LUIS BEZETA THE FACTORY The Factory (42764203) is a project that makes reference to video art and experimental cinema, both tendencies that arose out of the 1960s. A long take shows a creative space like the New York Silver Factory, founded in 1963, where Andy Warhol began to make his first films showing elements of daily life (sleeping, eating, cutting hair, drinking). In this spirit, the video work of Luis Bezeta uses a simple and direct point of view to approach issues of his daily life. The piece tells us little of his daily routine, his walks, or his personal reflections; rather it comes closer to a poetic dissertation on very simple acts. All of this is shot from a very personal perspective, the visual strategies of which are surprising and unpredictable. There is virtually no separation between life and work. This piece, between video art and film, aims to tell a story with many layers, with a final result that is much more complex than it might at first seem. BASIC INFORMATION Original title: The Factory Author: Luis Bezeta Year: 2013 Country: Spain Duration: 3’45’’ Actors: Cristina Tejero Taboada, Margarita Leonore Göbel, Laura Crespo Pratginestós, Silvia López de Lapuente Agra Soundtrack: John Cale www.sitehevistonomeacuerdo.com LUIS BEZETA (Santander, 1976) He studied at the Institute of Cinematography of Berlin, in the School for Advanced Study of Film and Audiovisual of Catalonia (ESCAC) and specialized in Direction and Production of Film-Video-TV in the Barcelona University School for the Advanced Study of Image and Design (IDEP). His work has been selected and awarded in various art competitions and film festivals, has been exhibited in galleries, museums and art centers, and forms part of various collections. He is the director and founder of the gallery Demolden Video Project, director of the Picknic Film Festival, professor of editing and montage, and has published two screenplays as an artists’ book. Throughout his work he makes a sustained and significant interpellation of key issues in the world of video creation, with projects that—using a register close to his own person, his daily life and performative conditions that he himself generates—revise and question the dominant structures and assumptions in film. His appropriation of this metanarrative has helped him open his own autonomous space from which to build a relational base using a language which, due to its material complexity— both structural and historical—might otherwise alienate us.
91