• Acessibilidade
      Fonte
    • A+
    • Aa


  • Agenda
  • Busca
  • pt
    • en
  • Bienal
  • fundação
  • bienal a bienal
  • Agenda
  • +bienal
  • biblioteca
  • Arquivo Histórico
  • 70 anos
  • Pavilhão
  • apoie
  • café bienal
  • transparência
  • relatório de gestão 2019-2021
  • Imprensa
  • contato
  • identidade visual
Home Notícias Water-mirror of Granada / Fire in Castile

17 set 2014

Water-mirror of Granada / Fire in Castile

1953-1955 / 1958-1960

Val del Omar

Aguaespejo granadino [Water-mirror of Granada] and Fuego en Castilla [Fire in Castile] are the outcome of technical obsession and grammatical delirium. Reminiscent of autos sacramentales – allegorical religious plays – composed like a musical score, both films contain multiple levels of meaning. They bring together mystical themes and narrations, articulated in pairs: water and fire, the aesthetics of Antonio Ruiz’s flamenco dance and Vicente Escudero’s, the African in Andalucia and the European in Castile, horizontal and vertical, ear and eye, plain and striped, invisible and hidden, and so on.

Val del Omar’s work – or ‘cinegraphy’ as he liked to call it – drew from the prolific generation of the rich context of the Spanish Republic and authors such as Federico García Lorca, Manuel de Falla, Luis Buñuel and Josep Renau, some of his earliest interlocutors. However, it was the dramatic quality of Miguel de Unamuno’s philosophy that had the most decisive influence on the troubled identity of his figurations, halfway between phenomenology and expressionism, with a strong mystical imprint.

During the Republic Val del Omar was actively involved in the propaganda films of the Pedagogical Missions, and started work on a film about the Holy Week festivities in the region of Murcia, and on the unfinished Vibración de Granada [Granada’s Vibration], where he left evidence of his own cinematographic grammar. But it was during Franco’s dictatorship that he made his most important films, Aguaespejo granadino and Fuego en Castilla: two definitive examples of his work. Acariño galaico [Galician Caress] was to be the third in his Tríptico elemental de España [Elemental Tryptich of Spain], but he never managed to finish it. Val del Omar was obsessed with control over the technical aspect of his films, and in this sense his mysticism is strongly materialist. He passionately claimed that whoever controlled the negative, the sound system and the camera lens would be the true owner of the image – the master of the spectacle of our time. To a certain extent, his work is an endeavour to reach such mastery in order to offer a schizoid, liberating and mystical response to the atmosphere of repression and National-Catholic autarchy that he was forced to live with. – PGR

Leia também


Acessar +bienal
30 anos de KW: fim de semana de aniversário, 2021Foto: Valerie Schmidt / Cortesia: KW Institute for Contemporary Art
Notícias14 mar 2023

Projeto da 35ª Bienal é apresentado em Berlim

KW Institute for Contemporary Art convida Grada Kilomba, parte do coletivo curatorial da 35ª Bienal, para conversa aberta

Saber mais
© Adrian Deweerdt / Cortesia: LUMA Arles
Notícias14 mar 2023

Projeto da 35ª Bienal é apresentado em Arles

LUMA Arles convida Diane Lima e Manuel Borja-Villel, parte do coletivo curatorial da 35ª Bienal, para conversa aberta

Saber mais
Notícias14 mar 2023

Grupo teatral As Malecuias estreia Monstro no Sesc Santo André

Peça é realizada pela Fundação Bienal de São Paulo em parceria com o Sesc

Saber mais

Newsletter

Receba a Newsletter da Bienal

Bienal

  • Fundação
  • Bienal a Bienal
  • Agenda
  • +bienal
  • Biblioteca
  • 70 anos
  • Arquivo Histórico
  • Pavilhão
  • Apoie
  • Café Bienal
  • Transparência
  • Relatório de Gestão 2019-2021

  • Contato
  • Identidade Visual

Fundação Bienal de São Paulo

Av. Pedro Álvares Cabral, s/n - Moema CEP 04094-050 / São Paulo - SP

Contato

+55 11 5576.7600 contato@bienal.org.br

Privacidade
•
Termos de uso
Copyright © 2023 Bienal de São Paulo