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Maria Ruido - The Revolution(s) Likely
Technique: HD video and 16 mm. Transferred
Artist Biography: María Ruido is a Spanish multidisciplinary artist born in 1967, whose work focuses on the exploration of the boundaries between the public and the private, memory and history, and the relationship between image and sound. Through her work, Ruido questions dominant narratives and seeks new forms of representation that give voice to those who have been marginalized or silenced.Among the main techniques used by the artist are photography, film, video, installation and performance, allowing her to create immersive and multisensory experiences that involve the viewer in her exploration of social and political issues.In addition to her career as an artist, Ruido has also worked as a teacher and lecturer, and has published numerous essays on film and image theory. His work has been recognized internationally and he has received awards and grants from prestigious institutions such as the Spanish Ministry of Culture, Mexico's National Center for the Arts and the Rockefeller Foundation.SYNOPSIS What is a revolution for? A revolution illuminates other possibilities of life. That is the premise of this short film, which takes as a case study the last of the great European revolutions, the one that started on April 25, 1974 in Portugal, delves into its colonial roots, and reflects on its end on November 25, 1975. What can we learn from that 19-month period, the so-called PREC (Ongoing Revolutionary Process), and what images does this popular revolution, which began as a military coup d'état, leave us with? This audiovisual essay, constructed with some of the most important cinematographic works of April 25 and with archival materials from television and film cooperatives that emerged in the heat of the revolutionary process, is a reflection on the political force of these images, on the legacy they leave us, and on the role of cinema, the media and representation in general in our contemporary struggles. La revolución (es) probable also speaks to us of the fragile document status of images as "proof", and of the real possibility of learning from history from the present.
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