Isaías Griñolo

Visual artist and filmmaker. Lives and works in Seville. Trained in the UNIA arteypensamiento program at the International University of Andalusia. He is a member of the PRPC (Plataforma de Reflexión de Políticas Culturales). He works on projects in his immediate environment to address issues related by antagonistic practices through relations of memory, ecology, economy, poetry and art. His work moves in the field of filmic essay, combining filmic diary and audiovisual remix.

Among his projects stands out "Mercado Energético Puro for Principio Potosí" (Museo Nacional Centro de Arte Reina Sofía, Madrid; HKW Berlin -Germany- and Museo Nacional de Arte de La Paz -Bolivia-). This experience trascended into "historia_contemporánea", a multidisciplinary project that shows our current tines within the form of a poetic documentary about the curtailment of rights and the rise of the extreme right. This large body of work was presented in Contra Tàpies, four video stories about walls and graffiti (Fundació Antoni Tàpies, Barcelona); in 18 photographs and 18 stories, video story and telephone conversation with Isidoro Valcárcel Medina for If I Can't Dance (Amsterdam, Holland); in Cuartos de Utopía for Flares in the Darkroom, two video stories about the Corrala de Vecinas La Utopía (Secession, Vienna, Austria); in L'Art de la Rèvolte (Centre Pompidou, Paris, France), a film essay about walking saying NO; and in Actually, the Dead Are Not Dead (Assembly Bergen, Norway).

historia_contemporánea generated Los Flamencos, a working group formed with poet Antonio Orihuela and singer Niño de Elche. Their work "Cantes tóxicos" (2012-16) is a scenic artifact that hybridizes flamenco singing, poetry and audiovisual archives around disaffection. He has curated, together with Paul B. Preciado, "La Noche del Apagón" (Macba, Barcelona), a critical-performative installation that recovers the night as a time of encounter and creation.