Raúl Miranda works at the intersection of live performance, interpretations of memory and the visual and audio visual. In a panel discussion, “MINIMALE: de la apropiación visual a la minificción documental,” held on Thursday, October 23rd on behalf of NYU’s Hemispheric Institute of Performance and Politics between Mr. Miranda, Managing Director of the Institute, Marcial Godoy-Anativia and architect and NYU Performance Studies PhD. Rodrigo Tisi Paredes, Mr. Miranda presented the theoretical basis for his work along with examples of his digital shorts.
Mr. Miranda described the theoretical underpinnings of his work and focused on his most recent piece, (A) PROPOSITO. Originally shown in the Museo Nacional de Bellas Artes de Chile, these 12 short films adapt the poetry, short stories essays and plays of the 1920’s and 30’s to comment on personal conceptions of sadness. Miranda uses the films to construct a visual space for these literary works. This representation is put into greater context through the physical placement of the screenings as part of the installation.
Another focus of Miranda’s was his recent work on the life of Enrique Riveros, La Sangre de Un Actor… Enrique Riveros. Riveros was a Chilean actor who became a star throughout Europe during the 1920’s and 30’s appearing in over 15 movies with some of Europe’s most famous directors of the day. Riveros was the lead in Jean Cocteau’s first film The Blood of the Poet, thought of as one of the heights of surrealist film. Riveros returned to Chile prior to the start of World War II to raise his family prior to meeting an untimely death in 1954 at the age of 48.
Miranda’s work, La Sangre de Un Actor…Enrique Riveros, is a documentary that attempts to revive the legacy of Riveros in Chilean by delving deeper into his life, films and through interviews with his living descendants.
Find out more about Raúl Miranda and his Minimale project here.
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