VIDEO COLLECTIONS FROM CA2M, MAC PANAMÁ AND BIENALSUR JOIN IN MÓSTOLES
Un visionado a tres voces (A three-voiced screening frames) is the conversation between three video art collections that draw from the languages and dynamics of different Southern contexts. The selections prepared for the occasion by the Centro de Arte Dos de Mayo Museum (CA2M Museum) in Móstoles —which hosts the initiative—, MAC Panamá and BIENALSUR, carried out through MUNTREF in Buenos Aires, also aim to establish synergies among the institutions.
The videos on view share a common denominator in their format, but they also seek to bring together dialogues built upon differences in origin and discourse. From CA2M’s collection, the program includes Pantone 5600+200 by Cristina Lucas (Jaén, Spain, 1973), which delves into the political concept of borders through chromatic use in cartographic animations; MARE MAGNVM – Navis I by Edison Peñafiel (Guayaquil, Ecuador, 1985), which alludes to the Mediterranean as a setting for migration and demographic flows; and Knot the Tongue. Grasp a Stream I by Cristina Mejías (Jerez de la Frontera, Spain, 1986), a piece that instrumentalizes hands as collective mechanisms.
For its part, BIENALSUR presents De las estrellas venimos, a las estrellas regresaremos (From the Stars We Come, to the Stars We Shall Return) by Bruna Mayer (Curitiba, Brazil, 1986), a work reflecting on the relationship between microorganisms, humans and the cosmos. It also shows Inestabilidad (Instability)by Matilde Marín (Buenos Aires, Argentina, 1948), which proposes a metaphorical fragility in the face of climate change, and In Search of an Honest Map, Sarah Brahim’s short film where cartography meets performance to evoke intimacy, existential concerns and the tension between the human and the natural.
Lastly, MAC Panamá contributes Musa, an allegory by Minia Biabiany (Basse-Terre, Guadeloupe, 1988) revolving around traditional utensils, landscape and nature; Apuntes conceptuales sobre el extractivismo bananero en Barú (Conceptual Notes on Banana Extractivism in Barú), a video performance by Milko Delgado (Barú, Panamá, 1995), where his personal experiences intertwine almost ritually with economic and social dynamics; and Proyecto Parlamento Transhistórico de entidades vivas y muertas en Centroamérica y Panamá. Ruta a la inmortalidad (Transhistorical Parliament Project of Living and Dead Entities in Central America and Panama. Route to Immortality), a piece by Gabriel Rodríguez Pellecer (Guatemala City, Guatemala, 1984) that addresses the myth of modernity through memory and immortality.
A Three-Voiced Screening can be viewed until January 11, 2026 at the Centro de Arte Dos de Mayo Museum, Constitución 23, Móstoles (Spain).
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