img: El naufraguito nº80 5 cartas de amor y 1 de ¡ahí te pudras! [5 love letters and 1 of there you got rot!]

Intento fotografiarte. [I try to photograph you]
Te hago un molde. [I make you a mold]
Te meto dentro. [I put you inside]
Sé que un hombre puede ocultar otro. [I know one man can hide another]
Te das cuenta de todo. [You realize everything]
Lo sabes. [You know it]
Nadie se mueve tan despacio [No one moves that slow]
si no es un seductor o un asesino. [unless he's a seducer or a killer]
Entonces paro, me concentro [So I stop, I concentrate]
y te pregunto mentalmente: [and I ask you mentally:]
¿te estás riendo de mí? [Are you laughing at me?]
¿Estás abusando de mi bondad? [Are you abusing my kindness?]
¿Te estás burlando de mí, Rizzo? [Are you making fun of me, Rizzo?]
¿Soy un ángel o una bayeta? [Am I an angel or a washcloth?]
                                     –Los montes son tuyos (alberto cortés)

The practices producing moving images tend to generate ethical-political tensions that sprout from a brain, come out through one eye, go through the camera, its lens -or the screen of the device from which we find images that we appropriate, or from which we produce digital images-, come out the other side and stay pulling the worlds that we later see inside the rectangle of light that is the final video.

In this edition of #HamacaLearning>with_artists we return to the mud of making to provoke a very stubborn journey where to pay attention to practice itself. We have a suspicion: in these times we need more love, we are lacking it. A few months ago, ro gotelé proposed in his dimarts de vídeo that, to practice love, attention and curiosity are essential. All the audiovisual artists implied in this edition of workshops are producing involving ways of love that, even if understood in different ways, can be perceived from observing their work. Their films are attentive and curious, looking at complex worlds, and their practice faces often difficult tensions by collecting pieces of images to portray lives, events, changes, stories. These encounters offer windows into the ways of thinking and developing their work. 

The four workshops we present for 2023 are 4 love letters where we imagine that the epistolary takes the form of a channel for the generous transfer of knowledge and ideas to take place in the pedagogical context. Each in its own way, all of them propose practices to situate more attentive presences in the production, reception or other ways of involvement in/with the moving image.

Killing the documentary: to have an idea is to have a responsibility
A workshop with Mireia Sallarès
 → September 18th, 20th, 22nd from 6pm to 9pm
 → Registration fee: 20€ general public / 10€ Amigas Hamaca 2
 → At Hangar
In 2002, American filmmaker Jill Godmillow wrote her manifesto Kill the documentary, as we know it. Twenty years later she published a book with the same title where she explains at length the need to make the political filmic language of non-fiction something complex. A complexity that will be at the height of what the Polish poet Wislawa Szymborska said when she wrote "reality defines itself, that is why its mystery is greater". In this meeting, the artist Mireia Sallarès will share some of her projects, referents and methodologies in complicity with her ways of making referents.
+ info

Revisiting the territory >> Obsolescent aesthetics as forms of resistance
A workshop on 16mm experimental cinema with Yago Alcover from Crater-Lab
 → November 21, 22 and 23 from 18h to 21h
 → Registration fee: 50€ general public / 25€ Amigas Hammock 2
 → At Hangar
This workshop tries to reflect in a theoretical-practical way on the transformations in the immediate territory surrounding the laboratory and the arts center Hangar, which represent the way in which some of the most violent forms of power and transformation that we suffer in a more immediate and plausible way are manifested: urban modifications. We will approach analog film as an apparatus that holds a multitude of potentialities from a variety of perspectives, both as a creative element, as a political tool and as a resistant device.
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We'll publish the rest of the program in September!
Spoiler: includes a workshop with Catarina Botelho and a workshop with Valentina Alvarado & Carlos Vásquez, both at La Capella.