Manifesto 2020. First edition of Casa de Lava.

Text written by Marta Selva Masoliver

Faced with the suffocating luminosity of the society of the spectacle, an invitation like the one proposed by the Casa de Lava is a kind of opportune therapy to reset the work with image and cinema. Turn off hyperstimulated retinas that are blinded by excess light. Recover, after passing through a metaphorical and voluntary, if you will, darkness and silence, the refined vision and the listening attitude that allows us to once again participate in the light emitted by the almost extinct fireflies claimed by P.P. Pasolini. Fireflies are an image of the flashes of truth that we sometimes glimpse amid invasive and alienating visual and sound noise. Faced with excess and saturation, visual diet and reopened relationship with the image. In the face of verbiage and advertising verbiage, listening is necessary to divert the sayings about highway cinema from the Blockbuster commentary.

Inspired by the homonymous work of Pedro Costa, the forum that Casa de Lava intends to build seeks to rediscover the physical, the human and the historical permaculture of a space based on a conception of cinema as a work of reading, ex-ante and ex-post. Previous reading at ground level extends to conscious writing of the history that the physical reveals. Space, territory as a signifier removed from the meaning of "exterior decoration", be it night or day. The proposal: open your eyes and encourage encounters and conversational relationships that allow for questions about how and if a cinema that is permeable to space and its history is possible as an essential trace to understand it and not necessarily possess it as those who try to impose on them They project unsustainable housing centres called urbanizations that are lethally ahistorical. Casa de Lava is proposed spatially as an open-air, relational, horizontal and interdependent convivial reflection of the multiple meanings and meanings that emerge in the dialogues with film materiality.

Dialogues that involve transversal perspectives such as ecology, critical feminism, economics, the policies of visual or sound art, etc., are, above all, in the negotiation regarding enjoyment or against aesthetic enjoyment as politics.

Talk holistically about cinema, from the film's production to the forms of programming and exhibition, as an exercise to rediscover respect for active spectator participation. Faced with programs/lists made under the criterion of compulsive exhaustiveness or commercial opportunity, also exercise the rescue of the inter-film dialogue that should preside over the programming work understood as an exposed narrative, a field for the encounter of meanings, an exercise of significant restitution and return towards the fertile conversation between texts.

And if the fireflies that Pasolini claimed had not just appeared on the days of the new moon, which could also be the case, we could at least assume the attitude that Joan Salvat Papasseit spoke of in his "Fulla de subversió espiritual" (1917): "sigueu almenys cada u de vosaltres una cuca de llum."

Thinking between landscapes and their representation, organic memories. What does cinema have to do with it, and how can we rediscover the words that can name it?


Les trobades de no-ficció en camp obert, no la pel·lícula.
Los encuentros de no-ficción en campo abierto, no la película.
The non-fiction encounters in the countryside, not the movie.

T-11, KM 0.
Riudoms, Tarragona


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