The screening programme closes with the works from three famous artists of the Hispanic world: Isabel Rocamora (Spain, 1968), Teresa Serrano (Mexico, 1936) and Miralda (Spain, 1955). It may seem that this is a purely linguistic community. Still, the works of those artists brought together offer a journey from the inside to the outside through interiorization of the space around.

Isabel Rocamora (Spain, 1968)

“Horizon of Exile” (2007), the first work of the day, shares stories of women refugees of the Middle East deprived of their space and an opportunity to come back to their home countries. It is the dance that becomes a key expressive means in this artwork. The dance is perceived as a form of reinterpretation of the space around and within. It appears to be a way of bringing back one’s own identity and (her) story. Looking directly into the camera, the heroines are meeting The Other who is no more to define them.

Teresa Serrano (Mexico, 1936)

In “A Room of Her Own” (2003), Teresa Serrano explores the topic of estrangement of a personal space implementing Hitchkokian methods and apparatus of expressionists films and noir. Reference to an essay of Virginia Woolf is non-casual, the artist brings in the feminist discourse and projects woman’s experience onto her heroine. The artwork is filled with an overwhelming sense of danger coming from within. The feeling of being watched does not leave the heroine even in her private, secure space, that turns out to be inhabited by The Other.

Miralda (Spain, 1955)

“Apocalypse Lamb, New York” (1989–2018) and “Apocalypse Lamb, Barcelona” (1997–2018) by Miralda offer a contrast finale to the programme. These works are quintessential to widescale performative practices of the artist. Everyone in the audience is invited to attend a wedding between the Columbus Monument in Barcelona and the Statue of Liberty in New York and give them a majestic (18 х 15 m) bridal bedspread with the Lamb of the Apocalypse. In these videos, the great wide open is no longer approached as a source of danger: the streets become a scene and concentrations of life.

The screening programme closes with the works from three famous artists of the Hispanic world: Isabel Rocamora (Spain, 1968), Teresa Serrano (Mexico, 1936) and Miralda (Spain, 1955). It may seem that this is a purely linguistic community. Still, the works of those artists brought together offer a journey from the inside to the outside through interiorization of the space around.

Isabel Rocamora (Spain, 1968)

“Horizon of Exile” (2007), the first work of the day, shares stories of women refugees of the Middle East deprived of their space and an opportunity to come back to their home countries. It is the dance that becomes a key expressive means in this artwork. The dance is perceived as a form of reinterpretation of the space around and within. It appears to be a way of bringing back one’s own identity and (her) story. Looking directly into the camera, the heroines are meeting The Other who is no more to define them.

Teresa Serrano (Mexico, 1936)

In “A Room of Her Own” (2003), Teresa Serrano explores the topic of estrangement of a personal space implementing Hitchkokian methods and apparatus of expressionists films and noir. Reference to an essay of Virginia Woolf is non-casual, the artist brings in the feminist discourse and projects woman’s experience onto her heroine. The artwork is filled with an overwhelming sense of danger coming from within. The feeling of being watched does not leave the heroine even in her private, secure space, that turns out to be inhabited by The Other.

Miralda (Spain, 1955)

“Apocalypse Lamb, New York” (1989–2018) and “Apocalypse Lamb, Barcelona” (1997–2018) by Miralda offer a contrast finale to the programme. These works are quintessential to widescale performative practices of the artist. Everyone in the audience is invited to attend a wedding between the Columbus Monument in Barcelona and the Statue of Liberty in New York and give them a majestic (18 х 15 m) bridal bedspread with the Lamb of the Apocalypse. In these videos, the great wide open is no longer approached as a source of danger: the streets become a scene and concentrations of life.

The screening programme closes with the works from three famous artists of the Hispanic world: Isabel Rocamora (Spain, 1968), Teresa Serrano (Mexico, 1936) and Miralda (Spain, 1955). It may seem that this is a purely linguistic community. Still, the works of those artists brought together offer a journey from the inside to the outside through interiorization of the space around.

Isabel Rocamora (Spain, 1968)

“Horizon of Exile” (2007), the first work of the day, shares stories of women refugees of the Middle East deprived of their space and an opportunity to come back to their home countries. It is the dance that becomes a key expressive means in this artwork. The dance is perceived as a form of reinterpretation of the space around and within. It appears to be a way of bringing back one’s own identity and (her) story. Looking directly into the camera, the heroines are meeting The Other who is no more to define them.

Teresa Serrano (Mexico, 1936)

In “A Room of Her Own” (2003), Teresa Serrano explores the topic of estrangement of a personal space implementing Hitchkokian methods and apparatus of expressionists films and noir. Reference to an essay of Virginia Woolf is non-casual, the artist brings in the feminist discourse and projects woman’s experience onto her heroine. The artwork is filled with an overwhelming sense of danger coming from within. The feeling of being watched does not leave the heroine even in her private, secure space, that turns out to be inhabited by The Other.

Miralda (Spain, 1955)

“Apocalypse Lamb, New York” (1989–2018) and “Apocalypse Lamb, Barcelona” (1997–2018) by Miralda offer a contrast finale to the programme. These works are quintessential to widescale performative practices of the artist. Everyone in the audience is invited to attend a wedding between the Columbus Monument in Barcelona and the Statue of Liberty in New York and give them a majestic (18 х 15 m) bridal bedspread with the Lamb of the Apocalypse. In these videos, the great wide open is no longer approached as a source of danger: the streets become a scene and concentrations of life.

The screening programme closes with the works from three famous artists of the Hispanic world: Isabel Rocamora (Spain, 1968), Teresa Serrano (Mexico, 1936) and Miralda (Spain, 1955). It may seem that this is a purely linguistic community. Still, the works of those artists brought together offer a journey from the inside to the outside through interiorization of the space around.

Isabel Rocamora (Spain, 1968)

“Horizon of Exile” (2007), the first work of the day, shares stories of women refugees of the Middle East deprived of their space and an opportunity to come back to their home countries. It is the dance that becomes a key expressive means in this artwork. The dance is perceived as a form of reinterpretation of the space around and within. It appears to be a way of bringing back one’s own identity and (her) story. Looking directly into the camera, the heroines are meeting The Other who is no more to define them.

Teresa Serrano (Mexico, 1936)

In “A Room of Her Own” (2003), Teresa Serrano explores the topic of estrangement of a personal space implementing Hitchkokian methods and apparatus of expressionists films and noir. Reference to an essay of Virginia Woolf is non-casual, the artist brings in the feminist discourse and projects woman’s experience onto her heroine. The artwork is filled with an overwhelming sense of danger coming from within. The feeling of being watched does not leave the heroine even in her private, secure space, that turns out to be inhabited by The Other.

Miralda (Spain, 1955)

“Apocalypse Lamb, New York” (1989–2018) and “Apocalypse Lamb, Barcelona” (1997–2018) by Miralda offer a contrast finale to the programme. These works are quintessential to widescale performative practices of the artist. Everyone in the audience is invited to attend a wedding between the Columbus Monument in Barcelona and the Statue of Liberty in New York and give them a majestic (18 х 15 m) bridal bedspread with the Lamb of the Apocalypse. In these videos, the great wide open is no longer approached as a source of danger: the streets become a scene and concentrations of life.

The screening programme closes with the works from three famous artists of the Hispanic world: Isabel Rocamora (Spain, 1968), Teresa Serrano (Mexico, 1936) and Miralda (Spain, 1955). It may seem that this is a purely linguistic community. Still, the works of those artists brought together offer a journey from the inside to the outside through interiorization of the space around.

Isabel Rocamora (Spain, 1968)

“Horizon of Exile” (2007), the first work of the day, shares stories of women refugees of the Middle East deprived of their space and an opportunity to come back to their home countries. It is the dance that becomes a key expressive means in this artwork. The dance is perceived as a form of reinterpretation of the space around and within. It appears to be a way of bringing back one’s own identity and (her) story. Looking directly into the camera, the heroines are meeting The Other who is no more to define them.

Teresa Serrano (Mexico, 1936)

In “A Room of Her Own” (2003), Teresa Serrano explores the topic of estrangement of a personal space implementing Hitchkokian methods and apparatus of expressionists films and noir. Reference to an essay of Virginia Woolf is non-casual, the artist brings in the feminist discourse and projects woman’s experience onto her heroine. The artwork is filled with an overwhelming sense of danger coming from within. The feeling of being watched does not leave the heroine even in her private, secure space, that turns out to be inhabited by The Other.

Miralda (Spain, 1955)

“Apocalypse Lamb, New York” (1989–2018) and “Apocalypse Lamb, Barcelona” (1997–2018) by Miralda offer a contrast finale to the programme. These works are quintessential to widescale performative practices of the artist. Everyone in the audience is invited to attend a wedding between the Columbus Monument in Barcelona and the Statue of Liberty in New York and give them a majestic (18 х 15 m) bridal bedspread with the Lamb of the Apocalypse. In these videos, the great wide open is no longer approached as a source of danger: the streets become a scene and concentrations of life.