I was invited to participate at the Harun Farocki. Empathy exhibition (Barcelona) curated by Carles Guerra and focused in a wide selection of installations where the main subject is not only the work that can be seen, but also the cinematic work, the work of the camera and its capacity to turn into work everything that occurs before it.
My contribution was a talk about the Embodied Cinema as a liminal practice in the contemporary art. A study about how the Documenta X (Kassel, 1997) marked a turning point in the production and distribution of contemporary cinema in the museum institution. It did not only represent the extreme variety of documentary practices and the expansion of contemporary media beyond the spatial and temporal limits of the white cube, but it also broke free from its own ideological framework. Based on this first case study, this investigation approaches the notion of an Embodied Cinema as one that defines itself as borderless, a cinematic practice that does not occupy an immovable territory but embraces the characteristics of globalization: migration and mobility.