, to a succession of metamorphic rooms, between the past and the future. The patterns submerge us little by little in a trance where we project our own subjectivity, where we lose ourselves into the volatile universe of infinite networks, a simulation of the possible. Wansui also develops a simulation in which the camera offers a microscopic or telescopic view of debris. Mankind behind nuclear power and savage progress leaves a deformed, tainted testament. It leaves an indelible mark.
And other kinds of traces are found in Sonolumin or, rather, the trail of colored lights that, projected on different urban settings, draw on the architecture a dreamlike dimension, which combats the weight of the walls with fleeting and rhythmic appearances.
Babel and SUPREMATISM. The Day Before constitute exercises in formal deconstruction, investigating the architectural dynamics of different milestones in the history of art and generating an essential, atomic, but also spatial understanding of the elements that constitute them.
In Infinite Horizons endless paths arise, a dizzying space opens up on the screen, limited only by the horizon in which the stars are lost. There is in these images a certain longing, as in Melancholia. This piece presents a surreal journey, a transcript of a self-absorbed, lonely state of consciousness, charged with the melancholy typical of ruin, of the immense and ancient landscapes that can be inside and outside of oneself. This self-absorption has to do with a captivity, which refers us to Skylark. Using the moiré effect generated by geometric patterns, Jeremy Oury builds an optical cage. Little by little the viewer transcends the virtual bars like a lark, witnessing the sinuous transformation of the shapes that surround him, and gradually freeing himself from his captivity.
Another very different path is followed by Beautiful Baby Tilapia, being the result of a collaborative project, in which the cartoonists are children. Its naive aesthetic fills the piece with color and spontaneity, and makes it an unpretentious, familiar and tender creation. How it was told to me and Der Mond, on their part, refer to the aesthetics of the cutout and the silhouette, emphasizing, however, the volume of the different superimpositions of planes and characters.
Fractal Time is a space fantasy, in which landscapes mutate and different planetary surfaces are chained together, in a fragmentary journey as far as possible.
Planetario gathers under its umbrella a heterogeneous sample of works, thus offering an overview of the creative potential of dome cinema and its contemporary international creation and reserving a visibility space for the latest technological advances in audiovisuals.
Curatorial text (by Lara Castro Lema)