FESTIVAL
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T32. Double exposure and anaglyphs:
from duality to oneness
4 HOURS
withgonchy rostan
Introduction to the creation of images with double exposure.
Introduction to the anaglyph technique.How to create anaglyph images with a conventional analog camera?Examples. Photowalk to be able to do practical tests of the technique.
Participants must bring:
It would be ideal for participants to bring their own camera so they can experiment with their equipment. It would also be convenient that if they have a tripod they can take it since it could be useful for the creation of certain images but it is not exclusive. I will bring my tripod and it will be available to the participants.
T37. Analog Multiple Exposure:
Creating the Other Reality
4 HOURS
withgonchy rostan
In this workshop we will explore everything related to double and multiple exposures in analog photography from its origins to its more experimental uses such as EBS and FilmSwap. We will carry out a conceptual explanation of the technique and then we will put into practice what we have learned ina photo walk through Barcelona, each of you creating your own reality :) It is recommended that you bring your analog camera, so you can put into practice what you have learned and clear up doubts. It is not necessary to have previous knowledge about the course topics, but it is recommended to have basic concepts of photography and handling of the camera.
The theoretical framework will be the following:
1. Introduction and origins of the analog double exposure.
2. Various ways of doing double exposures.
3. Camera that provide this functionality and recommendations.
4. How to do double exposures with your own camera?
5. Measurement of light and exposure in each shot.
6. Lights and shadows for the composition of the image.
7. From doubles to multiples: Factors to take into account.
8. Multiple exposures: color film or black and white?
9. Multiple exposures in RedScale: EBS method.
10. Multiple exposures through Filmswap.
11. Photo-walk - Creating the other reality.
Participants must bring:
It would be ideal for participants to bring their own camera so they can experiment during the workshop. Anyway, there will be 2 cameras of mine that allow double exposure and that will be in order.
T46. Double Exposure, Redscale and Filmswap:
Creating Another Reality
4 HOURS
In this workshop, we will explore everything related to double exposures in analog photography especially the more experimental techniques, like EBS (Expose Both Sides) and FilmSwap. We will make a conceptual explanation of each technique, and then we will create our own EBS roll and open the filmswap barter.After making creative decisions, it's time to put into practice what we have learned in a photo-walk through Barcelona.
1. Introduction to double exposure photography.
2. Introduction to Redscale.
3. Introduction to Filmswap
4. Mix techniques double exposure, redscale and filmswap. Creative decisions
5. Photowalk - Creating another reality.
Recommendation: I rather recommend that all participants bring an exposed roll for the EBS, and alsodon't forget to bring your analog camera,so you can put into practice what you have learned. It is not necessary to have prior knowledge of the course topics, but it is recommended to have basic concepts of analog photography and camera management.
It would be ideal for participants to bring their own camera so they can experiment with their equipment. It would also be convenient to bring a roll already exposed to practice EBS and FILMSWAP.
T14. Molecular cuisine as an artistic expression
4 HOURS
Molecular cuisine as an artistic expression and possible applications to the photographic world.Introduction to molecular cookingand my work methodology. Understanding cooking as a way of artistic expression, talking about memory and the different ways in which cooking connects. Development of theoretical and practical cooking techniques. Application of these techniques to an artistic project, how to use them in order to develop them. Round table for reflection, creative teamwork, translation of a work into culinary language.Look for photography techniques that we can combine in the kitchen, such as the antitype.
Participants must bring some work, a memory or something that inspires them to translate into culinary language. (If not, we can think about it in the workshop)
T39. Molecular cuisine as artistic expression
4 HOURS
with Marta Marin Suarez
Molecular cuisine as an artistic expression and possible applications to the photographic world.Introduction to molecular cuisineand my work methodology. Understanding cooking as a means of artistic expression, talking about memory and the different ways in which cooking connects. Development of theoretical and practical cooking techniques. Application of these techniques to an artistic project, how to use them to be able to develop them. Round table of reflection, creative teamwork, translation of a work into culinary language.Look for photography techniques that we can combine in the kitchen, such as the antotype.
Participants must bring thoughts of some work, a memory or something that inspires them to translate into culinary language. (Otherwise we can think about it within the workshop)
T49. Inhabit the Word:
from unconscious to action
4 HOURS
withmonkey
How to enable the flow of intuition and allow it to be reflected in the written word? How to ride those words that were life and were ours? Now detained on a paper. These will be the fields of our investigation. First we will use various automatic writing techniques to discover the creative potential of the free flow of intuition, devoid of judgment. We will discover our words from action, from sound and rhythm, from internal desire, without becoming attached to the result. And now, how to return to inhabit this word that was once alive?Let him dance again like when he was born.In the second half we will explore how to become aware of the mechanisms we can use to reconnect with what was once a part of us. Work on attention will be essential: how to keep it fixed in the present moment, in my actions, in my words, in my interlocutors, away from judgments and distractions, so that emotion can flow freely. We will study the production of the word and poetic action, as a phenomenon of internal-external movement, in which the internal world is permanently fed by the external world. It provides a structure on which our intuition can jump into the void.Without ground, there is no jump.
Participants must bring:
- A pen.
- A notebook from which you can tear pages, and with enough blank sheets to write, enough.
T66. Inhabit the Word:
from the unconsciousness to the action
4 HOURS
with monkey
How to enable the flow of intuition and allow it to be reflected in the written word? How to ride those words that were life and were ours? Now stopped on paper. These will be the fields of our investigation. First, we will use several techniques of automatic writing to discover the creative potential of the free flow of intuition, devoid of judgments. We will discover our words from the action, from the sound and rhythm, from the internal desire, without being attached to the result. And now, how to re-inhabit this word that was once alive?Let him dance again like when he was born.In the second half, we will explore how to become aware of the mechanisms we can use to reconnect with what was once a part of us. Work on attention will be essential: how to keep it fixed in the present moment, in my actions, in my words, in my interlocutors, away from judgments and distractions, so that the emotion can flow freely. We will study the production of the word and poetic action, as a phenomenon of internal-external movement, in which the internal world is constantly fed by the external world. This provides a structure on which our intuition can jump into the void. No ground, no jump.
Participants must bring:
- A pen.
- A notebook from which pages can be torn, and with enough blank pages to write, enough.
T21 and 27. Muscle Poetry:
an exploration of body time in relation to the historical
4 HOURS EACH
withNuria Iglesias
Through performance, video, archives, montage and poetry, understood as transversal language, we will explore body time and reflect on the different ways in which its memory is intertwined with current historical time. What is there in the otherness of the world that produces a sensory resonance in us?
To develop the workshop previously we will need to gather material on a current social issue that resonates with us. If we have already worked on it through artistic means, we can approach this workshop with the same material; if not, we will gather what we observe internally that can either present or represent the theme. For both options it will be necessary to bring an object that symbolizes the connection between that theme and our own body. At the beginning of the workshop I will introduce the tools or the place to which I want to guide the practice through my own research for the project 'Graphic Resistance: Home Remedies For The Corporal Diaspora'. Next, after reflecting on what we have perceived, each one will share their project and we will give way to a physical improvisation practice in which we will relate to the symbolic object and where each one will work individually. We will take a couple of pauses, to write down everything that comes to us, through an automatic expression and a second one where we will collect and assemble a structure with the physical actions that we have inhabited and that we feel are essential to deliver in a 5-10 minute performance. to the rest. After this second pause, we will look for the space where we will develop the piece and each of its actions and the plane from which we will record it with a film camera - for example, we could carry it attached to the same body or pair up with a partner to help us with filming -. The last part will be used to view some of the filming and investigate proposals for editing in relation to archive work. We'll share what led us to make it the way we did it and what we didn't expect to happen as we talk to others about what they've noticed. It will serve to explore the concept of expanded performance and the filmed material to develop, later, in your studio or research and creation space, the backbone through which we will articulate a visual essay and in which we can also use the archive material. generated before and during the workshop. This essay can end in audiovisual support or on paper, although we will talk about it later. In short, it is about exploring otherness and where one's own body does not reach the solitude of the other, there where their instinct resists, finding muscular poetry, that which with the constancy of the heartbeat connects us to the rhythm of all bodies. and his memory.
Participants must bring:
1) Archival material on a current collective topic that resonates individually (artistic project under construction, press articles, photographs, own reflections, sound recordings, drawings, etc.).
2) An object that symbolizes the link between the subject and the body itself.
3) A notepad, colored markers and a pen.
4) If possible, a film camera.
5) And comfortable clothes of neutral color.
T03 and T10. Open Space Collective Strategies
4 HOURS EACH
with Julia Sbriller+Catherine Giordano deimage makers
Open Space Collective Strategies is a space to work with the cards of Image Makers as well as with the festival game. We think of this space as a collective brain of the festival, there will be a wheel of fortune with exercises, triggers, experiences and collaborative practices that will change in relation to the participants; where each group will be invited to have a concrete experience of fleeting and collective creation. Through specific triggers, time will be given for discussion, creation and finally to share processes and possible results.
T47. Collective Strategies
8 HOURS
withJulia Sbriller+Catherine Giordano deimage makers
Two meetings to recognize our actions in the creative process, make sense of the procedures and understand these strategies as a personal plot: decipher the mechanism and make it a theme. We will work with intuitive intelligence as the engine and we will expand our creative resources.
We will carry out exercises and games to incorporate new work tools that allow us to give fluidity to mental and imaginative processes. Expanding resources in our processes and in the development of projects.
We will take a tour of creators who make work of their methodology, chance as a motor.
MEETING I: Discover your formulas and abandon them History of the oracles. Top hat: scripture crossing. Artist Oracles.
ENCOUNTER lll: Honor your mistake as a hidden intention. Random creators. New strategies: creation of the personal oracle.
Curious people who seek to incorporate new tools and resources for their creative processes. It is not a requirement to be a photographer or have an ongoing project.
P1, P3 and P6. Landscape Portfolio Review
4 HOURS EACH
This is not a workshop about making photographs but learning how to understand your own work in a way that makes it easier to share it with others. The workshop can be useful for photographers who want to show their portfolios to gallerists, attend portfolio reviews or just get their friends and family more engaged in their pictures. The workshop program is centered around looking at the participant's own work so it is important that everyone bring some of their own photos to show and present. It should be work that they want to share with others but it does not have to be finished or large series that have been exhibited. The participants must want to engage and talk about their work and discuss the other participant's photographs. I share my own thoughts on how to present my photographs and lay down some rules and guidelines for how to proceed from a project idea to finished series so as to end up with images that will be easier to share and get people interested in. All participants must bring a portfolio of up to 20 digital images from a project or series they want to present and discuss. Images should be sorted numerically on a memory stick that can be plugged into a Mac laptop for display through the projector or screen.
T23 and T34. Promote your artistic or cultural project
4 HOURS EACH
withopen design
We know that your project is unique, that's why we want to help you with a more creative and effective communication that allows you to reach more people with a powerful message. In this 4-hour workshop you will learn the keys and strategies that your project needs to reach its audience. We will share with you how to draw up a strategy that serves as an orientation and how to create online communication that reaches many more people. All through a series of practical exercises that will help you chart a new path for your project. Places are limited because the workshop will be very personalized. We will give you timely feedback on your project so that you can take some very clear steps to follow.Our promise: You will learn, share and have a good time! The team and individual dynamics are so bearable that you will enjoy the 4 hours.
The workshop is for you if... you are an artist of any discipline or you are carrying out a cultural project. Regardless of the moment you are in, it may be that you are just starting out or that you already have several years of experience and need a boost in your career/project.
PROGRAM
WELCOME AND CURRENT CONTEXT: Trends and opportunities in the new normal
PROJECT APPROACH.
– What, how and why.
– Keys to storytelling and how to implement it.
- Practical exercise.
THE COMMUNICATION STRATEGY
– What is the use of having a communication guide.
– How to complete it correctly and what solutions it offers us.
– Discover our audience and ways to challenge them.
- Practical exercise
VISUAL IDENTITY.
– Characteristics of a good identity.
– How is it applied to my project? (web, portfolio, dossier, other materials)
- Practical exercise
DIGITAL MARKETING.
–Good practices for artists and cultural projects.
–Tips and support tools.
–Ideas and strategies to amplify communication.
-Practical exercise
PROJECT ANALYSIS.
We will analyze and give you timely feedback on your project.
T23 and T34. Promote your artistic or cultural project
withopen design
We know that your project is unique, that's why we want to help you with a more creative and effective communication that allows you to reach more people with a powerful message. In this 4-hour workshop you will learn the keys and strategies that your project needs to reach its audience. We will share with you how to draw up a strategy that serves as an orientation and how to create online communication that reaches many more people. All through a series of practical exercises that will help you chart a new path for your project. Places are limited because the workshop will be very personalized. We will give you timely feedback on your project so that you can take some very clear steps to follow.Our promise: You will learn, share and have a good time! The team and individual dynamics are so bearable that you will enjoy the 4 hours.
The workshop is for you if... you are an artist of any discipline or you are carrying out a cultural project. Regardless of the moment you are in, it may be that you are just starting out or that you already have several years of experience and need a boost in your career/project.
PROGRAM
WELCOME AND CURRENT CONTEXT: Trends and opportunities in the new normal
PROJECT APPROACH.
– What, how and why.
– Keys to storytelling and how to implement it.
- Practical exercise.
THE COMMUNICATION STRATEGY
– What is the use of having a communication guide.
– How to complete it correctly and what solutions it offers us.
– Discover our audience and ways to challenge them.
- Practical exercise
VISUAL IDENTITY.
– Characteristics of a good identity.
– How is it applied to my project? (web, portfolio, dossier, other materials)
- Practical exercise
DIGITAL MARKETING.
–Good practices for artists and cultural projects.
–Tips and support tools.
–Ideas and strategies to amplify communication.
-Practical exercise
PROJECT ANALYSIS.
We will analyze and give you timely feedback on your project.
T43. KINTSUGI:
Photographic Repair
4 HOURS
withAnn MassalandDaniela Melo
Kintsugi is one artistic manifestation of the Japanese wabi-sabi philosophy celebrating imperfection, incompleteness, and impermanence. In this workshop participants will tear apart their images and then repair and recreate them with several techniques from hyperrealism to abstraction using materials such as charcoal, gold painting and threads.
1/Welcome
2/ Presentation of Daniela and Myself. Who we are / What we do. I could also do the workshop by myself but better if Daniela is with me!
3/Presentation of our collab
4/Outline of the workshop and constitution of the working duets
5/Choice of the photography they want to work on
6/Tear apart
7/Time to recreate / amend… the torn apart piece
8/Re-assembly of the 2 pieces
9/Each working duet to briefly present back its work to the wider group and explain what they have learned from the process
Each participant should bring at least 2 pictures in A4 formats (ideally on a fine art paper but paper quality is not mandatory). A4 format is mandatory. If participant wants to bring more images, even better.
T61. Mastering Failure
8 HOURS
withAnn MassalandDaniela Melo
In this workshop participants will be invited to reflect on what they consider their failed images and how to reframe them from different perspectives. Failure is the 'F-word' that keep us from taking risks, mastering it is the key to learn and evolve through our mistakes. Mixed techniques will be used to play, experiment and give a new life to a picture.
Session 1: Each participant to bring what he/she considers to be 'failed' pictures. We would start by doing a small intro explaining there is no such thing as failure when it comes to art…
One picture will be selected and the participant will choose to 'save it'.
We will then photocopy it and try to give it a new life.
Various techniques will be explained to the audience on how to give a new life to a picture.
Session 2: The participants will start to play and experiment these techniques on their pictures to familiarize themselves with the process and find their own visual signature.
They should bring what they considered to be 'failed pictures'.
They should bring makeup and any kind of tools or chemicals they feel inspired to experiment with.