Alberto Cabrera Bernal
By manipulating images and sounds from found footage, Alberto Cabrera Bernal creates films and videos that reflect on the medium itself, and from arise sculptural and musical resonances.
Filmmaker, artist and teacher, Alberto Cabrera Bernal (Madrid, 1976) creates films and videos, mainly using found footage, underlining the sculptural character of cinema by manipulating the physical media of images and sounds. His works in 16 mm surpass the canonical concepts of Structural Film, likewise functioning as autonomous sound pieces, at the same time related to sculpture or architecture.
His films have been shown at international venues and festivals such as Views from the Avantgarde (New York), CCCB (Barcelona), Images Festival (Toronto), Exis (Seoul) and Anthology Film Archives (New York), with solo exhibitions at the Cinemateca Brasileira (Sao Paulo) or La Casa Encendida (Madrid).
He is a teacher at TAI University School of Arts and LAV (Audiovisual Laboratory for Creation and Contemporary Practice), and is also a co-director of the DVD publisher Angular, specializing in experimental cinema and artists’ video.
Super 8 and 16mm transferred to video / 09:00 min / 2010
In Against Cinema (2010), cinema is regarded as a file and the cinematographic image as an object to be classified, catalogued and analyzed. By arranging images by type and extracting a single theme from among them – the moments in which actors are shown from behind in fiction films Alberto Cabrera Bernal comes up with a minimal structure that, when repeated assiduously, reveals the workings of the cinematographic device.
“In cinema, the actor is forbidden to look at the camera, that is, from addressing the audience head on”. I am almost tempted to look upon this prohibition as the distinguishing characte-ristic of cinema. It is an art that splits in two how things are seen: the spectator watches the actor, without doing anything else. He has the right and the obligation to watch; the actor, meanwhile, looks at everything except the spectator. A single glance from the screen, alighting on the spectator, would ruin the entire film” (1). This is so because the prevailing style of acting has been responsible for determining the position of the spectator, according to the model of the camera obscura, making it identifiable with camera. Acting as a voyeur, the spectator always remains invisible in the film. Seeing without being seen.
The number of shots taken of actors from behind outlines a minuscule plot: an actor on the run, attempting to escape without being detected, and the other, the spectator-camera, initiating the pursuit; a storyline that brings to mind Film by Samuel Beckett (1965) and the photographic series entitled Following Piece, by Vito Acconci (1969). The theme on which “Against Cinema” is based seems disjointed. The joining of images defies the rules of connection, upsetting the classic development of the plot. The film is spun together, unspinning itself. Its horizontal development shows us how cinema is created but, at the same time, it also denies it, as its title professes. Only the initial and final moments seem to respond to any compositional logic: the film starts off with a gunshot and ends with a final shot at the audience, in the style of The Great Train Robbery, by Edison (1903).
After a long sequence, illustrating the analysis of the shots of actors from behind, a revolver held by a hand, while the rest of the body is not visible, emerges right in the center of the frame aiming at the back of the actress and, subsequently, the gun is pointed directly at the audience. The spectator is now split in two, not knowing if he is in pursuit or if he is being pursued by the film. His position is so disturbingly similar to that of the actor, that he may even imagine that what he saw was, in fact, his own anxious body with his back to the projector light. This alarming identification is enough to ruin all cinema and reveal its tricks.
(1) Barthes, Roland: The Obvious and the Obtuse, 1982.
Review published by Celeste Araújo at Blogsandocs.
Masculine and Feminine (YouTube Series Num.1)
Video / 03:00 min / 2011
Using fragments from domestic video taken from YouTube, “Masculine and Feminine” exposes the often-controversial dialectic between genders, while at the same time uncovering the grotesque nature of the popularization of gun access in the United States.
Opening video of the “YouTube Series”, also containing “Revolutionary Speeches” (2011) and “Political Film” (2012).
Revolutionary Speeches (YouTube Series Num.2)
Video / 05:00 min / 2011
Developed exclusively from material taken from the YouTube platform, this piece light- heartedly uncouples the revolutionary calling from the discourse of Che Guevara and Fidel Castro. By eliminating the words of the original speech, the video suggests a parallel sculptural and ideological drain of their significance, reducing them to a thread of disjointed gestures.
Second work of the “YouTube Series”, also comprised of “Masculine and Feminine” (2011) and “Political Film” (2012).
Political Film (YouTube Series Num.3)
Video / 04:00 min / 2012
The final video of the trilogy which makes up the “YouTube Series”, which is also comprised of “Masculine and Feminine” (2011) and “Revolutionary Speeches” (2011). Image and sound appropriated from YouTube with no subsequent manipulation, only adding the author’s signature at the end. Black screen and sounds without any communicative intention.