Undersea Poem (in progress)

Videoart
HD / 16:9 / color / in progress

 

I SIT DOWN, sea, to hear you.
Will you sit down, sea, to listen to me?

 

Rafael Alberti

 

It is a work in video. A frontal plane with fixed camera, a tour in the foreground, a succession of objects that fall into the water and disappear in slow motion. Objects that belong to the everyday world, a bed, a clock, a letter, a photo, a chair, a pendant, a table, a harp, a gun, a hat, an umbrella, a book, objects with stories that we  do not see, but we can sense they  cross this lit space as an expedition and its search. A visual poem through a dance of objects, texts and sound effects. The project speaks metaphorically of an introspection on the inner Sea, a settling of scores to the memory with the possibility to emerge with new answers. An inlet to the the sea dropping everything that no longer will serve us, or anything we cannot take with us on a final journey.


UNDERSEA POEM deals with wreck concepts, contemplation, ruin and the aesthetics of decay. 
The shipwreck always gives us the sensation of debacle, a tragedy that cannot be overcome. The shipwreck remains are like a wet paint of life that it´s gone, of someone, of something, a territory that is the ship and the lives of each of the passengers.


UNDERSEA POEM is an observation of our inner selves and the observer. A deeply poetic and mysterious sequence.

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SKYLINE MEMORY vanish in thin air

Experimental video/ videoinstalation
HD / 16:9 /b/n / 22´/ 2014
video series  ( 3´y 4´)

 

" There is a mode of vital experience – experience of space and time, of the self and others, of life's possibilities and perils – that is shared by men and women all over the world today. I will call this body of experience "modernity." To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world – and, at the same time, that threatens to destroy everything we have, everything we know, everything we are " MARSHALL BERMAN , 1982

 

This is a visual document that addresses the concepts of the city, modernity, urban planning and memory from a poetic perspective. Skyscrapers are portrayed as immense receptacles of memories, symbols of the power of cities: figuratively stepping inside these buildings, imagining the different forms of human existence, speculating on the virtues and miseries concealed in the privacy of each home. The piece is articulated by narratives based on personal experiences, autobiographical details, real facts and cultural and social events, questioning and fictionalising time and life itself in the never-ending process of construction and collapse.

The series videos with a run time of 3 to 4 minutes each. Each video is a close-up panning shot of a skyscraper, scanned from bottom to top in a very slow vertical camera movement.

Texts written by different authors for this specific project traverse and strike up a dialogue with each of the skyscrapers.

Musical scores keep pace with the image, attempting to establish a dynamic bond with it. Music is also a fundamental element in the work as it interacts with the image and texts and enhances the piece's aesthetic and sensory aspects.

 

Exhibitions

2016 The Short Film Corner of Cannes, Francia
2016 International Arquitecture Film Festival "Novi Focus", Nis, Serbia.
2016 Go Short - International Short Film Festival Nijmegen, Netherlands.
2016 32nd International Festival "Sarajevo Winter"Sarajevo, Bosnia.
2016 Fincortex- Festival Internacional de Cortometrajes Experimentales, Bogotá, Colombia.
2015 Firestone International Experimental Film Festival ,Moscú, Rusia.
2015 13th edition TIFF TIRANA INTERNATIONAL FILM FESTIVAL.Tirana, Albania.
2015 3rd Indian Cine Film Festival.Mumbai, India.
2015 Venice International Experimental Cinema and Performance Art Festival, Palazzo Ca’ Zanardi,Venice, Italy.
2015 4th Bangalore Shorts Film Festival, Bangalore, India.
2015 2ºFestival Internacional de Cine y Arquitectura CINETEKTON! Film Fest, Puebla,México.
2015 6to Festival Internacional de Videoarte de Camagüey. Camagüey, Cuba.
2015 CCEMX-Centro Cultural de España en México. Cd de México.
2014 Museo Nacional de Bellas Artes, La Habana. Festival Ellas Crean, Cuba. Consejería Cultural de la Embajada Española en Cuba
2014 MAC, Museo de Arte Contemporáneo. A Coruña (Spain)
2014 Festival Miradas de Mujeres 2014, Sala la Bacía, Madrid (Spain)
2014 Laboral, XII Semana de Arte Contemporáneo de Asturias,Gijón (Spain)

Awards and Selection

2015 SPECIAL FESTIVAL MENTION 4th Bangalore Shorts Film Festival , India
2014 XIII Mostra Internacional Gas Natural Fenosa. Museo de Arte Contemporáneo MAC. A CORUÑA. (ESPAÑA)
2013 Beca ALNORTE.

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THE SPACES WE WERE

Video Experimental
HD/ b/n / 7´11¨/ 2012

 

The Spaces We Were (Los espacios que fuimos) (2012, black and white video with soundtrack, 7’ 11”) filmed almost exclusively in one single shot, constitutes the work that in and of itself offers the most illustrious statement of the groupings found in the project Mother. Beatriz Ruibal wanders through the uninhabited home while we hear a piano rendition of Chopin’s Nocturne E Flat Major Op.9 No.2. The narration, recorded in off by Beatriz, is a text she herself wrote, and is one filled with a lyricism as intoxicating as the ensemble of images which make up this impressive series focused on the memory of a deceased mother. In the video, Ruibal replicates the tour she took of the house when she was ten years old, the first time she set foot inside it. But this journey is different. She is no longer a child, the house is going to change, and her mother is no longer there.   All this magnifies the necessity of putting down roots, which Ruibal pursues through the photos and the journey captured on video. These records will immortalize the rooms that from this point on will never be identical.  At the same time, everything captured reaffirms the memory of her mother, establishing with these fetishes the conscience of her departure, of the grief, and of the very need to anchor oneself to the ruins so that one’s own memory does not collapse forever.

Exhibitions

2014 “EN EL RECUERDO” Real Jardín Botánico de Madrid. PHotoEspaña 2014 Selección Oficial (España) Curated  by Oliva María Rubio and  Julio César Abad Vidal.
2014 “DEL CUERPO Y LA MEMORIA“ Tres fotógrafas Iberoamericanas. Casa de las Américas, La Habana (Cuba) Curated by Nahela Echevarría and Cristina Figueroa
2013 Biblioteca Museu da República e da Resistência. Lisboa (Portugal)
2012 Sala de Arte Contemporáneo de la Xunta de Galicia, Pontevedra (España)

Awards and Selection

2013 II Festival de videoarte MAV .Casa Encendida. Madrid (España) Curated by Susana Blas

 

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Nothing More Beautiful Than Your Image

Video Experimental
Super-8 / color with soundtrack / 2´52"/ 2012

 

Nothing More Beautiful Than Your Image (Nada más bello que tu imagen) (2’ 52”, color with soundtrack), a declaration of love starting with the very title. In the corpus of the video, Ruibal incessantly repeats a single fragment of material taken from a 1973 Super-8 home recording. We witness a persistently repeated gesture barely lasting four seconds, in which the mother is looking at the camera radiating happiness during what is most likely a lunchtime celebration out of doors.

Exhibitions

2014 “DEL CUERPO Y LA MEMORIA“ Tres fotógrafas Iberoamericanas. Casa de las Américas, La Habana (Cuba) Curated by Nahela Echevarría and Cristina Figueroa
2013 Biblioteca Museu da República e da Resistência. Lisboa.(Portugal)
2012 Sala de Arte Contemporáneo de la Xunta de Galicia, Pontevedra.(España) 

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Mother 2010 . 2012

This work is a tribute to the memory of the photographer's mother, to the relationship between the daily life of women and the implications of motherhood. These images speak of nostalgia and loss, but also of survival. A bed, a chair, a lipstick, a perfume bottle or a pearl necklace draw us into the story behind the photographs. Phrases taken out of context, embroidered so that they will never unravel, complete this ray of emotion that Beatriz Ruibal manages to convey, which ultimately finds meaning in death through the evocative power of photography.

Exhibitions

2014 “EN EL RECUERDO” Real Jardín Botánico de Madrid. PHotoEspaña 2014 Selección Oficial (España) Curated  by Oliva María Rubio and Julio César Abad Vidal
2014 “DEL CUERPO Y LA MEMORIA“ Tres fotógrafas Iberoamericanas.Casa de las Américas, La Habana (Cuba) Curated by Nahela Echevarría and Cristina Figueroa
2013 Biblioteca Museu da República e da Resistência. Lisboa.(Portugal)
2012 Sala de Arte Contemporáneo de la Xunta de Galicia, Pontevedra.(España)

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Paradise 2012

This series of photographs explores 21st-century themes and concerns. It deals with the idea of building a future in decline, a future where human beings become slaves to their own notion of happiness. Frigid paradises and disturbing landscapes are accompanied by the warmth of street lamps or the lights of homes and cars.

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Hotel, a Home Away from Home 2009

This series features photographs of hotel rooms taken at different times, in different places and in different cities. It speaks to us of the anonymous space of the hotel room, recording this private space and the objects it contains in an attempt to decipher the prints of their past lives and speculate on their intimacy.

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Right Before My Eyes 2007

This series of photographs talks about the ordinary world. It aims to draw an iconographic map of all the images we have unwittingly stored inside us, like a kind of family photo album: landscapes we never chose that surround and determine the course of an individual's life.

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Illuminations 2007

Photographing the unsettling. Headlights on small country roads.  Night in our time, with all our doubts, our questions, our fears, our solitude, our shared dreams. Nocturno (Nocturnal) is a series in which technique and emotion converge in a work created on the road.

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On the Dragon's Back

Digital prints on paper mounted with silicon on Plexiglas and set in a wooden frame. 
100 cm x 90 cm / Edition of 3 + 2 A.P./ 2006

 Sobre el lomo del dragón is an artistic project inspired by one of the countless legends surrounding Ha Long Bay in Vietnam. In Vietnamese, Ha Long means "dragon descending to the sea". Legend has it that a great dragon flew over the mountains and plunged into the sea in a stunning bay of green water and jungle-covered rocks. His huge tail shattered that landscape into tiny islands. The dragon was so pleased with the scenery he had created that he settled there with his family for ever more. Sailors who frequent the bay still believe that a sea creature emerges from the depths of Ha Long from time to time, and they say that the islands shift and change their position.

Exhibitions

2006 PHotoEspaña Festival (Festival Off)

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On the Dragon's Back (installation)

Videoinstallation / 2006
Projection into a water screen

 

This installation consists of a 6 x 2-metre diesel tank. A video of Ha Long Bay is projected onto a water screen at one end of the cylinder. The diesel tank functions as a kind of spyglass separating us from the landscape. It uses water as a natural element. The idea behind this piece is to turn the art venue into a natural space, offering visitors a direct sensory experience of the landscape.

 

Exhibitions

2006 PHotoEspaña Festival (Festival Off)

Sleep Ward 2004

This interactive video installation shows a room full of sleeping people, a series of beds onto which images are projected of slumbering individuals during their sleep process. In this interactive work, the spectator is an essential part of the piece. Sensors detect the presence of a foreign body and activate the movement of the sleepers, thereby altering their sleep processes.

Conceptually, the work revolves around the sleepers' dream worlds and the mysterious aura emanating from their bodies.

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The Body Compass

20 analog images prints on paper mounted with silicon on Plexiglas/ B/N / 2000
Collection CA2M, Comunidad de Madrid (Spain)

"Double room with bath, freshly made beds, untidy beds, guest house, white sheets. Axis of the world. Local Displacement, the body at rest and eyes open. Past, present and future. Purification .Wakefulness. Place that indicates the way, search, vast plains, disposition, first and last view. To travel. To return. East and West. Cardinal points and body movement. Meeting point, childhood dreams. Crescent Moon. Direction of the horizon. Wind rose. Sextant. North, South, East, West " Beatriz Ruibal, 2000 


Beatriz Ruibal continued her exploration of repose, rest and the realm of dreams in 20 photographs of hotel rooms. The pictures are taken for the 2 months that last a trip through Chile, Bolivia and Argentina. In these works, we once again see a predominant interest in the bed as the symbolic place of rest and dreams. The Body Compass that represented by the anonymous space of the hotel room, a place of passage decorated to give the impression of a home away from home. The hotel room is the solitary domain of the traveller, who never goes to bed in the same place where he awoke that morning. His dreams seem to fuse with the hundreds, perhaps thousands, of creatures who have laid their heads on the same pillow before him. The impressions left on the sheets by their sleeping bodies are reminiscent of the impressions of light on photo emulsion.

365 Days

365 days is a photographic project created in 1995-1996 ,explores that ambiguous interval between dreaming and waking that we all experience every morning. This existential interlude between states, when the mind is still slow and groggy from the dreams of the night before, is the place on which Beatriz Ruibal trains her photographic eye. The constant flow of time in which we anxiously founder, feeling that we have lost our way, is structured here like a calendar. We discover the need to organise time in order to measure it, which in turn allows us to pinpoint our location within that intangible course. Photography is the tool she has chosen to capture this process. The freezing power of the snapshot is a way of resisting the inherent transience of human life, material proof of the fact that we truly exist. Every morning, over the course of 365 days, she photographed herself as soon as she awoke.
The everyday, for an entire year, the same photograph, though the setting might vary. You open your eyes each day at the same time, the first thought crosses your mind, and a few seconds lapse until you remember to take the photo—there, another image stored on the film in the camera. The feet are on the ground now.  Taking time in your arms and then gazing at it, dissecting it or, better yet, letting its transparency settle.
 

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Central Road 1994-2001

This visual narrative is the result of several years' work in Cuba. The author plots her own visual itinerary, like an explorer drawing a map of memories.

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