CA2M Centro de Arte Dos de Mayo


20 MARCH — 24 APRIL 2016

This film cycle expands the questions addressed in the exhibition The Unfaithful Replica into the realm of comedy and its plethora of recourses, focusing on humour’s potential to break with normative worldviews; viewing the joke as a poetic attack on language and the gag as profanation; bringing into question the meaning of time, the image, and space … Several different lines adumbrate a connection between the films and the exhibition: the relationship between the word and the image within the gag as visual resistance to verbalisation (in The Pink Panther or in Yo Yo); the word that distorts the meaning of images (in Jardiel Poncela’s Los ex-presosy el expreso and in the absurd dubbing of Un bigote para dos de Tono y Mihura, recovered by Santiago Aguilar and Felipe Cabrerizo); the disruption implicit in the popular word, in the idiolect, in quackery (in Un día con el diablo [One Day with the Devil] and in the absurd conversations adorned with gestures and silences between Totó and Ninetto in Pasolini’s Uccellaci e uccellini [The Hawks and The Sparrows]); the recited, critical, lucid and self-sufficient word in Los Banqueros by Pedro G. Romero; and finally the radical silence in Samuel Beckett’s Film. And not just the word, but also the figure of the clown (Totó, Pierre Étaix, the Pink Panther and Cantinflas) as a character, who is always himself, who imposes himself, his language and his gesture in each situation, in contradistinction to the actor who has to adapt his body, voice and action to the dictates of performing. And also meaninglessness; the meaninglessness that Luis Buñuel proposes through the interruption of the predictable, laying bare the contingency of our existential fictions and narrative systems. The same sense of revelation is also pursued in Pasolini’s masterful play between representation and reality in the filmic poem Che cosa sono le nuvole?

Although we may happily return to the unassailable established order once the laughter has subsided, we can still remember the possibilities suggested by the joke as a form of poetic irreverence that opens up meaning beyond the language of reality, that allows us to play, to rebel against language and to imagine other possibilities.

Nuria Enguita and Nacho París, curators of the cycle



The Pink Panther. The Pink Phink
Friz Freleng, Hawley Pratt, English with subtitles in Spanish, 1964, 7 min.
When the painter, the Pink Panther’s comic foil, attempts to paint everything blue, the Pink Panther retaliates by painting it pink.

The Pink Panther. Pink, Plunk, Plink
Hawley Pratt, English with subtitles in Spanish, 1966, 7 min.
The Pink Panther interrupts a performance of Beethoven’s Fifth Symphony with The Pink Panther Theme.

The Pink Panther. Pink Da Vinci
Robert McKimson, English with subtitles in Spanish, 1975, 7 min.
The Pink Panther vies with Leonardo Da Vinci to put a smile on the Mona Lisa.

Pierre Etaix, 1965, French with subtitles in Spanish, 97 min.
In 1925 a fabulously wealthy man who lives in an ostentatious palace surrounded by servants is unhappy, apathetic, idle and indifferent. He is pining for the only woman he has ever loved, but he doesn’t know what has become of her. One day, he finally comes cross her. She is now part of a touring circus troupe and he discovers he has a son he never knew about. In the stock market crash of 1929, the man loses his fortune, leaves the palace and begins a new life as an actor in the circus with his wife and his son Yoyo …

Talk with Nacho París
Nacho París, co-curator of the exhibition The Unfaithful Replica and a visual artist, works with the production of images, art theory and critique. He has been a member of the Ex-amics del IVAM and Ciutadans per una cultura democràtica i participativa collectives and the president of AVVAC Artistes Visuals de València Alacant y Castelló.


Uccellaci e uccellini(The Hawks and The Sparrows)
Pier Paolo Pasolini, 1962, Italian with subtitles in Spanish, 101 min.
A father and son are travelling along the road towards Rome. Several incidents happen on their journey… they meet a talking crow, the funeral of the communist politician Togliatti, a prostitute… And the crow accompanies them on their way, talking all the time.

Che cosa sono le nuvole? (What are Clouds?)
Pier Paolo Pasolini, 1968, Italian with subtitles in Spanish, 20 min.
Fourth episode in the collective film Capriccio all’italiana(Caprice Italian Style).The puppets assigned to play Shakespeare’s Othello in a puppet theatre are confused by the plot of the story and the roles they have to play. The audience watches the performance but does not agree with the ending.

Talk with Felipe Cabrerizo and Santiago Aguilar
The La Codornizologists Cabrerizo and Aguilar have focused their research on clarifying the relationships between humour, its popular forms of expression and cinematography. The result of this life of asceticism and erudition is a monumental essay on La codorniz y el cine (which will be published one day) and a pair of little essays called Un bigote para dos, el eslabón perdido de la comedia cinematográfica española (2015) and Mauricio o Una víctima del vicio y otros celuloides rancios de Enrique Jardiel Poncela (2016).

Los banqueros
Pedro G. Romero, 2012, Spanish, 27 min.
A declamation by José Luis Ortiz Nuevo based on extracts from The Book of Disquiet and The Anarchist Banker by Fernando Pessoa.

Le fantôme de la liberté (The Phantom of Liberty)
Luis Buñuel, 1974, French with subtitles in Spanish, 104 min.
This film comprises eight episodes linked by a character or situation that connects one story with the following. The film opens in Toledo in 1808 when French soldiers enter the cathedral during the Napoleonic invasion. It then shifts to the present day and changes from one character to the next in strange situations.

Talk with Pedro G. Romero and José Luis Ortiz Nuevo
Pedro G. Romero has been an artist since 1985. His practice basically consists of two large bodies of work, Archivo F.X. and Máquina P.H. He is actively involved in UNIA arteypensamiento and in PRPC (Plataforma de Reflexión de Políticas Culturales) in Seville and curates the project Tratado de Paz para la Capital Cultural DSS2016. He is also currently working on the project Máquinas de Vivir. El flamenco y la arquitectura en la ocupación y desocupación de espacios.

José Luis Ortiz Nuevo has a degree in Political Sciences. From 1975 to the present he has penned a score of books on themes related to flamenco and has contributed to another forty or so books on the same field. He was the founder and director of the Bienal de Flamenco in Seville (1980-1996), director of Cumbre Flamenca in Madrid (1986-1987), and the Bienal Málaga en Flamenco (2007). He has directed many shows, and even performed in some of them: Dinero (2013) –Ábrase la tierra (2014).

Samuel Beckett, 1965, silent, 22 min.
A man hurries along an empty street, enters a doorway, climbs the stairs and goes into a room where he erases all traces of external reality. He closes the curtain, covers the mirror, ejects the cat and dog, locks the door, covers the birdcage and the goldfish bowl and starts to tear up old photos from his past…

Un día con el Diablo (One Day with the Devil)
Miguel M. Delgado, 1945, Spanish, 100 min.
Cantinflas, a poor newspaper seller, is mistaken for a deserter and although he does everything in his power to demonstrate that he is not the person they think he is, nobody pays him any attention and after being court marshalled he is enlisted in the army against his will, just when his country goes to war against Japan.

Talk with Jordi Costa
Jordi Costa is a journalist, film critic and author of the books Mondo Bulldog and Vida Mostrenca, among others. He is also a freelance curator of the exhibitions Cultura basura; J. G. Ballard.Autopsia del Nuevo Milenio; Plagiarismo; and Ficciones en serie. He has directed the films Piccolo Grande Amore and La lava en los labios.

SUNDAY 24 APR. 18:30
Los ex-presos y el expreso
Enrique Jardiel Poncela, 1933, Spanish, 11 min.
Jardiel Poncela gives a satirical running commentary on the short western film The Great Train Robber directed by Edwin S. Porter in 1903.

Un bigote para dos. Unapelícula estúpida de Tono y Mihura
Antonio de Lara “Tono” and Miguel Mihura, 1940, Spanish, 73 min.
The Austrian film Immortal Melodies (Unsterbliche Melodien, 1935) directed by Heinz Paul and dedicated to the life of the composer Johann Strauss is transformed into a comedy when dubbed by Tono and Mihura, the founders of the satirical magazine La codorniz.

Talk with Felipe Cabrerizo and Santiago Aguilar (see session on 3 April)

Admission free