Fruitful relationships

En juego (In play) installation by Eugenio Ampudia in the exhibition El poder de la palabra, curated by PROYECTOR / Videoart Platform. Lima, 2016

Another exhibition highlighting textual and communicative values was El poder de la palabra (The power of the word), curated by the team that was also responsible for the video art festival Proyector at the Cultural Centre of Spain in Lima. The last time I had the opportunity of collaborating with Spanish Cooperation was just a few months ago, at the Cultural Centre in Miami, headed by Ignacio Moralejo, where I presented a solo exhibition, curated by Blanca de la Torre. Titled La inmovilidad del movimiento (The immobility of movement), it was inspired by the great Spanish philosopher María Zambrano, and especially her work Los sueños y el tiempo (Dreams and time). Our aim in this exhibition was to present a discourse on the relationship between dreams and time. Taking the view that falling asleep is a gesture defying the normal order of things, and therefore that dreams provide an opening into other imaginaries, the exhibition sought to re-read the history of art itself and to reconsider the spaces assigned to culture. Indeed, I believe this is the duty of our Cultural Centres: to intervene and to provide a platform for mediation and experiences, one that is both multifaceted and inclusive, scrutinising and showcasing the past, present and future of culture. Accordingly, the Cultural Centres must be managed by persons who are outstanding not only in their leadership, but also in their professional outlook towards cultural politics and programming, so that culture may be valued as it deserves. To my mind, the Centres must be supporters, facilitators and generators of synergies, as qualities necessary to their mission, and continue to be cultural and

artistic ambassadors, highlighting Spanish and Ibero-American creation in the international scene and providing vital channels to extend our values further afield. After my very rewarding experience with the Network of Cultural Centres, my conclusion is that they should be viewed as active agents, as organic institutions that not only provide a place of encounter for the local, national and international communities, but also function as promoters, transmitters and active channels of communication for these communities. Cooperation, exchange and an ongoing critical perspective, open to dialogue and debate… these are some of the areas the Cultural Centres must continue to support, whilst continually reconsidering their goals and acknowledging the achievements and strengths of the institution, adopting a propositional viewpoint and always seeking to advance and innovate, motivated by fresh challenges.

Painter, sculptor, multimedia artist and exhibitions curator. Winner of the AECA Award for the best living Spanish artist at ARCO18 and winner of the ARCO-BEEP Electronic Art Award. His works have been exhibited internationally and form part of the leading Spanish collections of contemporary art.

Icíar Bollaín Opening windows

In setting out to write this text, reflecting on the aims and activities of the AECID, I recalled that often, during a post-screening Q&A session with the audience, someone would ask me if I thought that film had the power to change things, and if that was why I made films. I always gave the same answer: that changing things is too big an ask for a little movie, even if its story sometimes focused on a specific problem, suggested a way out and maybe even had a hopeful end. In Te doy mis ojos (Take my eyes), one of my films that has travelled the most with the AECID, the two characters set out, with a little help, on a path leading them away from violence – her from suffering it, and him from employing it. In the end, he gives up and becomes abusive again, but she continues on her path, breaks off the relationship and saves herself from the horror to which he had submitted her. When I wrote it, I never thought that the story of Pilar and Antonio, an individual story that spoke of a universal problem, could be an instrument to help change the situation. However, the film put a face and a voice on a problem that was then almost unheard of. Almost from the start, it became a tool used by professionals working to eradicate sexist violence, including judges, lawyers, therapists and police. To my surprise, the film also helped the women themselves, those who had suffered this type of violence, to become aware of its nature, to realise that the relationship they were in was in fact a circle, a spiral that did not end every time he begged their forgiveness, but would start again shortly afterwards, inexorably. And that there was nothing they could do to change it, except to break off the relationship. And this story, unfortunately, aroused echoes in all the countries we took it to, especially in Latin America, but also in Europe, in China and in Japan, where the authorities’ lack of attention had left women completely unprotected. También la lluvia (The rain, too) is another film of mine that has travelled far with the AECID. This story of filmmakers who want to show the history of Columbus from a less “epic” perspective brings to light an event that is still a focal point in activism against the excesses of multinationals: the Water War in Cochabamba, Bolivia. In 2000, the population fought back against a multinational that tried to privatise even the rainwater. This battle is especially notable because it was won, something that unfortunately does not happen very often. The film highlighted this victory, which was won over and over again, every time the film was shown, as its message of struggle and hope became widespread. Incidentally, the film reflected on the hunt for treasure, drawing parallels between the demand for water today and the allure of gold that attracted Columbus and his men; on the greed, abuse and injustice of the historic colonisers, who came in the name of God; and on that of today’s version, in the name of the Market.