Gran Canaria Espacio Digital closes the day may 31 the sample of the collective project The passing look, driven by the filmmaker Miguel G. Morales, and in which the visual artist Teresa Correa, the architect Noemí Tejera, the poet Oswaldo Guerra, the designer Paula Díaz López, the musician José A. Fajardo, the graphic designer Noelia Varietti and the artist Acaymo S. Cuesta.
The aforementioned initiative is submerged, from a rigorous and extensive artistic research process based on film and photographic archives of the cultural center itself Gran Canaria Espacio Digital, FEDAC, Filmoteca Canaria and El Museo Canario, in the deconstruction of the foreign gaze and the first imaginary that the society of Gran Canaria had of its identity, with the Puerto de la Luz as a catalyst of modernity and entrance of eyes / camera towards the island. The members of this artistic essay wonder if the foreign traveler’s camera really detected the reality of a society that was experiencing times of isolation and poverty.
The passing look It is one of the cultural projects that received a grant in the call promoted in 2020 by Gran Canaria Espacio Digital, and has the collaboration of El Museo Canario and the FEDAC of the Cabildo de Gran Canaria.
Miguel G. Morales highlights the confluence of heterogeneous views and purposes that intersect in The passing look, and suggests to the public “not to try to interpret the images, but to look at them carefully until the light comes out of them.” “This work seeks to dig into celluloid to find the random moment of destiny, a becoming in the exorcised gaze of the cameraman, trying to go through the mirror and find the reality of the island not fixed in the official story”, warns the filmmaker.
The public can enjoy the installation in Gran Canaria Digital Space Huacal by Morales, which has a sound design by the musician José Antonio Fajardo and the collaboration of the artist Acaymo S. Cuesta. It is proposed as an artistic investigation in the form of a video installation created from photographic archives, in black and white, which cover the second half of the 19th century and reach the 50s of the 20th century, and other film materials in color, of the forties and fifties of the twentieth century.
Morales, who is currently working at Wild is the wind, a fiction feature film and Slow life, a non-fiction short film, places his work on the periphery of non-fiction with a strong investigative and essayistic character. In recent years his immersion in working with found footage o found footage has deepened its searches in the decontextualization of the same, the use of the personal archive as a narrative element and the purification of the meanings of the images. Apart from his cinematographic works, he has proposed various video creations, installations, collaborations with artists and has designed the audiovisual field of some exhibitions.
The project The passing look It was completed with the presentation of the photo-book linked to the project, Grand Types, developed by Paula Díaz López. The publication also incorporated research Canary Woman, a rugged terrain by visual artist and photographer Teresa Correa, Edge passage by the architect Noemí Tejera and Notebook and reel peepers, by the writer and poet Oswaldo Guerra.