Lúcida is a television program that builds a space for the diffusion of videos made by Latin American artists, created by Andres Denegri and Gabriela Golder, and produced by the Universidad Nacional de Tres de Febrero and CONTINENTE.

Lúcida proposes a reflective tour through the video works of our continent. It shows videos of latin american artists, presenting current productions and historical referents. Lúcida is structured by thinkers and artists quotes, referred to the themes that link the videos, contributing to contextualize the pieces and stimulate the dialogue between them. Over 300 artists from all over the continent were contacted, and approximately forty pieces had been selected, coming from places such as Argentina, Bolivia, Chile, Brazil, Ecuador, Panama, Costa Rica, Puerto Rico, Mexico, Nicaragua, Guatemala, Peru and Colombia. Lúcida thinks television as a space to exhibit videos of Latin American artists. It doesn’t propose a pedagogical view, and therefore it’s not a program about video, but thematic curatorship of audiovisual pieces instead. LÚCIDA was emitted by Canal (á) in 2007 and 2009. Format: 14 chapters of approximately 26 minutes each.

Lúcida’s chapters are:

0 A necessary introduction Reflections on video in Latin America from interviews with leading curators in electronic arts. Interviews on this episode: Enrique Aguerre (Uruguay), Rodrigo Alonso (Argentina), Gilles Charalambos (Colombia), Rubén Guzmán (Argentina), Justo Pastor Mellado (Chile), María Belén Moncayo (Ecuador), Néstor Olhagaray (Chile) y Graciela Taquini (Argentina). 1 Urban Spaces Movement and stillness The city dynamics studied in the works of three film makers, ¨Condominio¨ by Julián D´Anjiolillo, Argentina, 2003, ¨Plan de desarrollo¨, by Fernando Domínguez, Colombia, 2006 and ¨Olive Green¨, by Narda Alvarado, Bolivia 2006. 2 Strategies of oblivion Memory and construction What stays hidden and what is seen. To conceive memory as a construction and thus work omissions and memories to define individual and social identity. In this chapter are presented “11 de septiembre”, by Claudia Aravena, Chile, 2002 and “La memoria de los caracoles”, bye Edgar Endress, Chile, 2001. 3 Information and spectacle The subversive use of media A critical look at the mass media and its uses, approached in four works: “Tómbola”, by Ximena Cuevas, Mexico, 2001, “4′ 785.905”, by Andrés Felipe Uribe Cárdenas, Colombia, 2004, “Memorias del por qué”, by Edgar León, Costa Rica, 2003 y “Brit 101”, by Simón Hernández and Camilo Sanabria, Colombia, 2006. 4 Mothers and daughters Poetics of filiation Mothers that film their daughters, daughters that portray their mothers. Images that seek to show the untranslatable emotion that bonds the generations. This chapter is conformed by “Vos”, by Guilermina Buzio, Argentina, 2005, “Quién dice que las niñas…”, by Maj Britt Jensen, Mexico/Alemania, 2006, “Szis”, by Silvina Szperling, Argentina, 2005 y “Hacia el comienzo” by Grace Quintanilla, Mexico, 1995. 5 The state in question Power and images A reflection about the States power, the power of images and their restless relation, in the following works: ¨Documento 3/29¨, by Ernesto Salmerón, Nicaragua, 2003. ¨Diante do abismo dos seus olhos¨, by Carlos Magno, Brasil, 2006, ¨Alguien detrás de la puerta¨, by Ximena Cuevas, México, 2005 and ¨El Parto de la Re-Pública¨, by Diego Cifuentes, Ecuador, 2006. 6 Ways of seeing Search and rupture Pieces that pose new proposals and a reflection within and about the videos language. The works broadcasted are “Microcentro”, by Pablo Zicarello, Argentina, 2002, “Miseria”, by Fernando Cámara, Argentina, 2006, and “Pentimenti”, by Carolina Saquel, Chile,

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2004. 7 Becoming plot Other fictions New stories. New ways of conceiving fiction from its original uses of the principals of temporal configuration. The pieces in this chapter are “Désir”, by Diego Lama, Peru, 2003, “Aquí de novo”, by Lucas Bambozzi, Brazil, 2003, “Damas”, by Patricia Bueno, Peru, 2003 and “La progresión de las catástrofes”, by Gustavo Galuppo, Argentina, 2004. 8 Certain Limits From one place to another Imaginary lines, boundaries, divided territorios. Three

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works that raise a critical reflection on the idea of frontier in the contemporary world: ¨Indocumentado¨, by Edgar Endress, Chile, 2005, ¨0778 man.road.river¨ by Marcellys L., Brasil, 2004, ¨Boomerang¨, by Mario Opazo, Colombia, 2003. 9 Recovered Time Images and stories How to evoke the past from the present through the images and critically work the memories is what, among other things, the following works suggest: “Alí é um lugar que não conheço”, by Lucas Bambozzi, Brasil, 1997, “La sopa”, by Mônica Dower, México, 2003 and “Latitudes”, by Julia Barco, México, 2005. 10 Starting point Identity and language A reflection about language as the point from which man defines his identity and historical presence. The pieces that are emitted are “Réquiem Huao”, by Saskia Calderón, Ecuador, 2005, “Aria” by Brooke Alfaro, Panama, 2002, “Tus tortillas mi amor”, by Sandra Monterroso, Guatemala, 2004 and Grandparents bed, by Neli Ruzic, Mexico/Croatia, 2005. 11 There´s pain Social uses of the body Productions where the body transforms into the symbolical vehicle of pain. In this chapter we can see “La cosecha / La siembra”, by Inmaculada Abarca, Mexico/Spain, 2006, “1978-2003”, by Carlos Trilnick, Argentina, 2003 and Granada, by Graciela Taquini, Argentina, 2005. 12 Epistolary dialogues The word turned into image Letters in images, writtings loaded of abscence in two videos ¨Dear nonna, a film letter¨, by Tiziana Panizza, Chile, 2004 and Mira, by Enrique Ramírez, Chile, 2004. 13 Possible landscapes The nature is inside The tv screen as a canvas where artists portray poetically nature. The works presented are: “Projeto Vermelho” by Luiz Roque, Brasil, 2006, “Sopro”, by Cao Guimarães, Brasil, 2000, “Montevideoaki”, by Octavio Iturbe, México, 2005 and “Locus Solus”, by Pablo Ziccarello, Argentina, 2004.

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