Valentina Alvarado Matos
Nascimento : , Maracaibo, Venezuela
História
Valentina Alvarado Matos é uma artista visual venezuelana radicada em Barcelona. Estudou Design Gráfico na Universidade de Zulia, onde se tornou professora na Faculdade de Artes. Ela se mudou para a Espanha em 2014 para realizar o mestrado em Artes na Universidade de Barcelona. Suas obras foram exibidas nos festivais Punto de Vista, Rotterdam, Oberhausen, (S8) Mostra de Cinema Periférico, Xcèntric e na San Francisco Cinematheque, entre outros. No início deste ano, fez residência no LIFT (Canadá) como parte de uma bolsa da ACE Cultura e (S8). No final de 2020 expôs a instalação artística Y si ver era el fuego ao lado de Carlos Vásquez Méndez, parte do programa de exposições LOOP na Filmoteca de Cataluña.
Director
Can you spell the sheet?
Producer
If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)
Editor
If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)
Screenplay
If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)
Camera Operator
If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)
Director
If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)
Director
Traçar uma pincelada para unir o mar e o céu, apagar o horizonte ou levantar um novo amanhecer. O Mar Penteou a Costa busca pensar em novas geografias e brincar, desde o plástico, com a alteração da paisagem filmada.
Director
An echo is produced when a wave is reflected on a surface and returns to the emitter. This film performance works on the idea of an echo, through the transmission, repetition and synchronisation of images and sounds, creating a system of reverberations that transform the space into a hall of mirrors.
Director
"Filmado durante minha residência no LIFT Toronto, Propriedades de uma Esfera Paralela é um ensaio onde eu aprecio paisagens verdes e tropicais da minha estadia de inverno no Canadá. A partir de um impedimento climático, começo a recriá-los por fora e, ao longo da minha residência, a peça acaba por se tornar um ensaio do interior, do doméstico e uma espécie de repetição de exercícios pictóricos - desajeitados e solitários - e onde há também uma vontade de alterar, através da imposição de vidros ou outros suportes, o filmado."
Director
In AÍ, I propose different ways of relating with the territory. To do so, I travel through the space, explore it and display a flag on one of the mounds that make it up –a vestige of previous occupations–. The flag has a textual plot with the words country and root. The sound, an echo of these words, becomes a mantra.
Director
Like a huntress, the director began capturing moments of light during blackouts in her hometown of Maracaibo, seeking out elusive chances in the half-light.
Director
In this film, Alvarado uses collage, paint, and ceramics as a means to build a possible territory to be inhabited from the diaspora and from a constant questioning of identity and roots.
Director
These images, filmed in Venezuela and Spain, belong to a brief essay of these round trips where I search for a tension built on the idea of being native and foreign. Starting from a series of thoughts on the territory, while defining or blurring the borders, and terms like traveling and return, I started to film postcards, flashes and/ or blinks of metaphors. These are associations or links that I have with my place of origin, exploring the phenomenon of moving from one place to another, the itinerancies.
