Clara Aparicio and Susanne Wiegner

Stories as Builders

Clara Aparicio

Susanne Wiegner

[Clara Aparicio]

Clara was born in 1979 in Madrid, Spain. She graduated from Complutense University of Madrid with a History of Art Degree and then she moved to London, where she currently lives and works.+

[Susanne Wiegner]

Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt
Institute in New York City. +

[TXT]

To what extent do we know the narratives that permeate the spaces we inhabit, and to what extent do these narratives – sometimes inherited, sometimes created – allow us to redirect our gaze, put the focus of attention on something that went unnoticed? +

Moments

Susanne Wiegner

— Spanish premiere—

3D Animation | Sound | Color | 6’ 18’’ | 2019

The film is based on a poem by Robert Lax and describes in meditative images a
“meaningless” moment in the streets, it could be the waiting for the next bus. Moments that we barely notice, as we are used to bridge this time with a glance at our smartphones.

Iconosfera

Clara Aparicio

— Galician premiere —

HD video | Sound | Color | 4’ 45’’ | 2015

This video reflects on the importance of images in the construction of the collective imaginary. Both for what is shown and also for what is hidden. From christian iconography to the current oversaturation of images from the iconosphere and media manipulation.

Based on the paintings that covered the walls of the Romanesque churches, used to indoctrinate worshipers at a time where most people could not read, this video reflects about interactivity and the alleged freedom that we have nowadays to choose between different possibilities. New marketing strategies rely on dynamic content that pretends to give us freedom of choice and seems to adapt to our needs, preferences, ideologies…”Infinite” products, services, ideas… are offered to us so that we can choose “freely” between them. But all these possibilities are finite and were already chosen in advance, defining therefore a space and establishing limits.

The images projected on the walls of this “interactive church” have been previously chosen and stored in a database. A software created with Processing then distributes them randomly, creating the illusion of over-abundance.

The hands as a symbol of capacity for action, for participation, here no longer have any use for creating, building, fighting… but only for choosing among the many options that are offered to them. They all float above the surface of the walls but none of them leaves the building to see what’s outside.

Relato eficaz

Clara Aparicio

— Galician premiere —

3D Animation | Sound| Color | 3’ 36’’ | 2016

A camera slowly follows, with a continuous travelling shot, the figure of a woman who walks. On both sides, in an impossible space, there hang framed pictures that show iconic images in the history of Western painting, in which the greatest male artists have represented the figure of women throughout centuries of history. When she is reaching the end of her journey, she starts to see herself reflected in these paintings, which are now mirrors that return her image. After that, she will cross to the other side of the painting and the viewer will have to take a stand and create her own modes of representation.
Relato Eficaz reflects about the power of the prevailing perspective and what this means in relation to the audience. Perspective controls everything. In the art world, just like in all the other fields, this perspective, this point of view, is primarily a male one. Most of the women’s representations we find in galleries and museums are made by men. This changes with the perspective of women who revise this “almighty” status and the perspective itself.. Following gender theory and feminist studies, it is the responsability of History of Art to revise the representation system. We need alternative perspectives, unprecedented spaces, to question this imposed perspective that manipulates us.

the good, the bad, the ugly

Clara Aparicio

— Galician premiere —

HD video | Sound | Color | 2’ 34’’ | 2009

Surreal urban western.

This film breaks up with the narrative continuity of the montage. The images do not follow a realistic sequential logic that indicates that time is passing.
Following the Vjing aesthetic, the images conflict, juxtapose, form loops and repeat themselves, in synchrony with the music.

Bellevue

Susanne Wiegner

— Spanish premiere—

3D Animation | Sound | Color | 7’ | 2020

The title Bellevue ironically refers to the by no means beautiful view, neither from the train window of a dystopian urban landscape, nor, figuratively, of a world that is heading for the abyss or has already crossed it. The hopelessness of the scenery is increased by the absurd protection and rescue platforms.
The absent observer sitting at the supposedly safe window looks at a deconstructed, deserted world and is at the same time part of it.

Future in the Past

Susanne Wiegner

— Spanish premiere—

3D Animaton | Sound | Color |  7’ 7’’ | 2015

Future in the Past is a virtual time loop, that consists of only one continuous cameradrive without any cuts. The film is a journey through the realm of personal imagination and pictures, through surreal places and unexpected spaces. The style of the different interiors is a reminiscent of Edward Hopper’s paintings.

Moments

Susanne Wiegner

— Spanish premiere—

3D Animation | Sound | Color | 6’ 18’’ | 2019

The film is based on a poem by Robert Lax and describes in meditative images a
“meaningless” moment in the streets, it could be the waiting for the next bus. Moments that we barely notice, as we are used to bridge this time with a glance at our smartphones.

the good, the bad, the ugly

Clara Aparicio

— Galician premiere —

HD video | Sound | Color | 2’ 34’’ | 2009

Surreal urban western.

This film breaks up with the narrative continuity of the montage. The images do not follow a realistic sequential logic that indicates that time is passing.
Following the Vjing aesthetic, the images conflict, juxtapose, form loops and repeat themselves, in synchrony with the music.

Iconosfera

Clara Aparicio

— Galician premiere —

HD video | Sound | Color | 4’ 45’’ | 2015

This video reflects on the importance of images in the construction of the collective imaginary. Both for what is shown and also for what is hidden. From christian iconography to the current oversaturation of images from the iconosphere and media manipulation.

Based on the paintings that covered the walls of the Romanesque churches, used to indoctrinate worshipers at a time where most people could not read, this video reflects about interactivity and the alleged freedom that we have nowadays to choose between different possibilities. New marketing strategies rely on dynamic content that pretends to give us freedom of choice and seems to adapt to our needs, preferences, ideologies…”Infinite” products, services, ideas… are offered to us so that we can choose “freely” between them. But all these possibilities are finite and were already chosen in advance, defining therefore a space and establishing limits.

The images projected on the walls of this “interactive church” have been previously chosen and stored in a database. A software created with Processing then distributes them randomly, creating the illusion of over-abundance.

The hands as a symbol of capacity for action, for participation, here no longer have any use for creating, building, fighting… but only for choosing among the many options that are offered to them. They all float above the surface of the walls but none of them leaves the building to see what’s outside.

Bellevue

Susanne Wiegner

— Spanish premiere—

3D Animation | Sound | Color | 7’ | 2020

The title Bellevue ironically refers to the by no means beautiful view, neither from the train window of a dystopian urban landscape, nor, figuratively, of a world that is heading for the abyss or has already crossed it. The hopelessness of the scenery is increased by the absurd protection and rescue platforms.
The absent observer sitting at the supposedly safe window looks at a deconstructed, deserted world and is at the same time part of it.

Relato eficaz

Clara Aparicio

— Galician premiere —

3D Animation | Sound | Color | 3’ 36’’ | 2016

A camera slowly follows, with a continuous travelling shot, the figure of a woman who walks. On both sides, in an impossible space, there hang framed pictures that show iconic images in the history of Western painting, in which the greatest male artists have represented the figure of women throughout centuries of history. When she is reaching the end of her journey, she starts to see herself reflected in these paintings, which are now mirrors that return her image. After that, she will cross to the other side of the painting and the viewer will have to take a stand and create her own modes of representation.
Relato Eficaz reflects about the power of the prevailing perspective and what this means in relation to the audience. Perspective controls everything. In the art world, just like in all the other fields, this perspective, this point of view, is primarily a male one. Most of the women’s representations we find in galleries and museums are made by men. This changes with the perspective of women who revise this “almighty” status and the perspective itself.. Following gender theory and feminist studies, it is the responsability of History of Art to revise the representation system. We need alternative perspectives, unprecedented spaces, to question this imposed perspective that manipulates us.

Future in the past

Susanne Wiegner

— Spanish premiere—

3D Animation | Sound | Color |  7’ 7’’ | 2015

Future in the Past is a virtual time loop, that consists of only one continuous cameradrive without any cuts. The film is a journey through the realm of personal imagination and pictures, through surreal places and unexpected spaces. The style of the different interiors is a reminiscent of Edward Hopper’s paintings.

Layouts, transits and citadels

CITADELS is made up, on the one hand, by the exhibition Layouts, Transits and Citadels in which artists from all over the world present their vision of the urban and the common space and, on the other, by three single-channel sessions, in focused on the work of four of these artists, delving into their individual speeches, whose investigation draws from the social, the poetic and the intimate.

Wednesday 27 oct | 20:30 – 21:30h

Fundación Luís Seoane

Wednesday 27 oct | 21:30 – 22:30h

Fundación Luís Seoane

Thursday 28 oct | 20:30 – 22:00h

Fundación Luís Seoane

28 – 31 oct

Fundación Luís Seoane