Monday , April 19 2021

Storytelling exercise out of format …

Scattered, vertical, wavy, zigzag: there is no line from Maja Tarčić to Daniel Mecca, nor a path from Cecilia Rodríguez to Nicolás Teté. For neither side. There are, however, four timeless singularities: they were all born in the 80s of the last century. Children of Democracy, Feverish Youth, Laminated and Broadcast on Television in the 1990s, ruptures, interruptions, and later struggles sifted through artistic practices (cinema, dramaturgy, poetry, literature) who find them all experiencing how to narrate and narrate.

Heart, heart, heart and discomfort a young urban artist looking for meaning or a hug. Mistakes or things that look like mistakes are interpretations sensory, emotional, and raw experiences. Some quite universal: love, the perishable eternity of love, pain interrupts, the strangeness of living memories with concrete physical effects. And others more specifically, like an unusual view of the artist, her vision of the world around her, the focus of her own lens.

Tarcic, who has acted, directed and worked in various artistic languages ​​between film and TV, write songs full urban images, from parties with friends, a cry hidden between a party imposing itself in a group, from wasted nights and distant encounters (or not yet).

But in experimenting with various disciplines, in addition to songs, he leaves like crumbs – shorts he worked on in audiovisual workshops, which your readers can access via QR codes. These are small signs, a multidisciplinary art that invites you to see the world through the sensitive eyes of Maia Tarčić, and to fragmentarily complete songs that are already full of images and scenes. Some kind of recorded poetry.

… All bicycles and boats. If you’ve been hunting for a reference, this book is for you. If not, google it, because you’ll like the book anyway. The 1990s are often spoken of as an age of trivialization, neoliberalism and excessive spending: nothing represents it better than an entire generation watching hours and hours of television. And if anyone doubted the effects of exposure to products like Summer ’98,, Angry doll,, Chiquititas and so many others, film director of San Luis Nicolas Teté describes everything smug from the intimate side of individual feelings and emotions and aspirations.

Nothing can happen to us is a set of stories / stories from an unfocused view, far from the center, relationship, desire, desire to grow and in which TV serves as an excuse: it is a window into the world in which people can love outside of their gender, where I can dream big and, strangely enough, make your dreams come true.

It’s a book from a filmmaker who uses his narrative ability to mount the scenes to be assembled a ninth, restless, dynamic image, in which all the stories immerse the reader small youthful universes of 4-5 pages in which he overlooks how these consumptions hinted at a rural view in the lights of fame, television and the final glamor of an entire litter of young aspirants.

The beginnings are made of air, Daniel Mecca (Red Rhythms)

Mecca is a poet, a journalist, a painter, a possible trumpet player and, above all, a hardened Borgean who has recently expanded the social networks of poetry and stories by Jorge Luis Borges. Poetry on WhatsApp, a dictionary of books and its new gossip: Borges’ monologues in theater. In this novel from a few months ago it a diverse universe full of sensitivity and, sometimes, obsession. Sorry: obsessions and, sometimes, sensitivity.

The beginnings are made of air is a novel and Memories of when I was a poet it is a collection of poems, which is inserted between the chapters of the novel even though it has its own page index. A spreading metapoetry appears in the novel Parody ‘s obsessions (¿alterego de Daniel Mecca?) with beginnings: stories about his childhood, the childhood of his father and mother, the beginning of his poetry, or playing the trumpet of his trumpet teacher.

But also his fixation with the ends and with the young and violent death of the state, mainly: Luciano Arruga, Mariano Ferreyra, younger brothers from the fire in La Boca. “A nice thing,” Bandido, Parody’s poetry teacher, would say of a literary experiment in Mecca, where Every word is measured and gadgets spill over the literature.

¿What would you do if your grandmother came to you and left unfinished stories, audio with anecdotes, experiences you were not aware of and including sexual change, violence, and even love? Cecilia Rodríguez turned, patiently goldsmith, a series of stories that were sometimes unrelated and sometimes harmonized disturbing voice, halfway between dream and probable.

Stories about grandmother wolf, which you catch like old passionate bedtime adventure stories – in a less naive version, of course – go through and review myths, forced prostitution, factory struggles, Mexican rebellion, magic wig what happens to generations and even an accompanying review of the classic Borg story which Grandma Wolf claims to be the main character.

Author’s stories delusional moments, somewhat anxious, in which the narrative and archaeological experiment is in the service of adventure. It makes you sit around a fire and have someone read to you.

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