"It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess. Our childhood memories show us our earliest years not as they were, but as they appeared at the later periods when the memories were aroused. In these periods of arousal, the childhood memories did not, as people are accustomed to say, emerge; they were formed at that time. And a number of motives, with no concern for historical accuracy, had a part in forming them, as well as in the selection of the memories themselves." Freud . This ten-part video strains childhood through a history of reproduction, culling pictures from the Lumiéres to the present day in order to find the future in our past. Here are children of pictures, as pictures, the ones who will walk on our graves, granted a legacy of framing and image making that have helped shape their lives, and their ability to grieve those no longer around to share them.a video in ten parts: In the Future (3 min), Jack (15 min), Last Thoughts (7 min), Portrait (4 min), Secret (2 min), In My Car (5 min), The Game (5.5 min), Scaling (5 min), Imitation of Life (21 min), Rain (3.5 min).

4th  Independent Vídeo Show & Interactive Phenomena

/ CONTEXT 1994 - 2020

4th  Independent Vídeo Show & Interactive Phenomena

IDENTITY vs MEDIA / 4th  Independent Vídeo Show & Interactive Phenomena / OVNI 1997

The MVI&Fi presents an extensive theme-based programme that is not exclusively dedicated to new audio-visual productions. The Mostra is non-competitive and all the participants are paid for their contributions. These are the specific criteria that distinguish the Mostra from other festivals.

As in previous editions the audio-visual works presented in the MVI&FI are selected in two ways. On the one hand, a rigorous selection of works received through a public call for entries and the other, works selected from a variety of archives and programmers or through direct contact with the authors.

The theme of identity , once again, is of central importance in the Mostra; identity, in this cases, at the cross-roads of the social, sexual, emotional and familial with the interior world of madness, pain and the intimate, ...A spectrum amply illustrated in the four programmes of the Dark Night of the Soul .

In this edition, for the first time, the Mostra presents two monographic sections: An extensive selection of the work of the Canadian Steven Reinke and more limited programme dedicated to Joe Gibbons.

We are also presenting an extended version of the William Burroughs monographic programme that was projected at the MACBA, consisting of works that go beyond the strictly videographic, and representing both a way of understanding visual experimentation and a radical critique of contemporary culture and society. There are works in with Burroughs actively collaborated, such as the films of Antony Balch and Gus Van Sant and others in which his writings or voice served as a point of reference, such as the shorts of Francis Ford Coppola, Herbert Distel, Philip Hunt, ...

We are especially pleased to be showing The Society of the Spectacle by Guy Debord , with Keith Sanborn ’s English translation.

The 4MVI&FI also includes two programmes of Experimental Television compiled by Andy Davies and during the Mostra Barcelona Television will broadcast a especial programme of ambient tv by Park 4 dtv.

This year the Mostra has two sections dedicated to Interactive Pieces and Quicktime Movies . The first is both wide-ranging and informative and the second, more specific, consists of multimedia works from ZKM – Zentrum für Kunst und Medientechnologie in Karlshure- Deutschland and 10 representative CD roms of the archaeology of mass media from the Rick Prellinger Archives in New York.

Each the programmes that make up the MVI&FI work as a route intended to transport the viewer through a series of emotional and mental landscapes as if in a ritual or journey, in which each of the stages influence and alter the others. The programmes consist of works that are formally diverse, that flow in a way that excludes neither contradiction nor paradox, that may be read over and above the significance of each specific piece.

Thematical screenings

Hall and Auditorium.  Simultaneous Screenings

Centre de Cultura Contemporània de Barcelona

Montalegre 5. 08001 Barcelona

"'I am nice. I... am nice. I am... nice," repeats the narrator, in this personal and highly poetic exploration of the construction of self. Mirra favors repetition as the device for reconstructing the stage of development when a child learns its name. Like a bedtime story, the narrator unfolds the tale of a child who identifies herself as a bear. The story becomes increasingly complex as it moves from one voice to two, in which bear and child gradually become distinct entities and the haiku poetry of the child’s identification, 'I, Bear,' is ultimately forsaken for the name Helen. I, Bear is filled with longing for a moment when, as undifferentiated child subjects, we could have identified ourselves as anything, including the most misunderstood of animals." Hamza Walker, VDB

Tender family nightmares, solitude and aimless drifting.

Portraits of a small community, the memory, the interpretation. 6th Independent Vídeo & Interactive Phenomena Show

This is a riveting documentary that examines representations of gender roles in hip-hop and rap music through the lens of filmmaker Byron Hurt, a former college quarterback turned activist. Conceived as a “loving critique” from a self-proclaimed “hip-hop head”, Hurt examines issues of masculinity, sexism, violence and homophobia in today's hip-hop culture.

Portrait of a character who drifts aimlessly through a rambling memory.