{"id":2873,"date":"2015-08-12T21:20:07","date_gmt":"2015-08-13T02:20:07","guid":{"rendered":"https:\/\/21stcenturyartivism.sites.carleton.edu\/?page_id=2873"},"modified":"2023-03-15T18:05:39","modified_gmt":"2023-03-15T18:05:39","slug":"virginia-garcia-del-pino-original-works","status":"publish","type":"page","link":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/virginia-garcia-del-pino-original-works\/","title":{"rendered":"Virginia Garcia del Pino &#8211; Original works"},"content":{"rendered":"<h3 style=\"text-align: center;\">Largometraje &#8211; Feature Film<\/h3>\n<h5 style=\"text-align: center;\">\u00abEl Jurado\u00bb \/ <em>The Jury<\/em>, Spain, 2012,\u00a063&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/38580024\" width=\"500\" height=\"275\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div class=\"page\" title=\"Page 10\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p style=\"text-align: center;\">La verdad es solo un grupo de p\u00edxeles, el resultado de un zoom digital sobre unos rostros borrosos. Y la c\u00e1mara que filma a los miembros de un jurado popular, enfrentados a un juicio por asesinato, est\u00e1 tan perdida como ellos en el laberinto de pruebas, im\u00e1genes y testimonios, incapaz de filmar nada que no sea su propia descomposici\u00f3n. (<a href=\"http:\/\/www.cendeac.net\/admin\/archivo\/docdow.php?id=367\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">The truth is nothing but a group of pixels, the result of a digital zoom on blurred faces. The camera filming the members of a people&#8217;s jury present at a murder trial is as lost as they are in a labyrinth of evidence, images, and witnesses, incapable of filming anything but its own disintegration. (<a href=\"http:\/\/dafilms.com\/director\/9079-virginia-garcia-del-pino\/\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<h5 style=\"text-align: center;\">\u00abBasilio Mart\u00edn Patino. La d\u00e9cima carta\u00bb \/ <em>Basilio Mart\u00edn Patino. The Tenth Letter<\/em>, Spain, 2014, 65&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/127484686\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">Basilio Mart\u00edn Patino mand\u00f3 en 1966 nueve cartas a Berta. Casi cincuenta a\u00f1os despu\u00e9s, Virginia Garc\u00eda del Pino intenta escribir la d\u00e9cima. Una carta compartida entre ella y Basilio Mart\u00edn Patino, el retrato de una identidad en fuga que indaga, bajo el precepto enunciado por el propio Patino, \u201colvidarse de toda preceptiva sobre lo que se deba hacer\u201d, qu\u00e9 queda de aquel estudiante rebelde que escrib\u00eda a Berta en 1966, el inicio de una brillante trayectoria como cineasta. (<a href=\"http:\/\/www.sansebastianfestival.com\/2014\/secciones_y_peliculas\/zabaltegi\/7\/625671\/es\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">In 1966, Basilio Mart\u00edn Patino sent nine letters to Bertha.\u00a0Almost fifty years later, Virginia Garc\u00eda del Pino\u00a0tries to write the tenth one, following Patino\u2019s rule: \u201cto\u00a0forget any precept over what must be done\u201d. This film\u00a0is a letter shared between herself and Basilio Mart\u00edn\u00a0Patino after his brilliant career as a filmmaker, a portrait\u00a0that delves into a receding identity, into what is\u00a0left of the once rebellious student who wrote to Bertha\u00a0in 1966. (<a href=\"http:\/\/miradasdoc.com\/mdoc2015\/?portfolio_page=espanol-basilio-martin-patino-la-decima-carta\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h3 style=\"text-align: center;\">Cortometraje &#8211; Short<\/h3>\n<h5 style=\"text-align: center;\">\u00abPare de sufrir\u00bb, Mexico, 2002, 5&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/63412586\" width=\"500\" height=\"400\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">El formato original de este v\u00eddeo era una proyecci\u00f3n de diapositivas con sonido. Las im\u00e1genes, que reflejan la sociedad de consumo, las dificultades y los rasgos culturales y religiosos de la ciudad, se cruzan con el sonido:\u00a0una mezcla de voces realizada a trav\u00e9s de lecturas de textos y entrevistas realizadas a la gente de las calles de Guadalajara (M\u00e9xico). El feedback entre imagen y sonido crea un ritmo fluido con una voluntad de desdramatizar la narraci\u00f3n con toques de humor. (<a href=\"http:\/\/www.mataderomadrid.org\/ficha\/866\/cortometrajes-de-virginia-garcia-del-pino.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">The original format of this video was a slideshow with sound.\u00a0 The images- reflections on consumer society, the difficulties and the cultural and religious features of the city- are mixed jarringly with the sound: a melange of voices created by reading texts and doing interviews with people on the streets of Guadalajara, Mexico.\u00a0 The feedback produced by the clashing images and sounds creates a fluid rhythm that is capable of de-dramatising the narration with a touch of humor. (<a href=\"http:\/\/intermediae.es\/project\/intermediae_en\/blog\/shorts_by_virginia_garcia_del_pino\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abLo que t\u00fa dices que soy\u00bb\u00a0\/\u00a0<em>What You Say I Am<\/em>,\u00a0Spain, 2007, 27&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/52922006\" width=\"500\" height=\"381\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">La profesi\u00f3n o su carencia como papel a interpretar. El uniforme como disfraz. El lugar de trabajo como decorado. Y en la platea, la sociedad, confiando que los actores se ajusten al gui\u00f3n. A trav\u00e9s de una serie de entrevistas a trabajadores cuyas profesiones est\u00e1n socialmente desprestigiadas, este documental propone una inteligente reflexi\u00f3n sobre la concepci\u00f3n moderna del trabajo como marca de identidad, al tiempo que invita a cuestionarlo como \u00fanica forma de realizaci\u00f3n personal. La acertada elecci\u00f3n de sus personajes permite entrever que bajo unos prejuicios aqu\u00ed expuestos con gran sentido del humor subyacen tab\u00faes profundamente arraigados como la suciedad, la muerte o el sexo. (<a href=\"http:\/\/www.mataderomadrid.org\/ficha\/866\/cortometrajes-de-virginia-garcia-del-pino.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">A profession or lack thereof as a role to act out.\u00a0 A uniform as a costume. The workplace as a set. And in the audience: society, trusting the actors will stick to their lines.\u00a0 With a series of interviews with workers whose jobs are frowned upon, this documentary urges us to reflect intelligently upon the modern concept of one&#8217;s work as a token of his identity, while simultaneously inviting us to question it as our only road to personal fulfillment.\u00a0 The judicious choices made by its characters allow us to read between the lines to discover that, behind the prejudice- dealt with here in a very humourous way- lie deep-seeded taboos like uncleanliness, death, and sex.\u00a0(<a href=\"http:\/\/intermediae.es\/project\/intermediae_en\/blog\/shorts_by_virginia_garcia_del_pino\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abMi hermana y yo\u00bb\u00a0\/ <em>Me and My Sister<\/em>,\u00a0Spain, 2009, 10&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/19428249\" width=\"500\" height=\"400\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">Un documental sobre la huella familiar, la infancia, el amor y el rechazo, a partir de la imagen de dos hermanos adolescentes que protagonizan un viaje premonitorio hacia su interior, y que nos devuelve un presente crudo y desnudo del que participamos todos irremediablemente. (<a href=\"http:\/\/plat.tv\/filmes\/mi-hermana-y-yo\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">A documentary on family histories, childhood, love and rejection, triggered by the image of two teenage siblings who travel inwards to the director\u2019s childhood, in sharp contrast to the harsh present we\u2019re inevitably part of. (<a href=\"https:\/\/vimeo.com\/19428249\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h5 style=\"text-align: center;\">\u00abEspacio sim\u00e9trico\u00bb \/\u00a0<em>Symmetrical Space<\/em>,\u00a0\u00a0Spain, 2010, 10&#8242;<\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/28430401\" width=\"500\" height=\"400\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div class=\"page\" title=\"Page 13\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p style=\"text-align: center;\">Pel\u00edcula sim\u00e9trica, entre el documental y la ficci\u00f3n, el cine y el v\u00eddeo, lo femenino y lo masculino; que habla del espacio com\u00fan entre una mujer desconsolada por su enfermedad y un astronauta decidido a participar en el primer viaje con tripulaci\u00f3n a Marte.\u00a0La pel\u00edcula nos muestra c\u00f3mo sus vidas recorren un espacio que guarda, en cierta manera, una simetr\u00eda.\u00a0Ambos conversan con la realizadora que intenta indagar sobre los l\u00edmites del ser humano, y sus propias limitaciones a la hora de hacer una pel\u00edcula.\u00a0(<a href=\"http:\/\/www.mataderomadrid.org\/ficha\/866\/cortometrajes-de-virginia-garcia-del-pino.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">It is a symmetrical film that deals with the common space between a woman who is devasted by her illness and an astronaut who is determined to take part in the first manned voyage to Mars. The two of them speak with the director in an attempt to inquire into the limits of the human condition. The paths of their lives show a certain symmetry. (<a href=\"https:\/\/vimeo.com\/28430401\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<h5 style=\"text-align: center;\">\u00abS\u00ed se\u00f1ora\u00bb, Mexico\/Spain, 2012, 40&#8242; <a href=\"https:\/\/vimeo.com\/16614882\" target=\"_blank\" rel=\"noopener noreferrer\">TRAILER<\/a><\/h5>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/63597268\" width=\"500\" height=\"387\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\">La relaci\u00f3n entre la \u00abse\u00f1ora\u00bb y la \u00absirvienta\u00bb, a trav\u00e9s de entrevistas realizadas en M\u00e9xico, nos muestra c\u00f3mo estas trabajadoras son imprescindibles para que mujeres de clase alta y media se puedan liberar teni\u00e9ndolo todo: marido, hijos, trabajo.\u00a0Este documental no pretende denunciar una situaci\u00f3n laboral desfavorable, todas las trabajadoras est\u00e1n contentas con su salario y son tratadas con respeto. Pero dentro de esta normalidad y mutua aceptaci\u00f3n hay algo en la relaci\u00f3n sirvienta-se\u00f1ora que es diferente a cualquier relaci\u00f3n laboral empleada-patrona, tiene que ver con el hecho de servir, con la convivencia con una familia ajena y en otra realidad tan alejada de la suya.\u00a0Hay algo escondido en estas im\u00e1genes, en c\u00f3mo se presentan ante la c\u00e1mara unas y otras, en sus gestos, en su manera de sentarse, en lo que dicen y sobre todo en lo que no dicen.\u00a0(<a href=\"http:\/\/www.mataderomadrid.org\/ficha\/866\/cortometrajes-de-virginia-garcia-del-pino.html\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<p style=\"text-align: center;\">The relationship between the \u00abse\u00f1ora\u00bb (lady) and the \u00absirvienta\u00bb (servant) as captured by interviews done in Mexico shows us how these employees are indispensable for upper- and middle-class women who have freed themselves to have it all: husband, kids, and work.\u00a0 This documentary is not trying to denounce an unfavourable work arrangement; all the employees are happy with their wages and are treated with respect.\u00a0 But within this normality and mutual understanding there is something in the servant-lady relationship that is different from any other employee-employeer relationship, something to do with the matter of serving, something to do with living with another person&#8217;s family and in another reality so far removed from one&#8217;s own reality.\u00a0 There&#8217;s something hidden in these images, in the way one behaves in front of the camera and how the other does it, in their gestures, in how each one sits down, in what they say and, above all, what they don&#8217;t say.\u00a0(<a href=\"http:\/\/intermediae.es\/project\/intermediae_en\/blog\/shorts_by_virginia_garcia_del_pino\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a>)<\/p>\n<h3 style=\"text-align: center;\">Art\u00edculos &#8211; Articles<\/h3>\n<ul>\n<li>\n<h5>Garc\u00eda del Pino, Virginia. <a href=\"https:\/\/addiehu.ehu.es\/bitstream\/10810\/8203\/1\/Territorios%20y%20Fronteras.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u00abNotas que nunca utilic\u00e9.\u00bb\u00a0<i>Territorios y fronteras: experiencias documentales contempor\u00e1neas<\/i><\/a><i>.\u00a0<\/i>Vanesa\u00a0Fern\u00e1ndez Guerra and Miren Gabantxo Uriagereka, eds.\u00a0Servicio Editorial de la Universidad del Pa\u00eds Vasco\/Euskal Herriko Unibertsitatearen Argitalpen Zerbitzua, 2012. Web. 22 \u00a0Dec. 2015.<\/h5>\n<\/li>\n<li>\n<h5>Garc\u00eda del Pino, Virginia. \u00ab<a href=\"http:\/\/www.fluxfestival.org\/12\/projHCarmona_art.htm\" target=\"_blank\" rel=\"noopener noreferrer\">RECORRIDO POR EL CINE DE HARMONIA CARMONA<\/a>\u00ab. Web. 22 Dec. 2015.<\/h5>\n<\/li>\n<\/ul>\n<p style=\"text-align: right;\"><a href=\"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/audiovisual-creation\/virginia-garcia-del-pino\/\">\u2b05\ufe0e Back to Virginia Garc\u00eda del Pino&#8217;s Biography<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Largometraje &#8211; Feature Film \u00abEl Jurado\u00bb \/ The Jury, Spain, 2012,\u00a063&#8242; La verdad es solo un grupo de p\u00edxeles, el resultado de un zoom digital sobre unos rostros borrosos. Y la c\u00e1mara que filma a los miembros de un jurado popular, enfrentados a un juicio por asesinato, est\u00e1 tan perdida como ellos en el laberinto [&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\/2873"}],"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=2873"}],"version-history":[{"count":1,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages\/2873\/revisions"}],"predecessor-version":[{"id":9235,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/pages\/2873\/revisions\/9235"}],"wp:attachment":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/media?parent=2873"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}