Accept

Utilizamos cookies propias y de terceros para mejorar la experiencia de navegación y ofrecer contenidos y servicios de interés.
Al continuar con la navegación, entendemos que se acepta nuestra política de cookies.

ELI CORTIÑAS


Born in Las Palmas de Gran Canaria, Eli Cortiñas has developed her career mainly outside of Spain, working as a guest professor at the Kassel Art Academy and the Mainz Art Academy, both in Germany, where she has been living for several years. Where she has been living for several years as the Botin Foundation Scholarship (2018), Villa Massimo (2014) Rome, Italy, Residence Institute Goethe (2015), Turin, Italy, Kunstfonds Scholarship (2017) or Rupert Residence (2018), Vilnius, Lithuania. Her work has been displayed at venues such as the Ludwig Museum, Centre Pompidou, Kunsthalle Budapest, Marta Herford, Centro Atlántico de Arte Moderno (CAAM), Museo de Arte Moderno de Moscú, Kunstraum Innsbruck, Domus Artium (DA2), La Virreina Centro de La Imagen and in biennials such as the Moscow International Biennial, Mardin Biennial or currently at the Riga Biennial. Her work has been displayed at venues the Oberhausen International Film Festival, the Curtas Vila Do Conde Film Festival and the Prospetif Cinema of the Centre Pompidou.

Eli Cortiñas work is based on the appropriation and use of found footage in order to reflect on the construction and deconstruction of identities and geographies. Taking and in order to reflect materials and gestures from audiovisual objects as different as soap operas, feature films produced in the GDR, films of Italian neorealism, colonial cinema or any fragment of popular culture, her research shows how our imagination has been shaped not from an academic point of view, but from emotions, but from emotions. Her videos and installations review the role that cinema and other media have given to women, always between the inner space of the domestic economy and outside of working life. In a personal approach, sometimes In first person, the artist questions the images we consume and spread, largely produced by ethnographic cinema of Hollywood as a semiotic technology at the service of colonial politics. Currently, his practice incorporates, from the video-essay field, a political perspective that works on the paradigm of necro, in other words, on the ways that violence, death, extractivism and migration are constituted as the new colonial reason.

Alfredo Aracil