{"id":7116,"date":"2025-05-18T23:59:59","date_gmt":"2025-05-18T21:59:59","guid":{"rendered":"https:\/\/unarchivefest.it\/?post_type=portfolio&p=7116"},"modified":"2025-05-21T15:31:16","modified_gmt":"2025-05-21T13:31:16","slug":"vedute-dallaccademia","status":"publish","type":"portfolio","link":"https:\/\/unarchivefest.it\/en\/eventi\/vedute-dallaccademia\/","title":{"rendered":"Vedute dall’Accademia"},"content":{"rendered":"

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UnArchive \/\/ Expanded<\/h6>\n

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Real Academia de Espa\u00f1a en Roma<\/span><\/strong>
\nPiazza di S. Pietro in Montorio, 3<\/span><\/strong><\/h4>\n

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The program presents five videos produced by the authors while they were fellows at the Real Academia de Espa\u00f1a en Roma, with the exception of La rivoluzione (\u00e8) probabile<\/em> completed in 2022 by Maria Ruido before her stay this year. From the top of the Janiculum Hill where the Academy is located, the five authors look at the city and offer us their different interpretations with works that reflect on the political force of cinema and the role of archives and representation.<\/p>\n

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Subversiones dom\u00e9sticas<\/em> by Estibaliz Sadaba
\n<\/span>30′
\n<\/span>2019
\n<\/span>spanish and italian (subtitles in spanish)
\n<\/span>Video that collects performance acts aimed at subverting the confinement of women in domestic space, taking the struggle out of the kitchen and bedroom and into the streets. The starting point is the texts of two Italian feminist thinkers of the 1970s: Silvia Federici and Mariarosa Dalla Costa.<\/span><\/p>\n

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Lembranza <\/span><\/i>dy <\/span>Alberto D\u00edaz
\n22′
\n<\/span>2017
\n<\/span>spanish
\n<\/span>Lembranza<\/span><\/i> appropriates the memories of a family history of artists and proposes, from intimacy, an essay on time, memory and image. Its relationships, gestures and conditions become an essential discourse on cinematic art. A work that, starting from familiar fragments found, recovered and rescued from old Super 8 films, tests the principles of the introspective image, the one stored in our consciousness. The relationship of the “self” to the cinematic image and how that “truth” of cinema brings us closer to the reality of a world bound between past, present and future.<\/span><\/p>\n

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Gran Hotel Nazareno<\/span><\/i> by Txuspo Poyo
\n<\/span>12′
\n2021
\n<\/span>italian (subtitles in english)
\n<\/span>The journey in a van of the skeleton of an 1843 whale that belonged to the Nazarene College Cabinet until it was sold for the construction of a luxury hotel. After the sale, the cabinet was transferred to the Calasanz Institute. The van travels the distance from Calasanzio to the Academy of Spain, passing through some of Rome’s iconic sites. The skeleton, thanks to a human chain, is transported through the entire academy until it is installed in the portrait hall. <\/span><\/p>\n

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Roma\u2026 vita e notte<\/span><\/em> by Isa\u00edas Gri\u00f1olo
\n<\/span>70′
\n<\/span>2023
\n<\/span>italian
\n<\/span>When I arrived in Rome, the monsters that accompanied Giorgia Meloni were flying over the city. This project is about just that: showing, through small details, the monsters reborn with ethnonationalisms. It takes the form of a filmic frieze edited with what is filmed day after day during the nine months of residence in Rome. Sometimes it will be an urban drift, other times it is meant to be an awkward investigation of the traces, faces and remnants of everyday life. The goal is to create a work of memory with the walls as silent seismographs-skin written by the anonymity of darkness-capturing some of the vibrations of Rome.<\/span><\/span><\/p>\n

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La revoluci\u00f3n (es) probable<\/em> by Mar\u00eda Ruido
\n30′
\n<\/span>2022
\n<\/span>portuguese and spanish (subtitles in english)
\n<\/span>What is a revolution good for? A revolution illuminates other possibilities of life. This is the starting point of this short film about the last of the great European revolutions: that of April 25, 1974 in Portugal, which ended on November 25, 1975. This visual essay, constructed with images from film cooperatives and television materials, is a reflection on the political power of cinema and the role of archives and representation in our current struggles. <\/span>La rivoluzione (\u00e8) probabile <\/i>also speaks of the fragile documentary status of images as “evidence” and the real possibility of learning from history from the present.<\/span><\/p>\n<\/div>\n

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