Images Festival

IMAGES FESTIVAL 2018: STREETSCAPES [DIALOGUE]

By Alonso Castro 

In Streetscapes [Dialogue] (2017) Heinz Emigholz proposes us with a complex exercise in the reconstruction of space and time through the montage, in which architecture predominates -displaying beautiful images of buildings’ dimensions and textures-, as well as dialogue. Through pictures of buildings designed by Julio Vilamajó, Eladio Dieste, Arno Brandlhuber, among other architects, in the fourth part of the series of Streetscapes [Dialogue], Emiglhoz reflects on the durability of time through space from the link between architecture and cinema.

IMAGES FESTIVAL 2018: HIWA K, KORAKRIT ARUNANONDCHAI, RHAYNE VERMETTE, SYLVIA SCHEDELBAUER

By José Sarmiento Hinojosa

In the realm of identity, being confronted with the crude reality of the world we’re inhabiting may be birthing a sort of cognitive dissonance: we’re not what we used to be, or we must switch our identities in order to survive. Hiwa K and Korakrit Arunanondchai take two very different approaches on the subject, one could say approaches that emerge from the uncertainty of representation.

IMAGES FESTIVAL 2018: SANGRE SECA, BAD MAMA, WHO CARES

By Morella Moret and José Sarmiento Hinojosa

A struggle poem is sung, thousands of women join to rebel against patriarchy and misoginy every March 9th, but we’re still abused. We’re killed because we’re rebels, raped because we’re whores, beaten for being insolent. Sangre Seca by Los Ingrávidos Collective shows us 16mm red and bloody images, footage of woman marching for our rights, of different historical moments of Mexican activism.

IMAGES FESTIVAL 2018: PERFECT FILM, THE RARE EVENT, 3 DREAMS OF HORSES

By Tara Judah

One mode of transparency is in admitting that temporal and spatial distance meant I didn’t physically attend Images Festival. This relegates my observations of the films I watched deficient, insofar as they are subject to the rarity and the ‘live-ness’ of their intent: I did not experience the atmosphere or energy of curated and presented programmes. Still, in the interests of opacity, I engaged with select content on my own terms and, in so doing, created my own rare event.