Cinema that comes out of itself to emancipate the viewer

Abstract

This text outlines the phenomenon of the rematerialization of the cinematographic device when combined with other artistic practices -the exhibition, the installation and the performance- and as a consequence transforms the expectatorial function. In the works Tiempo inmóvil (2011) by Ale de la Puente, La misma horrenda fiesta (2015) by the collective Luz y Fuerza and Pulsos Subterráneos (2022) by Elena Pardo, the mechanical materiality of cinema and its exhibition space are reconfigured. With this corpus of analysis we study new functions of the spectator that derive from a cinema that comes out with the performativity and intermediality of bodies and technological devices. We find a "wandering" spectator and another who explores an inverted spatiality of the projection room and, likewise, a spectator who witnesses the gestures of the performer.