• 00:01 Genealogías críticas
  • 03:51 Intro (revisitando “La voz humana”, 1997)
  • 05:42 “Mater Amatísima” (2017). Si no cambiamos el modelo de familia tradicional, no podremos cambiar el modelo social.
  • 08:59 El arte: allí donde se juega la representación contra-mediática. Compromiso con el tiempo que nos toca
  • 13:58 La repercusión de nuestro trabajo. El museo como templo.
  • 16:28 Mamá quiero ser artista. Una cuestión de clase.
  • 20:10 ¿Renunciamos a la experimentar con el lenguaje para que se entienda? “Plan Rosebud” (2006-2008)
  • 20:10 Aprender a deconstruir críticamente las imágenes
  • 27:21 Herramientas políticas del lenguaje cinematográfico. “Tiempo real” (2003) y “Mater Amatísima” (2017)
  • 31:51 Lo personal siempre es político. Yo siempre estoy en mi trabajo.
  • 34:32 “Estado de malestar” (2019). Quiebra emocional
  • 40:47 “Estado de malestar”. El trabajo nos enferma
  • 47:00 “Estado de malestar”. Patologización de la vida. Salud mental
  • 57:26 Buscar lugares comunes de resistencia y contestación
11/06/2019 58' 55''

María Ruido is an artist, filmmaker, writer, teacher, and researcher. Her film essays are the result of intense processes of documentation and personal introspection, because every single one of them draws on experiences from her own life. The personal is always political in Ruido's work, which reflects on the role of the family and motherhood in neoliberal societies, on the relationship between production and reproduction, on the construction of personal and collective memory, and on the need to conquer strongholds of visual sovereignty, as well as exploring representations and new modes of work. To this end, she uses a kind of conceptual palimpsest in which archival materials, appropriationism, and collage coexist with documentary, video art, and performance.

In this podcast, María Ruido talks about the political power of images and the subversive potential of cinematic strategies such as off-screen, voice over, and editing, which help us understand and imagine the world in new ways. She also reflects on the always contradictory relations between the critical and experimental power of culture on one hand, and its institutionalisation on the other. And she sheds light on the creative processes behind works like "Mater amatisíma", "Tiempo real", and "Plan Rosebud", as well as the more recent "Estado de malestar", which analyses the social symptomatology and psychological suffering that stems from capitalist realism.

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