Las imágenes que siembran misterio
Cuando unx se acerca a las imágenes en movimiento de la cineasta peruana Andrea Franco, se arrima el espíritu a desplazamientos abismales. La permanencia de una imagen se vuelve mar para luego ser viento y convertirse en flujo humano. Como los ojos, que parecen estar estáticos, oscilan incesantemente creando la ilusión del movimiento cinematográfico. El registro de las imágenes no es otra cosa que una cartografía de su memoria, una forma amorosa de habitar el territorio una y otra vez de la misma manera con un andar renovado, más sabio quizá. La mirada de Andrea Franco nos conduce a una quietud inestable, a una permanente interrogación por lo que vemos para así descubrir la conexión con la tierra querida y todo lo que nace de ella. Sus imágenes son memoria y expectación de acontecimientos cíclicos, como las estaciones, como la siembra, como el cine.
En esta ocasión, presentaremos cuatro de sus trabajos audiovisuales, a saber, Notes on Connection I (2016), Notes on Connection II (2019), En Ancon (2012) y Amelia y Morena (2010).
Geraldine Salles Kobilanski
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(English below)
The images that sow mystery
When one approaches the moving images of Andrea Franco, the spirit is brought to abysmal shifts. The permanence of an image becomes sea and then it becomes wind and human flow. Like the eyes, which seem to be static, they oscillate incessantly creating the illusion of cinematic movement. The registration of images is nothing but a cartography of their memory, a loving way of inhabiting the territory again and again in the same way with a renewed walk, perhaps wiser. Andrea Franco’s gaze leads us to an unstable stillness, to a permanent questioning of what we see in order to discover the connection with the beloved land and everything that is born from it. Her images are memory and expectation of cyclical events, like the seasons, like sowing, like cinema.
On this occasion, we will present four works of the peruvian filmmaker Andrea Franco: Notes on Connection I (2016), Notes on Connection II (2019), In Ancon (2012) and Amelia and Morena (2010).
Geraldine Salles Kobilanski
NOTES II (2019)
Andrea Franco (PER)
16mm, color, sound
7 min 51 s
Filmed in: Mount Shasta, CA; Morro Bay, CA; Cape Romain, SC
Sound: Gerechtigkeits Liga, Hypnotischer Existenzialismus; Charlie McAlister, Collage Music from the Santee Delta
Sacred Mount Shasta channels energy into the earth. The native Wintu made pilgrimages to care for it, and only medicine men or women were allowed to climb up. We then receive an astral message, as we listen to the rain pouring down during a summer storm in Cape Romain, South Carolina.
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Part II ofNotes on Connection, a film series that reclaims ancient sacred practices to explore an awakening consciousness of totality. The films annotate Andean, Native American, and Kabbalistic mythologies in which multiple realities exist simultaneously.
Focussed on landscape, the works are reflective explorations of places dwelled, our connection to nature, and the importance of reclaiming ancient spiritual traditions. Notes on Connection contemplates the unifying force between everything and everyone, and proposes the pursuit of “oneness.”
Shot mainly in 16mm film, the hypnotic films are made while immersed in sacred and familiar places in California, Peru, Mexico, and South Carolina. NOTES I, a meditation on water’s transcendence of borders, NOTES II, a Sci-Fi depicting Mount Shasta and Cape Romain as mystical portals, and NOTES III, a dream that interweaves a Peruvian beach town and the US-Mexico border.
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