{"id":1798,"date":"2015-06-30T17:09:38","date_gmt":"2015-06-30T22:09:38","guid":{"rendered":"https:\/\/21stcenturyartivism.sites.carleton.edu\/?page_id=1798"},"modified":"2023-03-15T18:05:36","modified_gmt":"2023-03-15T18:05:36","slug":"jose-luis-guerin-original-works","status":"publish","type":"page","link":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/jose-luis-guerin-original-works\/","title":{"rendered":"Jos\u00e9 Luis Guer\u00edn &#8211; Original Works"},"content":{"rendered":"<h3 style=\"text-align: center;\">Largometraje &#8211; Feature film<\/h3>\n<h5 style=\"text-align: center;\">\u00abLos motivos de Berta\u00bb \/ <em>Berta&#8217;s Motives<\/em>, Spain, 1984, 115&#8242; <a href=\"https:\/\/vimeo.com\/60093948\" target=\"_blank\" rel=\"noopener noreferrer\">PEL\u00cdCULA COMPLETA<\/a><\/h5>\n<p style=\"text-align: center;\">La vida tranquila y solitaria de una adolescente que pasa su tiempo jugando con insectos y otros animales\u00a0cambia de repente con la llegada de un equipo de cine y un misterioso personaje\u00a0(<a href=\"http:\/\/www.rebeldemule.org\/foro\/cine\/tema13546.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">The life of a young girl who plays with little animals and insects is suddenly changed with the arrival of a film crew and a strange man. (<a href=\"https:\/\/mubi.com\/films\/bertas-motives\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\"><em>City Life<\/em>, Argentina, 1990, 251&#8242;<\/h5>\n<p style=\"text-align: center;\">Collaboration between Alejandro Agresti, G\u00e1bor Altorjay, Jos\u00e9 Luis Guer\u00edn and\u00a010 others, each short is set during one week and refers to the sinking of the Titanic in 1912 and the recurrent attempts to raise her. (<a href=\"https:\/\/mubi.com\/films\/city-life\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\"><em>Innisfree<\/em>, Spain, 1990, 110&#8242;<\/h5>\n<p style=\"text-align: center;\">Guer\u00edn travels to the Irish town of Innisfree, where his beloved John Ford shot\u00a0<em>The Quiet Man<\/em>, to explore the still echoing changes since Ford&#8217;s visit years before. Revisiting the past using re-enactments with an imagined Maureen O&#8217;Hara,\u00a0<em>Innisfree\u00a0<\/em>explores the difference between then and now in order to chart the interstices between memory and history, between imagination, fantasy and reality, and between classical narrative cinema and contemporary, observational documentary. (<a href=\"http:\/\/hcl.harvard.edu\/hfa\/films\/2008janfeb\/guerin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abTren de sombras\u00bb \/ <em>Train of Shadows<\/em>, Spain, 1997, 88&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/109850164\" width=\"500\" height=\"375\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">On November 8, 1930, amateur filmmaker G\u00e9rard Fleury stood on the shores of Normandy&#8217;s Lake Thuit, watching the sun rise in preparation for an upcoming shoot that would never take place; he died later that day under mysterious circumstances. Out of this information, Guer\u00edn constructs a haunting meditation on the photographic and cinematic image, on loss and decay, on the passing of time, the recounting of history and the blurring of fact and fiction. He uses both re-enactments and decayed images to render ambiguous past and present, historical record and speculation, and to make poetry out of loss. (<a href=\"http:\/\/hcl.harvard.edu\/hfa\/films\/2008janfeb\/guerin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abEn construcci\u00f3n\u00bb \/ <em>Work in Progress<\/em>, Spain, 2001, 125&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/6145439\" width=\"500\" height=\"375\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div class=\"page\" title=\"Page 3\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p style=\"text-align: center;\">En construcci\u00f3n cuenta la transformaci\u00f3n del barrio de El Raval de Barcelona \u2013 conocido popularmente como \u201cbarrio chino\u201d\u2013 desde el proceso de demolici\u00f3n de un decimon\u00f3nico inmueble venido a menos, hasta la edificaci\u00f3n en su lugar de un desorbitado bloque de pisos moderno. Es la historia, en otras palabras, del destierro forzoso de indigentes inmobiliarios, cuya estrechez econ\u00f3mica les condena a convertirse en presas f\u00e1ciles del acoso especulativo, y en perpetuos n\u00f3madas en busca de acomodo a precio de saldo. (<a href=\"http:\/\/www.cinehistoria.com\/en_construccion.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<p style=\"text-align: center;\">Exceptionally in a career spent shooting films in other countries,\u00a0Guer\u00edn&#8217;s\u00a0<em>Work In Progress<\/em>\u00a0takes place in his native Barcelona. The film&#8217;s ostensible subject is the construction of a building of condominiums in the city&#8217;s \u00abEl Xino\u00bb quarter. This rough neighborhood is a home to workers, immigrants, squatters, prostititutes and drug dealers. The construction site represents an attempt to \u00abimprove\u00bb the neighborhood \u2013 by pushing some longtime residents out. Such is the backdrop to the film, which is made up of staged and semi-staged episodes featuring neighborhood residents and workers at the construction site. Guer\u00edn magically spins spellbinding cinema from the simplest elements of urban interaction. (<a href=\"http:\/\/hcl.harvard.edu\/hfa\/films\/2008janfeb\/guerin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abEn la ciudad de Sylvia\u00bb \/ <em>In the City of Sylvia<\/em>, Spain\/France, 2007, 84&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/46081518?color=33ccff\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">An unnamed young man arrives in the foreign city of Strasbourg for reasons unstated. He waits at a hotel, visits a caf\u00e9, sketches passersby\u2026 Eventually his motives are revealed, but it is not a traditional narrative that Guer\u00edn is after so much as the urban experience of watching, waiting, absorbing. Out of these materials Guer\u00edn builds a spellbinding film that reminds us of cinema&#8217;s powerful ability to evoke the tugs of memory, desire and the transitory. An extraordinary city film,\u00a0<em>Sylvia<\/em>\u00a0almost entirely eschews dialogue to instead give a symphonic voice to the city itself through a rich and fully immersive soundtrack of urban sounds, explosions of music and strange echoes. (<a href=\"http:\/\/hcl.harvard.edu\/hfa\/films\/2008janfeb\/guerin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abUnas fotos en la ciudad de Sylvia\u00bb \/ <em>Some Photos in the City of Sylvia<\/em>, Spain, 2007, 67&#8242;<\/h5>\n<p style=\"text-align: center;\">Antes de realizar En la Ciudad de Sylvia, Jos\u00e9 Lu\u00eds Guer\u00edn pas\u00f3 gran cantidad de tiempo filmando y trabajando con una serie de apuntes que ahora ven la luz bajo el t\u00edtulo de Unas Fotos en la Ciudad de Sylvia. Esta pel\u00edcula posee total independencia narrativa con\u00a0 respecto a la ya mencionada En la Ciudad de Sylvia. \u00abEn ning\u00fan caso unas fotos deben verse como un esbozo, est\u00e1 hecha a partir de fotograf\u00edas en blanco y negro, mudas, en ese caso lo que cuenta es la peque\u00f1a elipsis que hay entre una fotograf\u00eda y otra&#8230; Entre una foto y otra hay un tiempo que se fuga, un misterio que se escapa&#8230;. Esas limitaciones autoimpuestas requer\u00edan de un enunciado en primera persona que actuara como v\u00eda o conductor. En este sentido esas notas son mucho m\u00e1s narrativas que En la Ciudad de Sylvia\u00bb (<a href=\"http:\/\/www.gijonfilmfestival.com\/from\/3507\/peliculas\/show\/2973-unas-fotos-en-la-ciudad-de-sylvia\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">This remarkable companion piece to<em>\u00a0In the City of Sylvia<\/em>\u00a0offers a\u00a0compendium of images recorded by Guer\u00edn in Strasbourg while searching for the traces of a (fictional?) brief encounter some years earlier with a young woman named Sylvia. The beautiful black and white digital cinematography alternates between moving and still images, stitching together a unique kind of film journal, a cinematic sketchbook for\u00a0<em>In the City of Sylvia<\/em>, a reworking of the photographic and documentary roots of cinema, and something absolutely new. A must-see. (<a href=\"http:\/\/hcl.harvard.edu\/hfa\/films\/2008janfeb\/guerin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\"><em>Guest<\/em>, Spain, 2010, 133&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/117617041\" width=\"500\" height=\"375\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">\u201cLlego a una ciudad desconocida y callejeo c\u00e1mara en mano, sin otro rumbo ni idea preconcebida m\u00e1s que la de una predisposici\u00f3n abierta al encuentro, a la revelaci\u00f3n latente en lo fortuito\u201d. Durante un a\u00f1o, de septiembre de 2007 a septiembre de 2008, Jos\u00e9 Luis Guerin acept\u00f3 acudir a cuantos festivales le invitaran a presentar su \u00faltima pel\u00edcula, \u00abEn la ciudad de Sylvia\u00bb, con el prop\u00f3sito de filmar im\u00e1genes y sonidos de los lugares y las gentes que se cruzaran en su camino, apenas provisto de una peque\u00f1a c\u00e1mara digital y acompa\u00f1ado de un reducido equipo de rodaje. (<a href=\"http:\/\/blogs.grupojoly.com\/cine-y-otras-catastrofes\/tag\/jose-luis-guerin\/\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">Filmmaker Jose Luis Guerin documents his experience during a year of traveling as a guest of film festivals to present his previous film (\u00abEn la ciudad de Sylvia\u00bb\/<em>In the City of Sylvia<\/em>). What emerges is a wonderfully humane and sincere portrayal of the people that he meets when he goes off the beaten track in some of the world\u2019s major cities. (<a href=\"https:\/\/mubi.com\/films\/guest\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abCorrespondencia Jonas Mekas- J.L. Guer\u00edn\u00bb \/ <em>Correspondences: Jonas Mekas- J.L. Guer\u00edn<\/em>, Spain, 2011, 99&#8242;<\/h5>\n<p style=\"text-align: center;\">Entre Jos\u00e9 Luis Guerin y Jonas Mekas se ha establecido una relaci\u00f3n epistolar en toda regla, una carta mensual en que se impone el principio de Mekas que Guerin asume como propio: el cine es la reacci\u00f3n a la vida. A partir de esta premisa, una serie de nueve cartas, filmadas en los lugares m\u00e1s variados del mundo, dan lugar a una relaci\u00f3n personal en la que se descubren impresiones y afinidades entre dos cineastas unidos por la voluntad de compartir preocupaciones y puntos de vista. (<a href=\"http:\/\/www.mataderomadrid.org\/ficha\/2073\/correspondencia-jose-luis-guerin-jonas-mekas.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">Letters from two acclaimed directors offer a remarkable portrait of their attitudes to the craft of filmmaking and the world around them. (<a href=\"https:\/\/mubi.com\/films\/correspondence-jonas-mekas-jl-guerin\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abLa academia de las musas\u00bb \/ The Academy of the Muses, Spain, 2015, 92&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/139072802\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">Al terminar sus clases, el profesor es cuestionado por su esposa, qui\u00e9n recela del proyecto acad\u00e9mico que est\u00e1 tramando: una \u00abAcademia de las musas\u00bb que, inspirada en referentes cl\u00e1sicos, deber\u00eda servir para regenerar el mundo a trav\u00e9s del compromiso con la poes\u00eda. El controvertido prop\u00f3sito desencadena una ronda de escenas entorno a la palabra y el deseo. (<a href=\"https:\/\/vimeo.com\/139072802\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">On returning from class, a teacher is questioned by his wife, who distrusts his pedagogic project: an \u201cAcademy of the Muses\u201d inspired by classical references, which is supposed to contribute to regenerating the world through poetry.\u00a0The controversial project triggers a series of situations dominated by words and desire.\u00a0(<a href=\"https:\/\/vimeo.com\/139072802\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h3 style=\"text-align: center;\">Cortometraje &#8211; Short<\/h3>\n<h5 style=\"text-align: center;\"><em>Souvenir<\/em>, Spain, 1986, 5&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/_VAucUcwWXg\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\"><em>\u201cWhite clouds pass by Notre-Dame in an old film by Jean Renoir. And I tell myself, thus, these clouds crossed over there more than 50 years ago.\u201d<\/em>\u00a0A rare short film about memory and loss directed by Jos\u00e9 Luis Guer\u00edn. (<a href=\"https:\/\/mubi.com\/films\/souvenir-1986\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abTren Estrasburgo-Paris\u00bb \/ <em>Train\u00a0Strausbourg-Paris<\/em>, Spain, 2006, 1&#8242;<\/h5>\n<p style=\"text-align: center;\"><em>Train Strausbourg\u2013Paris<\/em>\u00a0primarily consists of Guerin\u2019s earlier, preliminary attempt at filming the elements of a scene that appears in\u00a0<em>In the City of Sylvia<\/em>. (<a href=\"https:\/\/mubi.com\/films\/train-strausbourg-paris\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abMujer esperando al tranv\u00eda\u00bb \/ <em>Woman Waiting for the Tram<\/em>, Spain, 2006, 3&#8242;<\/h5>\n<p style=\"text-align: center;\"><em>Woman Waiting for the Tram<\/em>\u00a0primarily consists of Guerin\u2019s earlier, preliminary attempt at filming the elements of a scene that appears in\u00a0<em>In the City of Sylvia<\/em>\u00a0practiced from a distance. (<a href=\"https:\/\/mubi.com\/films\/woman-waiting-for-the-tram\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abDos cartas a Ana\u00bb \/ <em>Two Letters For\u00a0Anna<\/em>, Spain, 2010, 29&#8242;<\/h5>\n<p style=\"text-align: center;\">A legend tells of a young Greek woman languishing for her lover who has departed for battle. She creates his shadow on the wall by the help of a candle, and may thus for ever have the illusion of sleeping next to him. (<a href=\"https:\/\/mubi.com\/films\/two-letters-for-ana\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abRecuerdos de una ma\u00f1ana\u00bb \/ <em>Memories of a Morning<\/em>, South Korea, 2011, 47&#8242;<\/h5>\n<p style=\"text-align: center;\">En la madrugada del 21 de enero de 2008, un violinista que vive en en mismo barrio que\u00a0Guerin se suicida al tirarse desnudo por\u00a0la ventana. La \u00fanica cosa que sabemos de \u00e9l, es que\u00a0hace mucho tiempo prepar\u00f3 una nueva traducci\u00f3n de <em>Werther<\/em> de Goethe.<\/p>\n<p style=\"text-align: center;\">On the morning of January 21st, 2008, a violinist living in Guer\u00edn\u2019s neighbourhood committed suicide by jumping naked from his window. The only thing that he has known about him, is that recently prepared a new translation of\u00a0<em>Werther<\/em>\u00a0by Goethe. (<a href=\"https:\/\/mubi.com\/films\/memories-of-a-morning\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abLe Saphir de Saint-Louis\u00bb, Spain, 2015, 35&#8242;<\/h5>\n<p style=\"text-align: center;\">In Saint-Louis Cathedral, at La Rochelle, in a chapel filled with merchant marine ex-votos, there\u2019s a painting that witnesses the tragedy of The Saphir in 1741. This painting is like a secret door in a Cathedral that opens on to the great History. (<a href=\"https:\/\/mubi.com\/films\/le-saphir-de-saint-louis\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">En la Catedral Saint-Louis en La Rochelle hay una capela llena de\u00a0exvotos de la marina mercante con un cuadro que es testigo de la tragedia de \u00abLe Saphir\u00bb de 1741. El cuadro es una puerta secreta en la\u00a0Catedral que\u00a0muestra la gran Historia.<\/p>\n<h3 style=\"text-align: left;\">Ensayo &#8211; Essay<\/h3>\n<ul>\n<li>\n<h5>Luis Guer\u00edn, Jos\u00e9. <a href=\"http:\/\/www.rouge.com.au\/4\/work_progress.html\" target=\"_blank\" rel=\"noopener noreferrer\">Work in Progress<\/a>. <em>Rouge<\/em>. Web. 18 Dec 2015.<\/h5>\n<\/li>\n<\/ul>\n<p style=\"text-align: right;\"><a href=\"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/audiovisual-creation\/jose-luis-guerin\/\">\u2b05\ufe0e Back to Jos\u00e9 Lu\u00eds Guer\u00edn&#8217;s Biography<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Largometraje &#8211; Feature film \u00abLos motivos de Berta\u00bb \/ Berta&#8217;s Motives, Spain, 1984, 115&#8242; PEL\u00cdCULA COMPLETA La vida tranquila y solitaria de una adolescente que pasa su tiempo jugando con insectos y otros animales\u00a0cambia de repente con la llegada de un equipo de cine y un misterioso personaje\u00a0(Source) The life of a young girl who [&hellip;]<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"site-container-style":"default","site-container-layout":"default","site-sidebar-layout":"default","disable-article-header":"default","disable-site-header":"default","disable-site-footer":"default","disable-content-area-spacing":"default"},"acf":[],"_links":{"self":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages\/1798"}],"collection":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/comments?post=1798"}],"version-history":[{"count":1,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages\/1798\/revisions"}],"predecessor-version":[{"id":8983,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages\/1798\/revisions\/8983"}],"wp:attachment":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/media?parent=1798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}