About Movimiento en Movimiento

International Screendance Festival

MOVIMIENTO EN MOVIMIENTO

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“Creating addictions and dependences to screendance”

The main objective of the Mexican festival Movimiento en Movimiento is to look for possibilities between narrative, deep meanings, dance and audiovisual media, through the exhibition of a series of exceptional works to disseminate the genre screendance and dance film. It is dance, technology and much more.

In 2020, in the middle of the global COVID pandemic, we were thrown into holding the festival online, which decreased our personal relationship in presence, but also expanded borders.

Mov en Mov has become a gravity field attracting unclassifiable audiovisual expressions that emerge from manifestations around the body, video, film, movement and experimentation; we refuse to define screendance and limit the films presented at the festival only as “screendance”. Are they screendance, video art, cinema, animation? Yes and not. If there is choreography with the elements in the screen, even without a human body, they can be classified as “screendance” or “dance film”.

Mov en Mov is interested in philosophical, humanistic, literary reflections, and also, in transgressive reflections of common sense and the work of video dance, as they question its limits and scope, using digital, cinematographic and experimental tools, and also social decisions. A good description of the festival would be: Diversity, multidiscipline, transdiscipline and a display of various possibilities.

Movimiento en Movimiento is a mutant in constant definition, an agreed diversity that responds, and tries to be a counterweight, to the current “catastrophe” and its consequences.

The festival started in 2013 and has celebrated nine editions so far:

Edition number 1: “Eleven creations for the screen – Eleven coincidences”. April 19th, 2013. Talk: Reflections on creation in screendance. Museo del Chopo. Mexico City.

Edition number 2: “A sight towards different frames”. November 8th, 2013. Talk: Limits, influences and sense of screendance. Museo del Chopo. Mexico City.

Edition number 3: “Gestural stories”. September 29th to October 4th, 2014. Workshop From the draft to the screen, by Ella Fiskum. Museo del Chopo. Mexico City.

Edition number 4: “The fall in the body”. October 14th, 2015. SOMA. Mexico City.

Edition number 5: “Audiovisual polygraphs”. November 24th and 25th, 2016. Sala de Arte Público Siqueiros. Mexico City.

Edition number 6: “Biographies and dynamic realities”. November 21st to 25th, 2017. Centro de Culltura Digital. Mexico City.

Edition number 7: “Time, form and meaning”. October 11th to November 4th, 2018. Centro de Culltura Digital. Mexico City.

Edition number 8: “A provocation in the middle of image passivity and emptiness. October 7th to 27th, 2019. Centro de Culltura Digital and Museo del Chopo. Mexico City.

Edition number 9: “Body Identity”. October 19th to November 7th, 2020. Centro de Culltura Digital. Mexico City.

Each year, the festival makes its premiere in a venue open to the public and later the works are collected in the Festival’s Permanent Gallery.

The Permanent Gallery on the WEB can be freely visited —its aim is screendance dissemination—. At the moment it has a collection of about 200 screendance Works that have been part of the festival. Here the link to the Permanent Gallery.

 
As antecedent, a similar festival was held in Berlin in 2008, it was an initiative by the director of Movimiento en Movimiento in complicity with Jenny Haack. This background festival was named MOTION and had very similar principles to the Mexican festival Movimiento en Movimiento.

 

Movimiento en Movimiento became, since 2016, an active member of REDIV (Iberoamerican Videodance Network), which is formed by 24 Iberoamerican festivals, this network has been organized to carry out joint actions of diffusion of screendance, a common Web page, a REDIV award, screenings, and several more mutual support and dissemination actions.

 

MOVIMIENTO EN MOVIMIENTO TEAM:

Yolanda M. Guadarrama (irector and curator), Nayeli Benhumea (curator), Lucitzel Pedrozo (curator).

Other members and collaborators: Dalia Ramírez Pérez, Karina Sosa, Minory León, Iván Bueno, René Velázquez de León, Alo Valenzuela.

We thank our external accomplices: Freya Olafson, María Fernanda Vallejos, Regina Levy, Elise Schonhowd, Alessandra Pisu, Andrea Keiz, Ella Fiskum, Susana Temperley, Anna Macdonald, Guillermo Fadanelli, Eduardo Thomas, María Rogel, Antonio Arango, Rocío Becerril Porras, Héctor Iván González, Réka Szüks, Andy Wood.

Brief curators bios:

Yolanda M. Guadarrama. Director of Movimiento en Movimiento, engineer, dancer, choreographer, audiovisual creator, coeditor of MOHO Magazine and Editorial. She is dedicated to the creation, exhibition and promotion of screendance, she made her first sceendance in 1994. She was Cofounder of the Motion festival in Berlin, 2008. She has been a curator for the RIFF festival, Norway for 6 years. She was a Screendance judge at LIFF, UK. Her work AILING ANIMAL obtained honorable mention in Agite y Sirva ,2015. POTATO EATERS obtained first place as an experimental short, Eurasia International Monthly Film Festival, 2018. Her works have been exhibited in several international festivals. She is a member of RED IBEROAMERICANA DE VIDEODANZA-Screendance Iberoamerican Net (REDIV). (www.yolandamguadarrama.com)

 

Nayeli Benhumea. Interdisciplinary body and writing artist. “I investigate the body-camera, body-screen. I believe in self-observation of all bodies, I believe in apparent inaction, I believe in the denial of myself, I believe in erasing myself from my discourse, I think I always manifest a resignification of intimate existence. Through my work the worlds are manifested where life is revealed as a constant game.”

Curator of Movement in Movement. She has a degree in Graphic Communication Design (UAM-A). Specialty in Dance Creation (CICO-INBA). She was in the videodance writing workshop with Douglas Rosenberg. Master in Visual Arts (UNAM). She was a professor of Video Art and methodology for the arts at the Faculty of Arts, UAEMEX. She is a co-author of the book Videodanza. De la escena a la pantalla. Freelance editor and designer. (vimeo.com/nayelibenhumea)

 

Lucitzel Pedrozo. Mexico City, 1983. Videomaker, producer, researcher, iconographer and editor. Master in Visual Arts from UNAM. As a creator, she developed series, capsules and documentaries on Tv Unam (2007-2013). As a videomaker, she has investigated the aesthetic possibilities of movement in the language of video, through screendance (Ankoku Butoh, 2011; Espejo Negro, 2014; Insectos, 2016) and its extension to different disciplines such as animation (Hoso Tan, Ad Astra, [Cátedra Arte y Enfermedad de la Universidad Politécnica de Valencia, 2015]), and the video installation (MA. Videodanza Expandida, 2017). She was a fellow of Programa Jóvenes Creadores del FONCA (2018-2019) with the video installation: Deconstruction of the Gesture. She is currently a collaborator and curator of Festival Internacional de Danza para la Pantalla Movimiento en Movimiento and CEO of Rinoceronte Bookstore. (www.lucitzel.com)

 

Movimiento en Movimiento

movenmov@gmail.com

Web site in Spanish: https://movimientoenmovimiento.wordpress.com/

Web site in English: https://movenmovenglish.wordpress.com/

Facebook: @movenmov

Twitter: @MovEnMov

Instagram: @movenmov

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Movimiento en Movimiento has been possible thanks to:

Other accomplices:

TODOS LOGOS 2019