Albertina Carri: Cine Puro

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Following on from the avant-garde movement of "cinéma pur" of the 1920s and 1930s, Carri stages the material character of cinema. In the daadgalerie, she constructs an experimental, narrative dispositif from film projectors that have become obsolete, 7,000 meters of film strips, landscape shots, soundtracks and autobiographical documents.

As in Carri's entire filmography, Argentina as a political territory and emotional landscape also forms the frame of reference in Cine Puro in order to examine the mechanisms of representation. But your exhibition also reflects on cinema as a trade that is not synonymous with the peep show box of the cinema auditorium. Cinema is created through the machines' own life and in the experience of the viewers. Cinema is also created when projectors collapse or fungi infest old celluloid strips.

In Carri's exhibition, a Super 8 projector flickers the Spanish word "presente" onto a wall. As an adjective, it stands for present, still there: this slogan is used to commemorate the disappeared victims of the Argentine military dictatorship. As a noun, “presente” stands for the present, the time together. By marking the gallery space with her call for a shared present, Carri lays the foundations for a cinema after cinema.