......................................................................................................................................................................................................................

All of Us Want to Work Less

HD
24 min 1 sec
2015

The working material for All of Us Want to Work Less are pickpocket scenes from Robert Bresson’s feature Pickpocket (1959). The reconstruction of these and other scenes from the film in which the social use of stealing is questioned are the focus of the video. All of Us Want to Work Less explores the relationship between work and legality, while foregrounding process as a mode to question the audiovisual apparatus.

Director: Itziar Barrio
Performers: Guillem Mont De Palol and Jorge Dutor
Choreography: Guillem Mont De Palol and Jorge Dutor
Music: Keith Milgaten
Technical direcor and camera: Rach Rodriguez
Camera: Klamer Hernández
Dolly operator: Ivan Jimenez Medina
Make-up artist: Maialen Elosegi
Filmed at Tabakalera
Produced by Tabakalera

Special thanks to: Javier Andraka, Soledad Gutiérrez, Erin Lee Smith, David Markus, Eva Mateo, Anna Manubens, Fernando Pérez, Alessandra Zeka and Itziar Zorita, 

All of Us Want to Work Less (Trailer)

HD
5 min  15 sec
2015

The iconic scene from Basic Instinct (1992) is used by Itziar Barrio as the starting point for All of Us Want to Work Less (Trailer). The artist has created a monologue that states the position of the character through a text that questions the learning process and failure as a condition. 

Performer: Javier Vaquero Ollero
Repeater: Quim Pujol
Camera: Victor Gonzalo
Camera assistant: Daniel Gañan
Lighting design and Audio: Diego Rada
Still Photography: Cristina Inocencio

Filmed at MACBA, Museum of Contemporary Art of Barcelona
Produced by
MACBA, Museum of Contemporary Art of Barcelona

Music: Crossed LegsBasic Instint (1992), Jerry Goldsmith.

Scene adapted from the film script of Basic Instint (1992) Dir. Paul Verhoeven

Texts compiled from:
La recolección de 1909 en Barcelona. Semana trágica para unos, gloriosa para otros. 
Dolores Marín. www.portaloaca.com
Protesta, desobediencia y violencia subversiva. La Semana Trágica de julio de 1909 en Cataluña. Gemma Rubí. www.dialnet.com
www.wikipedia.org
ACCELERATE MANIFESTO for an Accelerationist PoliticsCritical Legal Thinking. Alex Williams and Nick Srnicek (2013)

Special thanks to: Xavier Acarín, Sarah Anderson, Jorge Dutor, Sergi Faustino, Bea Fernández, Guillem Mont de Palol, Monica Muntaner, Juanjo Otero y La Poderosa.

 

Casting THE PERILS OF OBEDIENCE: A Performance (Trailer)

HD
3 min 13 sec
2013

Casting THE PERILS OF OBEDIENCE: A Performance is the second stage of visual artist Itziar Barrio's exploration in power dynamics and constructed situations. Using the methods of casting, the performance will unfold the wills and desires of the actors to succeed and be recognized. By placing them within fictional and non-fictional parameters, whether movie scripts or their own lives, Barrio reveals the production of power through seduction.
Following an open call, actors will audition for four full days with theater director Niegel Smith and will undergo a selection process. Open to the public for only two days the entire process will be recorded and included in a resulting video piece. Exploring simultaneously the limits and in betweens of theater, film and performance art, the live recording emphasizes the experience that is being created by actors and audience.
The four selected actors will be part of THE PERILS OF OBEDIENCE, consisting of building a scene in real time.
The fine line between the persona and the character finds its mirror in the audience, who executes its silent power by being present. Their presence implies a voyeuristic disposition and it functions to unveil the group dynamics and the negotiation of social roles and rules.
Pushing the actors to reveal their limits on stage, underlining the narratives present in any situation the performance frames an experience where conventions are decoded, contemporary fears of domination are confronted, and exhibitionism and social acceptability are critically examined.


*Full length film available upon request

 

THE MUSIC YOU WANT ME TO HEAR

HD
4 min 50 sec
2014


THE MUSIC YOU WANT ME TO HEAR is the video piece created from the footage of the live audition/performance to cast the actors of project THE PERILS OF OBEDIENCE iteration in NYC. The leitmotif of this video is an interview lead by the power and seduction between the theater director and a performer at the casting. The narrative force of what is unseen but still present serves as the mechanism of construction for this video piece. 

In THE PERILS OF OBEDIENCE, Barrio mixes performance, theater, film and live experience to confront established sets of rules and cultivate the conditions for unscripted consequences. Inspired by the findings of Stanley Milgram’s 1961 psychological experiments, in THE PERILS the four characters are immersed in power dynamics within the same scene and an endless conflict.  

In the words of David Markus (Art in America):

At the heart of Casting THE PERILS OF OBEDIENCE is a commentary on the desire for public affirmation. Confronted with questions such as, “are you a good liar?” actors were forced to weigh their privacy against the seductiveness exerted by the cameras, the casting director, and the unwittingly implicated audience. This exploration of the queasier underpinnings of spectacle was punctuated by a segment involving the recitation of a famous monologue from the film All About Eve (1950) in which the title character, a wannabe starlet, exults in the “waves of love” that pour over the performer when the audience applauds—when it’s clear that “they want you.”


*Full length film available upon request

 

THE HISTORY OF THE FIST

HD
16 min 13 sec
2014

THE HISTORY OF THE FIST takes the symbol of the FIST as the main character of a new fiction. A FIST is a multi layered quotidian sign that will be showcased in this multimedia project strongly based in audiovisual language and theory. Through the video concepts of sexuality, violence and social revolutions are explored and put in relationship to each other.

One of the collaborators of the project is the writer Dia Felix. Her text brings the mythology into the narrative. Felix is the narrator, the writer, as well as the archaeologist of the story. Historian and archivist Lincoln Cushing brings the non-fiction element through his studies on the icon of the fist from a political art perspective. The line between fiction and non-fiction is blurred through the video. Original music by Keith Sweaty accompanies the visuals.

This video piece uses repetition and collage to structure different footage: digital computer screen shots, super 8 mm film, HD video and smart phone shots. All of them collapse together to reflect on history and the classic storytelling motif of discovery. The allusion to the recurrent sci-fi trope of the myth of the cyborg is also present in the piece.

THE HISTORY OF THE FIST analyzes the contemporary social codes related to the FIST: the perverted, the obvious, and the secretive. It creates a mythology between the known and the strange, the oral and the non-verbal.

 

*Full length film available upon request

WE COULD HAVE HAD IT ALL

HD
9 min 21 sec
2013

In this multi-layered digital video, Itziar Barrio takes a line borrowed from popular music as the departure point for an elaborate exploration of performance, language, politics, and sexuality. Drawing its title from the chorus of British pop star Adele’s 2011 smash single, “Rolling In The Deep,” the work pays homage to the global appeal of Adele’s music while inquiring into the myth-like notion of total fulfillment.

The work is set inside the Teatro Arriaga, an historic theater in Barrio’s native Bilbao. A sequence of slow tracking shots and luscious stills, inspired by segments from Adele’s Live at the Royal Albert Hall concert video, capture an ornate interior, emptied of spectators yet intermittently haunted by the voices of two female poets asked by Barrio to collaborate on the project by responding to the lyrics in Adele’s hit song.

Maialen Lujanbio, whose voice can be heard as the video opens, is a Basque poet who practices an improvisational form of sung poetry known as bertsolarismo. Chavisa Woods, whose words follow in subtitle shortly thereafter, is an American writer living in New York. Reflecting on the social, economic, and erotic dimensions of fulfillment and its frustrations, the two poets enter into a dialogue with one another and with their pop star counterpart. Portrayed with vivid sensuality, the vacant theater itself becomes another performative figure with which the poets interact. As the video’s soundtrack—based on a looping Adel sample—slowly builds, the intertwining of music and image, Basque and English, song, text, and speech creates a viewing experience in which the conventions of public performance are redistributed like the sexual sensorium described in Woods’ poetry.

Writer and poet: Chavisa Woods
Poet and Bertsolari: Maialen Lujanbio
Video and Audio recording (New York City): Erin Smith
Video and Audio recording (Bilbao): CDL
Original Music: Aran Calleja
Video Editor : Eva Mateos
Produced by : ENPAP (European Network for Public Art Producers)
Coordinated by: consonni

Filmed at Bowery Poetry Club (NYC) and Arriaga Theater (Bilbao) in 2012.

 

*Full length film available upon request

SWEET DREAMS

Digital Video
20 min 4 sec
2013

The four selected actors will be part of THE PERILS OF OBEDIENCE, consisting of building a scene in real time. The first stage of the project was carried out in Spain during BAD, Bilbao Theater and Contemporary Dance Festival in 2010.

The fine line between the persona and the character finds its mirror in the audience, who executes its silent power by being present. Their presence implies a voyeuristic disposition and it functions to unveil the group dynamics and the negotiation of social roles and rules.

Pushing the actors to reveal their limits on stage, underlining the narratives present in any situation the performance frames an experience where conventions are decoded, contemporary fears of domination are confronted, and exhibitionism and social acceptability are critically examined.

THE PERILS OF OBEDIENCE is inspired by Stanley Milgram's psychological experiments which began in 1961, a few months after the trial of the Nazi Adolf Eichmann. Milgram wished to test how much pain a person would inflict on another simply because this was asked of them for the purposes of a scientific experiment. As Hannah Arendt reminds us, "under conditions of tyranny it is far easier to act than to think." Barrio analyzes how obedience to a higher authority, even in democracy, can lead to extreme consequences and can involve large numbers of the population.

 

*Full length film available upon request

WE

Digital Video
4 min 30 sec
2011

WE creates a new fiction based on the historic memory of a construction site in Williamsburg (Brooklyn) -105 Metropolitan Avenue- and the plans for the future of the space.

In this video, original renderings for a building that was never constructed at the location are being mixed with custom text by the writer Mark Hage.
Exploring the vein of failed enterprises WE make references to footage from Kubrick's "The Shining" that never made it into the final cut but nevertheless found a home in the main title sequence of "Blade Runner". For this project, music by Jamuel Saxon provides an audio interpretation of the credit music from both films. Accompanying the images, the sound creates a bridge between the films, while referencing film language and pop culture with their universal and iconic natures.

WE is part of THE BLUE WALL PROJECT, a larger project exploring our sense of time, history and place by converting an ordinary blue construction fence into a live blue screen. It examines mutable and historic notions of the city, with its constantly shifting landscape, as a physical manifestation of impermanence. In this way, the project deals with the temporality of the city landscape as well as our daily interactions with urban fixtures.

Architectural and Plan Renderings: MIDM Arquitecture
Original Text : Mark Hage
Music: Jamuel Saxon
Video Editor: Hector Bragado
Lighting: Paul Clay
Production Assistant: Erin Smith

Sponsored in part by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc. (BAC) and Etxepare, Basque Institute.
In collaboration with MDIM Architecture.

Special thanks to Rami Metal, Councilmembers Steven Levin & Diana Reyna, and Ayton Performance.
 

*Full length video available upon request

THE MUSIC STARTS BEFORE THE DANCE BEGINS

Digital Video
12 min 44 sec
2011

THE MUSIC STARTS BEFORE THE DANCE BEGINS creates a new fiction based on the historic memory of a construction site on Suffolk and Delancey in the Lower East Side (NYC) and its plans for the future.
The corner architectural history becomes a character in Barrio’s video, shaping memories and fictions in a perpetual re-elaboration of the urban field.
The video includes a text created in collaboration with the fiction writer Mark Hage and interviews with Maria and Rose Dell Vecchio (Neighbours), Rob Hollander (Professor, Historian and Founder of the Lower East Side History Project), Rafael Jimenez (Security Guard of the location) and Etsuko Kizawa (Soy Restaurant owner and neighbor).

THE MUSIC STARTS BEFORE THE DANCE BEGINS is part of THE BLUE WALL PROJECT, a larger project exploring our sense of time, history and place by converting an ordinary blue construction fence into a live blue screen. It examines mutable and historic notions of the city, with its constantly shifting landscape, as a physical manifestation of impermanence. In this way, the project deals with the temporality of the city landscape as well as our daily interactions with urban fixtures.

Original Text : Mark Hage
Video Editor: Hector Bragado
Lighting Designer: Paul Clay
Production Assistant: Erin Smith
Produced by: NO LONGER EMPTY in collaboration with MOVIEHOUSE for THE NEW MUSEUM'S FESTIVAL OF IDEAS FOR THE NEW CITY 2011.


*Full length video available upon request

KRYPTONITE

Digital Video
4 min 27 sec
2011


KRYPTONITE uses a non-linear narrative to create a new mythology showcasing power structures and sexual desire as the main characters.

Original Text: Chavisa Woods
Original Music: The Spookfish
Production Assitant: Erin Smith
Sponsored by: ELECTRICA and Cervantes Institute (NYC)

 

*Full length video available upon request

 

 

WELCOME TO THE NEW ISLAND

Digital Video
7 min 48 sec
2009

The video, a mixing of film and animation, places two women in a tropical setting, where pink bombs explode in the background, perhaps indicative of the bombs exploding beyond our own borders that do not serve to separate us from our own paradises.

The Palm tree is presented as a key icon, simple and disturbing. It becomes part of the merchandise created by the artist, such as caps and pins, but in this case, the cliches of the palm or dolphins don't show any feature of certain origin, there is no Benidorm, Punta Cana or Hawaii, but the clean icon, pure, signifying. Barrio explores her relation to the symbols, some of which she repeats, taking part either in the iconographic repertoire of the artist, or the new "islandian" imagery, and this reiteration puts us in contact with the commercial realm and advertising language.

Itziar Barrio develops an original deconstruction of the icons and social codes that inhabit our daily lives, distorting the quotidian to establish a re-lecture of these images-symbol, and leaving a disturbing taste in the reconfiguration of this new system. 



*Full length film available upon request

BAILALO

Digital Video
4 min 37 sec
2009

BAILALO, 2009, sets up a strip-tease scenario with a gyrating torso and eye-catching colors, which becomes complicated by the words slowly revealed by successive shirts; ‘You have to know your customer’. With each reveal, the viewer renegotiates their position to the subject (“You”, ”You have”, “You have to”), and materialization of that which seems guaranteed from the beginning is thwarted by mention of the transaction as such. 

 

*Full length video available upon request

RETURN

All of Us Want to Work Less

HD
24 min 1 sec
2015

The working material for All of Us Want to Work Less are pickpocket scenes from Robert Bresson’s feature Pickpocket (1959). The reconstruction of these and other scenes from the film in which the social use of stealing is questioned are the focus of the video. All of Us Want to Work Less explores the relationship between work and legality, while foregrounding process as a mode to question the audiovisual apparatus.

Director: Itziar Barrio
Performers: Guillem Mont De Palol and Jorge Dutor
Choreography: Guillem Mont De Palol and Jorge Dutor
Music: Keith Milgaten
Technical direcor and camera: Rach Rodriguez
Camera: Klamer Hernández
Dolly operator: Ivan Jimenez Medina
Make-up artist: Maialen Elosegi
Filmed at Tabakalera
Produced by Tabakalera

Special thanks to: Javier Andraka, Soledad Gutiérrez, Erin Lee Smith, David Markus, Eva Mateo, Anna Manubens, Fernando Pérez, Alessandra Zeka and Itziar Zorita, 

All of Us Want to Work Less (Trailer)

HD
5 min  15 sec
2015

The iconic scene from Basic Instinct (1992) is used by Itziar Barrio as the starting point for All of Us Want to Work Less (Trailer). The artist has created a monologue that states the position of the character through a text that questions the learning process and failure as a condition. 

Performer: Javier Vaquero Ollero
Repeater: Quim Pujol
Camera: Victor Gonzalo
Camera assistant: Daniel Gañan
Lighting design and Audio: Diego Rada
Still Photography: Cristina Inocencio

Filmed at MACBA, Museum of Contemporary Art of Barcelona
Produced by
MACBA, Museum of Contemporary Art of Barcelona

Music: Crossed LegsBasic Instint (1992), Jerry Goldsmith.

Scene adapted from the film script of Basic Instint (1992) Dir. Paul Verhoeven

Texts compiled from:
La recolección de 1909 en Barcelona. Semana trágica para unos, gloriosa para otros. 
Dolores Marín. www.portaloaca.com
Protesta, desobediencia y violencia subversiva. La Semana Trágica de julio de 1909 en Cataluña. Gemma Rubí. www.dialnet.com
www.wikipedia.org
ACCELERATE MANIFESTO for an Accelerationist PoliticsCritical Legal Thinking. Alex Williams and Nick Srnicek (2013)

Special thanks to: Xavier Acarín, Sarah Anderson, Jorge Dutor, Sergi Faustino, Bea Fernández, Guillem Mont de Palol, Monica Muntaner, Juanjo Otero y La Poderosa.

 

Casting THE PERILS OF OBEDIENCE: A Performance (Trailer)

HD
3 min 13 sec
2013

Casting THE PERILS OF OBEDIENCE: A Performance is the second stage of visual artist Itziar Barrio's exploration in power dynamics and constructed situations. Using the methods of casting, the performance will unfold the wills and desires of the actors to succeed and be recognized. By placing them within fictional and non-fictional parameters, whether movie scripts or their own lives, Barrio reveals the production of power through seduction.
Following an open call, actors will audition for four full days with theater director Niegel Smith and will undergo a selection process. Open to the public for only two days the entire process will be recorded and included in a resulting video piece. Exploring simultaneously the limits and in betweens of theater, film and performance art, the live recording emphasizes the experience that is being created by actors and audience.
The four selected actors will be part of THE PERILS OF OBEDIENCE, consisting of building a scene in real time.
The fine line between the persona and the character finds its mirror in the audience, who executes its silent power by being present. Their presence implies a voyeuristic disposition and it functions to unveil the group dynamics and the negotiation of social roles and rules.
Pushing the actors to reveal their limits on stage, underlining the narratives present in any situation the performance frames an experience where conventions are decoded, contemporary fears of domination are confronted, and exhibitionism and social acceptability are critically examined.


*Full length film available upon request

 

THE MUSIC YOU WANT ME TO HEAR

HD
4 min 50 sec
2014


THE MUSIC YOU WANT ME TO HEAR is the video piece created from the footage of the live audition/performance to cast the actors of project THE PERILS OF OBEDIENCE iteration in NYC. The leitmotif of this video is an interview lead by the power and seduction between the theater director and a performer at the casting. The narrative force of what is unseen but still present serves as the mechanism of construction for this video piece. 

In THE PERILS OF OBEDIENCE, Barrio mixes performance, theater, film and live experience to confront established sets of rules and cultivate the conditions for unscripted consequences. Inspired by the findings of Stanley Milgram’s 1961 psychological experiments, in THE PERILS the four characters are immersed in power dynamics within the same scene and an endless conflict.  

In the words of David Markus (Art in America):

At the heart of Casting THE PERILS OF OBEDIENCE is a commentary on the desire for public affirmation. Confronted with questions such as, “are you a good liar?” actors were forced to weigh their privacy against the seductiveness exerted by the cameras, the casting director, and the unwittingly implicated audience. This exploration of the queasier underpinnings of spectacle was punctuated by a segment involving the recitation of a famous monologue from the film All About Eve (1950) in which the title character, a wannabe starlet, exults in the “waves of love” that pour over the performer when the audience applauds—when it’s clear that “they want you.”


*Full length film available upon request

 

THE HISTORY OF THE FIST

HD
16 min 13 sec
2014

THE HISTORY OF THE FIST takes the symbol of the FIST as the main character of a new fiction. A FIST is a multi layered quotidian sign that will be showcased in this multimedia project strongly based in audiovisual language and theory. Through the video concepts of sexuality, violence and social revolutions are explored and put in relationship to each other.

One of the collaborators of the project is the writer Dia Felix. Her text brings the mythology into the narrative. Felix is the narrator, the writer, as well as the archaeologist of the story. Historian and archivist Lincoln Cushing brings the non-fiction element through his studies on the icon of the fist from a political art perspective. The line between fiction and non-fiction is blurred through the video. Original music by Keith Sweaty accompanies the visuals.

This video piece uses repetition and collage to structure different footage: digital computer screen shots, super 8 mm film, HD video and smart phone shots. All of them collapse together to reflect on history and the classic storytelling motif of discovery. The allusion to the recurrent sci-fi trope of the myth of the cyborg is also present in the piece.

THE HISTORY OF THE FIST analyzes the contemporary social codes related to the FIST: the perverted, the obvious, and the secretive. It creates a mythology between the known and the strange, the oral and the non-verbal.

 

*Full length film available upon request

WE COULD HAVE HAD IT ALL

HD
9 min 21 sec
2013

In this multi-layered digital video, Itziar Barrio takes a line borrowed from popular music as the departure point for an elaborate exploration of performance, language, politics, and sexuality. Drawing its title from the chorus of British pop star Adele’s 2011 smash single, “Rolling In The Deep,” the work pays homage to the global appeal of Adele’s music while inquiring into the myth-like notion of total fulfillment.

The work is set inside the Teatro Arriaga, an historic theater in Barrio’s native Bilbao. A sequence of slow tracking shots and luscious stills, inspired by segments from Adele’s Live at the Royal Albert Hall concert video, capture an ornate interior, emptied of spectators yet intermittently haunted by the voices of two female poets asked by Barrio to collaborate on the project by responding to the lyrics in Adele’s hit song.

Maialen Lujanbio, whose voice can be heard as the video opens, is a Basque poet who practices an improvisational form of sung poetry known as bertsolarismo. Chavisa Woods, whose words follow in subtitle shortly thereafter, is an American writer living in New York. Reflecting on the social, economic, and erotic dimensions of fulfillment and its frustrations, the two poets enter into a dialogue with one another and with their pop star counterpart. Portrayed with vivid sensuality, the vacant theater itself becomes another performative figure with which the poets interact. As the video’s soundtrack—based on a looping Adel sample—slowly builds, the intertwining of music and image, Basque and English, song, text, and speech creates a viewing experience in which the conventions of public performance are redistributed like the sexual sensorium described in Woods’ poetry.

Writer and poet: Chavisa Woods
Poet and Bertsolari: Maialen Lujanbio
Video and Audio recording (New York City): Erin Smith
Video and Audio recording (Bilbao): CDL
Original Music: Aran Calleja
Video Editor : Eva Mateos
Produced by : ENPAP (European Network for Public Art Producers)
Coordinated by: consonni

Filmed at Bowery Poetry Club (NYC) and Arriaga Theater (Bilbao) in 2012.

 

*Full length film available upon request

SWEET DREAMS

Digital Video
20 min 4 sec
2013

The four selected actors will be part of THE PERILS OF OBEDIENCE, consisting of building a scene in real time. The first stage of the project was carried out in Spain during BAD, Bilbao Theater and Contemporary Dance Festival in 2010.

The fine line between the persona and the character finds its mirror in the audience, who executes its silent power by being present. Their presence implies a voyeuristic disposition and it functions to unveil the group dynamics and the negotiation of social roles and rules.

Pushing the actors to reveal their limits on stage, underlining the narratives present in any situation the performance frames an experience where conventions are decoded, contemporary fears of domination are confronted, and exhibitionism and social acceptability are critically examined.

THE PERILS OF OBEDIENCE is inspired by Stanley Milgram's psychological experiments which began in 1961, a few months after the trial of the Nazi Adolf Eichmann. Milgram wished to test how much pain a person would inflict on another simply because this was asked of them for the purposes of a scientific experiment. As Hannah Arendt reminds us, "under conditions of tyranny it is far easier to act than to think." Barrio analyzes how obedience to a higher authority, even in democracy, can lead to extreme consequences and can involve large numbers of the population.

 

*Full length film available upon request

WE

Digital Video
4 min 30 sec
2011

WE creates a new fiction based on the historic memory of a construction site in Williamsburg (Brooklyn) -105 Metropolitan Avenue- and the plans for the future of the space.

In this video, original renderings for a building that was never constructed at the location are being mixed with custom text by the writer Mark Hage.
Exploring the vein of failed enterprises WE make references to footage from Kubrick's "The Shining" that never made it into the final cut but nevertheless found a home in the main title sequence of "Blade Runner". For this project, music by Jamuel Saxon provides an audio interpretation of the credit music from both films. Accompanying the images, the sound creates a bridge between the films, while referencing film language and pop culture with their universal and iconic natures.

WE is part of THE BLUE WALL PROJECT, a larger project exploring our sense of time, history and place by converting an ordinary blue construction fence into a live blue screen. It examines mutable and historic notions of the city, with its constantly shifting landscape, as a physical manifestation of impermanence. In this way, the project deals with the temporality of the city landscape as well as our daily interactions with urban fixtures.

Architectural and Plan Renderings: MIDM Arquitecture
Original Text : Mark Hage
Music: Jamuel Saxon
Video Editor: Hector Bragado
Lighting: Paul Clay
Production Assistant: Erin Smith

Sponsored in part by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc. (BAC) and Etxepare, Basque Institute.
In collaboration with MDIM Architecture.

Special thanks to Rami Metal, Councilmembers Steven Levin & Diana Reyna, and Ayton Performance.
 

*Full length video available upon request

THE MUSIC STARTS BEFORE THE DANCE BEGINS

Digital Video
12 min 44 sec
2011

THE MUSIC STARTS BEFORE THE DANCE BEGINS creates a new fiction based on the historic memory of a construction site on Suffolk and Delancey in the Lower East Side (NYC) and its plans for the future.
The corner architectural history becomes a character in Barrio’s video, shaping memories and fictions in a perpetual re-elaboration of the urban field.
The video includes a text created in collaboration with the fiction writer Mark Hage and interviews with Maria and Rose Dell Vecchio (Neighbours), Rob Hollander (Professor, Historian and Founder of the Lower East Side History Project), Rafael Jimenez (Security Guard of the location) and Etsuko Kizawa (Soy Restaurant owner and neighbor).

THE MUSIC STARTS BEFORE THE DANCE BEGINS is part of THE BLUE WALL PROJECT, a larger project exploring our sense of time, history and place by converting an ordinary blue construction fence into a live blue screen. It examines mutable and historic notions of the city, with its constantly shifting landscape, as a physical manifestation of impermanence. In this way, the project deals with the temporality of the city landscape as well as our daily interactions with urban fixtures.

Original Text : Mark Hage
Video Editor: Hector Bragado
Lighting Designer: Paul Clay
Production Assistant: Erin Smith
Produced by: NO LONGER EMPTY in collaboration with MOVIEHOUSE for THE NEW MUSEUM'S FESTIVAL OF IDEAS FOR THE NEW CITY 2011.


*Full length video available upon request

KRYPTONITE

Digital Video
4 min 27 sec
2011


KRYPTONITE uses a non-linear narrative to create a new mythology showcasing power structures and sexual desire as the main characters.

Original Text: Chavisa Woods
Original Music: The Spookfish
Production Assitant: Erin Smith
Sponsored by: ELECTRICA and Cervantes Institute (NYC)

 

*Full length video available upon request

 

 

WELCOME TO THE NEW ISLAND

Digital Video
7 min 48 sec
2009

The video, a mixing of film and animation, places two women in a tropical setting, where pink bombs explode in the background, perhaps indicative of the bombs exploding beyond our own borders that do not serve to separate us from our own paradises.

The Palm tree is presented as a key icon, simple and disturbing. It becomes part of the merchandise created by the artist, such as caps and pins, but in this case, the cliches of the palm or dolphins don't show any feature of certain origin, there is no Benidorm, Punta Cana or Hawaii, but the clean icon, pure, signifying. Barrio explores her relation to the symbols, some of which she repeats, taking part either in the iconographic repertoire of the artist, or the new "islandian" imagery, and this reiteration puts us in contact with the commercial realm and advertising language.

Itziar Barrio develops an original deconstruction of the icons and social codes that inhabit our daily lives, distorting the quotidian to establish a re-lecture of these images-symbol, and leaving a disturbing taste in the reconfiguration of this new system. 



*Full length film available upon request

BAILALO

Digital Video
4 min 37 sec
2009

BAILALO, 2009, sets up a strip-tease scenario with a gyrating torso and eye-catching colors, which becomes complicated by the words slowly revealed by successive shirts; ‘You have to know your customer’. With each reveal, the viewer renegotiates their position to the subject (“You”, ”You have”, “You have to”), and materialization of that which seems guaranteed from the beginning is thwarted by mention of the transaction as such. 

 

*Full length video available upon request

RETURN

All of Us Want to Work Less
All of Us Want to Work Less (Trailer)
Casting THE PERILS OF OBEDIENCE: A Performance (Trailer)
THE MUSIC YOU WANT ME TO HEAR
THE HISTORY OF THE FIST
WE COULD HAVE HAD IT ALL
SWEET DREAMS
WE
THE MUSIC STARTS BEFORE THE DANCE BEGINS
KRYPTONITE
WELCOME TO THE NEW ISLAND
BAILALO
RETURN