The festival features a selection of audiovisual works, dealing with the problem of gender inequality. It is about creating a space for discussion in favor of human rights, in which gender equality is contemplated. The festival was born in Spain with the cultural platform guerrilla food sound system, who promotes art, culture and food rights. An international jury has selected 40 films with a total duration of three hours, in them there are short films, documentaries and experimental video. The aim of this exhibition is to demonstrate a new concept of empowered women, all jobs share the spirit of struggle and many of them also do it from the humor, because we see no need, about showing more drama. This show has been travelling around spain and portugal by truck, the symbol of male led by a woman. In this second stage, the proposal no longer have truck, but has two legs.

This large scale work can be presented as a video projection or a multimedia installation composed of a photograph on a plexiglass superimposed onto a digital monitor displaying video with sound. The work incorporates unusual depth and monumental dimensions achieving a particularly emotional effect. “The word emotion comes from the latin emovere, which is historically connected with the idea of movement. An eternal movement that moves the viewer emotionally and conceptually, and that the artist observes and try to preserve with his creation. In the presence of the work, the viewer can connect with a larger emotional landscape that embraces all of us and lives without and within; because we are all part of a larger spectacle.”

New York, New York focuses on the magic feelings and alchemic effects that transform a daily view of the Hudson river into a layered and complex video composition. As in a well-organized spectacle numerous little epiphanies slowly become part of a balanced composition. “The soundtrack is composed of two main audio tracks. I recorded the first one while contemplating the view, fascinated by a jazz musician practicing with his saxophone. The second one is composed by the voices of three friends of mine. I invited them to hum a few famous American melodies like “New York New York” and a few others. They recorded them in their apartments in NYC, and then sent them to me, to become part of a larger portrait of my city.”

In A Prayer for the Dead, subjecting the body to the purifying power of water evokes ideas and feelings of renewal and cleansing. This project started as an impulse to communicate through water. It slowly took form in its attempt to portray the universal experience of release. Unexpectedly, the work mirrored rituals of which I wasn’t aware, like the Buddhist funerals, where “water is poured into a bowl placed before the monks and the dead body. As it fills and pours over the edge, the monks recite: ‘As the rains fill the rivers and overflow into the ocean, so likewise may what is given here reach the departed’.”

Grasshopper es un video de alta definición que muestra a una pareja disfrutando tranquilamente de una tarde en la playa. Las interpretaciones del tiempo y el significado del espacio se exploran de la forma en que una realidad puede rebotar a la siguiente, al caos de las dimensiones alternativas. Los fragmentos de existencia fueron reensamblados, mostrando cronogramas incoherentes existentes dentro de un solo video digital. Se supone que el tiempo es intangible e invisible, pero sus signos son claramente visibles a nuestro alrededor. Podemos sentir el paso del tiempo cuando sentimos el viento soplando; podemos ver el tiempo fluyendo a través de las olas del océano, y el paso del tiempo está encarnado por nuestras huellas en la arena - trazando las múltiples trayectorias de nuestras actividades frenéticas. En este nuevo mundo digital, la idea clásica de continuidad se abandona a favor de saltos y desviaciones de la linealidad: capas múltiples están ocultas dentro de las vistas más mundanas y diferentes líneas de tiempo se entrecruzan de maneras impredecibles.

Can media art, now deeply influenced by the diffusion and power of emerging technologies, help us feel again in a deep, spiritual way? Can emerging media arts help us rediscover a long lost sense of connection with nature? Could that be a key factor in the effort of re-balancing our sociopolitical global situation? In the face of planetary-scale computation and digital realities spinning out of control I look for a renewed sense of peace and harmony. People today are losing the ability to focus and contemplate, submerged by a constant flux of signals, images and sounds. Will media art necessarily contribute to this trend or can it help us rediscover ourselves? I’ve always been looking for the extraordinary in the ordinary. I started my career as a fine art photographer, however, in the last five years, my work has been deeply influenced by both emerging technologies and by the new technical and conceptual possibilities offered by them. My latest works are suspended between Henri Cartier-Bresson’s idea that to photograph is to hold one’s breath with all faculties converged in an effort to capture fleeting reality, and the belief that flowing processes that transcend reality cannot be entirely captured by static images. My goal is to capture the natural world, illustrating my motivations and emotions, looking for the precise moment when mastering a composite moving image becomes a great physical and intellectual joy.