Dec, 2014: Dostopos

  1. Work
  2. Presentation
  3. Interview
  4. Opinion
  • Dostopos Usted está aquí

    2012 / 3’ 25’’ / Video clip for Alado Sincera (Repetidor Disc)

    Synopsis: The incisive submerged message distilled by the lyrics of Alado Sincera provides the basis for this animated collage. “You are here” manifests the need to situate ourselves in a present that cannot be understood without a glance back at the past. The “Old & New!”, the present that does not learn.

    Materials: Cuttings from old books, magazines and brochures.

  • Dostopos Ella está en un punto

    2011 / 3’ 18’’ / Video clip for Sonio (Repetidor Disc)

    Synopsis: An intimate portrait afloat between the small and the unfathomable in a riotous cascade of flowers and galaxies. A delicate, relentless reel.

    Materials: Country Girl KTC films of London (super 8), own super 8 footage, NASA telescope photographs.

  • Dostopos Brana Calypso Dendrita

    A project by David Domingo with Darío Peña, Africa Pseudobruitismus and Dostopos

    2012 / 13’ 32’’ / Piece produced by a performative film session

    Synopsis: Three screens. Three parallel dimensions. A soundtrack. One script, three writers. Each image three times. No one knows what the others are doing. Synchronize and see what happens… On your marks, get set, go!

    Dendrita screen girl (right): Clara Tena

    Dendrita screen materials (right): The Twilight Zone (TV series by Rod Serling), videos from YouTube, films from Prelinger Archives, Underworld USA (Samuel Fuller), Die Nibelungen (Fritz Lang), The Red Shoes (Michael Powell), Tini zabutykh predkiv and Sayat Nova (Sergei Parajanov), Sedmikrásky (Vera Chytilová), L’Atalante (Jean Vigo), Money! (Rudy Burckhardt Films), Persona (Ingmar Bergman), 16-mm material loaned by Martín Guitiérrez, camera tests loaned by Carlos Amador, Sunrise: A Song of Two Humans (F. W. Murnau), NY (Sergio Belinchón), Marnie (Alfred Hitchcock), Kristall (Matthias Müller and Christoph Girardet), Das Blaue Licht (Leni Riefenstahl and Béla Balász), Miralls (Gerard Gil), postcards and magazine cuttings.

  • Dostopos Nenuka Forever / Nenuka Geometrias / Nenuka Nature

    2013 / 0’ 38’’ + 0’ 35’’ + 0’ 44’’ / Videos for Nenuka Paradise jewellery.

    Synopsis: The moving image takes us into the world of Nenuka jewellery. This coming together produces three shorts that travel between natural, geometric and other, less tangible forms.

    Materials: Family videos in Hi 8 and super 8, The Twilight Zone (TV series by Rod Serling) and old magazine cuttings.

  • Dostopos Puc saber

    2006 / 2’ 13’’ / Video projections for live performances by The Linn Youki Project (BCore Disc)

    Synopsis: An instant, a look, a gesture, a kiss, a murmur… between stillness and movement. An image. Memories.

    Materials: Super 8 home movie and Window Water Baby Moving by Stan Brakhage.

  • Dostopos Gianduja

    2006 / 3’ 30’’ / Video projections for live performances by The Linn Youki Project (BCore Disc)

    Synopsis: A desert, two characters and four restless hands, drawing. Philippe Garrel’s La Cicatrice Intérieure as a canvas.

  • Dostopos Dance Issue I

    2007 / 3’ 49’’ / Video projections for NIU Festival

    Synopsis: Two dancers practising, bodies in tension in front of the camera. A wordless argument starts up, a door is slammed.

    Music: Petals Weep by Papa M.

  • Dostopos Porno century

    2007 / 2’55’’ / Video projections for NIU Festival

    Synopsis: Tremulous mini DV on album of fleshly photos.

    Music: My Love For You by ESG

    Materials: Engraved images from the book 1000 Nudes. A History of Erotic Photography from 1839-1939 and early 20th-century postcards.

The story of Dostopos is, first of all, a story of friendship. Two editing colleagues who, independently of their work or their personal projects, decide to get together to do what they want: to play and experiment according to their own rules. Two people who like messing around with found footage and especially enjoy relating it to music.

Though their training and experience with editing underlies the way they proceed, their work owes just as much to artistic studies, dance classes, nights of concerts, Xcèntric sessions, trips to the Punto de Vista Festival and their intuitive, self-taught spirit and interest in collecting images. In fact, audiovisual robbing and pillaging in search of hidden treasure is a vital characteristic of these two moles. By digging through their image archive, they have developed their own particular visual world (where, despite its variety and eclecticism, materials salvaged from times past stand out), with the human body as the principal axis and its movement as a theme for exploration in unsuspected choreographies.

Dostopos are restless souls; in their lab they edit stolen images, rotoscoping, early flash animation, animated collage, direct manipulation on celluloid and even a “tremulous mini DV on an album of fleshly photos”. However, what emerges from this mishmash is a personality marked by an unmistakeable aesthetic taste, a noticeably female touch and the presence of an imprint that is recognisable throughout their work. All of the above should make these two moles a protected species.

Miguel Zozaya (Film historian)

www.dostopos.info

A selection of interviews and reviews about the work of Dostopos:

El Barcelonés
A Rienda Suelta
NpMood
Notodo.com

If you’d like to share your opinion, send it to pantallacccb@cccb.org and we’ll publish it here.

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