Sunday, February 27, 2011

Does Best Buy Warranty Cover Water Damage?

Interview with Maria Belen Moncayo

troubled waters interviewed Maria Belen Moncayo, Director of New Media Association Archive Ecuador ( AANMA ) after completing its project "National Roaming Video Art", which received funding through Competitive Funding Program of the Ministry of Culture.

Project Name: National Roaming Video Art of Ecuador.
date: July 29, 2010 in Portoviejo
End Date: January 26, 2011 in Tulcán
Competitive Fund Winner 2009-2010 level in the category of Programming and Distribution Assets Cultural Products and the Ministry of Culture of Ecuador.
The fund was $ 10,000 and the total project cost was $ 10,600. The third part of the total was spent on payment of duty to showcase the artists.
Rodolfo Kronfle: Maria Belen, I told me what was the intent of the project you submitted for competitive funding, what were your expectations before you begin and what is your assessment of the results after the end of your long journey. read the log that you took would be interesting to us to share a summary of the statistics that wear and the type of reception you had You know how many contemporary art projects gained access to financing?

María Belén Moncayo: The intent of this project, as everyone who undertakes the AANMA file, was to build a critical audience for experimental audiovisual Ecuador, in most of the country ( Galapagos was the only province that did not visit).

I had very definite expectations as the project was proposed in the twenty-three provinces and an event open to the entire community. One of the very specific project requirements was precisely to be surprised by what is in its path. With the exception of Guayas and Azuay, few provinces in which they knew for certain in advance what kind of audience I faced.

The balance I do it from several aspects: Contact with each of the persons who attended the Roaming is an experience that goes beyond the Funds. I lived poetic moments, magical with the public. My perception of the management of the Provincial Directorate of Culture (hereinafter DPC) of the twenty-three provinces was forwarded to the respective ministry said in a document entitled Recommendations for the Ministry of Culture, if I resumirte this report will tell you that sixty percent of the staff and management of these firms are precarious, with the remainder made an admirable management and all my gratitude. Unfortunately such persons do not act on the basis of a national cultural policy that serves as an umbrella for all and all cultural activists, they do so based on an inherent sense of militancy and problem solving skills.

A circumstance that concerns me greatly in both the public and the DPC is the colonial attitude. Statements often heard low esteem and praise for the project, not their net goals, but rather by the mere fact of arriving from Quito.

The total attendance for the project in the twenty-three provinces was of 1540 people, whose ages ranged from six months to seventy years. The hearing was a sparsely populated and the most popular person in three hundred. In many provinces of the coast, the Eastern Sierra and attended high school students and students from both urban and rural schools.

know the exact figure of contemporary art projects have been selected from competitive funds, however, counting of people close to my environment I can remember Quito at least two or three. The website of the Ministry of Culture provides these figures at national level.

RK: Well the question now is if your experience after you think it is possible to build a critical audience, whether this mechanism or some other ideaste. If they did it again shift the focus?

MBM: It was in Guayaquil, where, among many others, I experienced one of the most enriching experiences of Roaming: August 11, Casona reaching the University, which conducted the Chapter Guayas, I waited at the door by a friendly middle-aged citizen who came to see me come (The Universe in hand and highlighted in yellow) and asked: "Did you Moncayo is the degree?, is that I read in the press about the event is going to be here at six in the afternoon, I noticed the word video art and so I came. "The man in question attended the event with full attention from beginning to end.

Yes, definitely think that the construction of a critical public in Ecuador is possible. Each chapter had a positive interaction with the audience from many angles. The compilation showed videographic I selected thirteen pieces that address as many different topics, all linked to contemporary concerns such as ecology, gender, cultural identity, colonization, media, among others.

The audience of teenagers was undoubtedly the most interesting. Knowing well that came bound by the DPC and their teachers, at the beginning of each meeting called for loosening the tie, relax and switch off their phones cell, but not before asking teachers to assign them a deserved 20/20 just because you have come to the auditorium, they always said "Art can not be forced on anyone." Even gave them the option to stay or leave the area after the audiovisual and before the conference before the stunned faces of teachers, some asked me retract this option, which he always replied that the works speak for themselves, that students would willingly ... it was.

My years as an actress I do recognize in the audience their reactions and I can say with pride that the National Roaming Ecuadorian Videoart removed more than an awareness of urgent issues of social transformation and aroused in many and many a desire to become makers of experimental audiovisual (a child of eight years in Portoviejo, for example).

If I'd do it, take direct contact with humans who for sure is that they are interested in the subject. Would expand the map to other counties and provinces in the bright centralized resource use mobile loudspeakers to reinforce the call, a melee with the party of volley, with the election of the Queen, with the Cantonal Council meeting.
RK: roaming Obviously this was a journey that has already concluded, but your enthusiasm tells me that maybe you're thinking of a plan for the effort is sustained. Do you have any? If you were Minister of Culture which kind of policy (action) in relation to audiovisual boost experimental?

MBM: AANMA file always has plans. This year is shaping up to the achievement of four very complex: 1. Book "100 experimental audiovisual artist Ecuador" (Foundation Prince Claus and Ecuadorian institutions to be determined), 2. The single-channel works will be on line file to be viewed universally (in coordination with of Spain and financing of AECI), 3. Videos, area public consultation of the acquis, generator and receiver projects the subject of study. In principle, the matrix would be in Quito and eventually be replicated in at least five regions of the country, 4. Technology project (CUADOR) technology / rte (SAD), which consists of a display on subgenres of audiovisual teaching experimental single-channel samples, workshops, community activities and conversations.

addition the book will be delivered in four cities in four different regions of the country as part of a workshop on preservation of audiovisual materials.

The Video Library for its part will aim to build public will remain a living heritage. I'll get to the public through different mechanisms, not sit and wait for it to arrive.

For the final part of your question I would change the focus of it considering that I do not even suppose to be Minister of Culture of Ecuador; therefore humbly offer my opinion on what can be improved from every perspective, not just the government:

The National Film House of Culture decent care requires urgent and sustained, by activist convinced this organization has managed to restore some parts of Ecuador experimental celluloid, provided by international conventions on their own have difficulty owning up to blank DVD's to make copies.

Art Schools public and private could polish his mail regularly give content and audiovisual and electronic art a platform connected to the reflection and social transformation and less equipped with technological novelty. Many must, first of all, consider the subject in the curriculum of study.

I think also their responsibility to the formation of cultural activists believe that they are capable militancy from designing projects to be sensitive guides, knowledgeable and charismatic in a container of art.

exhibition spaces, cultural centers, salons and art exhibitions of all kinds-policy-need audiences who violate the events and thickening effect the curriculum of who offers the works of art to public consideration and that, by contrast, pursues the construction of an informed public, critic, able to utter a high regard for the creation of our context.

For public cultural policy on this issue is urgent to provide each province of a movie theater-auditorium with modern technological equipment for all types of artistic activities, the same could be driven by cultural activities lived up to its name with the technical support facility. (Not all artists are aware of cultural management, and all the doormen are technical audiovisual).

Only then, when we have made an incisive public construction work, we can move on to the stage of inserting the experimental audiovisual quotas for public display. If when inserted in a monitor of the fleet Carlos Brito B. "The best of the road", for example, the play "Speech" by Gonzalo Vargas or any of the jewels of AANMA file, we face a picture of vociferous involvement honor of Mrs. mother of the driver.

Finally a warm invitation to the readers of this blog to surf on the website and make direct contact with their projects.

Feb / 2011

Roaming Works presented:

I AM THE OTHER 3'43''Miguel Alvear
WHEN YOU HAVE YOUR IDO 6'55''Carlos Barragan
1'38''REQUIEM Huao CALDERÓN Saskia
2'55 501 CONSTELLATION RIVERA DAYANA''amassing fortune
4'23''Juan Cordova


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