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		<pubDate>Wed, 17 Feb 2021 22:49:20 +0000</pubDate>

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		<title>APARICIONES</title>
				
		<link>https://paulaabalos.com/APARICIONES</link>

		<pubDate>Fri, 19 Jan 2024 15:28:55 +0000</pubDate>

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APARICIONES / 2025
 A multimedia installation combining video, immersive 360º sound, light boxes, and a website.

Video documentation exhibition at ZiMMT
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	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Documentation exbition at ZiMMT (Lipzig) by @nrup.de

APARICIONES is a multimedia installation that explores transitional states of consciousness between wakefulness and sleep, and the phenomena that emerge within them, such as lucid dreaming, out-of-body experiences, and hypnagogic hallucinations. The project is rooted in studies at a dream laboratory, where scientists investigate these phenomena using software that enables real-time communication with sleepers.

By weaving together scientific material with visual and audio experimentation, the installation gives form to inner states that are often difficult to represent. It also explores the dissonance between measurable data collected in the lab and the lived realities of the participants, reflecting on the blurred boundaries between reality and imagination (or the dreamlike), and between objectivity and subjectivity.

The research was carried out in collaboration with neuroscience researcher Teresa Campillo-Ferrer (Donders Institute, Nijmegen).
A multimedia installation composed of:
3 channels video installation / 19 min2 channels video installation / 25 min360º immersive sound
Sculptural light boxes
Website


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Project in collaboration with:• Teresa Campillo-Ferrer and Adriana Alcaraz (Scientific Advisors)• Nicolás Lacrampette (3D Modelling and Animation)• Paul Hauptmeier (Sound Spatialization)• Emil Kowalczyk and Paulina Mohr (Website and Graphic Material Design)• Felipe Araya (Design of Light Boxes, Supports and installation view)• Juan Pablo Aguirre and the ZiMMT Team (Exhibition Installation - Assitant)• Rosario Aninat (Assitant)Thanks to: ZiMMT team, Donders Institute, Nico Adelhöfer, Jarrod Gott, Çağatay Demirel and Calam Pengilly.

Research&#38;nbsp;supported by&#38;nbsp;Culture Moves Europe (2023)
Project supported by Kunsfonds (2024)


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 &#38;nbsp;


	
	


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		<title>THE INVISIBLE CLOTH</title>
				
		<link>https://paulaabalos.com/THE-INVISIBLE-CLOTH</link>

		<pubDate>Tue, 31 Mar 2020 10:38:30 +0000</pubDate>

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THE INVISIBLE CLOTHExperimental Film 30 minutes / 2K / Produced by KHM Köln in colaboration with HGB Leipzig.

&#60;img width="3284" height="1470" width_o="3284" height_o="1470" data-src="https://freight.cargo.site/t/original/i/21fa518f3286673c1c2e6c8ebf0fe3f80490cfe94f45bc3aee872623138f4e44/Captura-de-Pantalla-2020-03-23-a-las-11.32.57.png" data-mid="99259386" border="0"  src="https://freight.cargo.site/w/1000/i/21fa518f3286673c1c2e6c8ebf0fe3f80490cfe94f45bc3aee872623138f4e44/Captura-de-Pantalla-2020-03-23-a-las-11.32.57.png" /&#62;
The film The Invisible Cloth by Paula Ábalos is about a worker who is cleaning a fitness studio at night, alone and lonesome. Large-format photographs on the walls show the results that are produced in optimising the body with the help of the equipment provided. The idealised images of well-trained bodies contrast with the only person actually present in the room, whose exhaustion grows with the cleaning of each and every machine. The relationship between these two levels— between the absent idealised image and the present real image—takes on ever more bizarre forms over the course of the night  (Gabriele Knapstein)

Experimental film about a cleaning lady that works alone during the night shift in a fitness studio 24/7. This film looks behind the glossy surfaces of a gym and shows how the extreme working conditions -such as staying awake, the feeling of being watched through surveillance cameras and the loneliness- affect the perception and psyche of the worker, showing the space under her surreal perception. This project originated from the author's own experience.


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Script, direction, editing: Paula ÁbalosProduction: Paula Ábalos, Pedro Carnicer and Kathrin LemckeDirector of Photography: Pedro CarnicerAssistant director: Amelie BefeldCamera Assistants: Elisabeth Caic and Sofía HernándezLight &#38;amp; Grip Assistants: Felix Leffrank and Verónica GarcíaSound design and sound postproduction: Paula ÁbalosSound recordings and additional Sound Design: Camilo SandovalSound recordings: Nadine Rangosht and Stefania SmolkinaSound studio recordings: Ina Weisser and Paula ÁbalosMusic spinning room: Sami Al GhaminSet assistants: Rosario Aninat, Katrin Esser, Bernadette Keating, Kathrin Lemcke, Andrea Saltyte, Beatrice Peter Schuett and Clara SjöllinChoreographer mirror scene: Ayala GuyScript translation: Bernadette Keating.
A Production of the Academy of Visual Arts Leipzig and the Academy of Media Arts Cologne. 
CAST:
JUANA: Catalina YazigiTwo, machine 3, trainer TV: Andrea García VazquezOne, machine 4: Bernadette KeatingBoss: Felix LeffrankSecurity camera guard: Alex BlühmSolarium: Clara SjölinVoice group Machines: Peter Lünenschloß and Jean Damien Charmoille
Thanks to: 
Jessica Arseneau, Rüdiger Dill, Daniela Groemke, Janina Herhoffer, Mark Hermann, Sebastian Richter, Nicolás Rupcich, Max Schneider, Lucas Tinzmann and Clemens von Wedemeyer.

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		<title>VISITANTES: ESCENAS IMAGINARIAS</title>
				
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		<pubDate>Fri, 19 Jan 2024 15:47:57 +0000</pubDate>

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VISITANTES: ESCENAS IMAGINARIAS / 2024Video essay (Animation-documentary) / 2K 09:50 min&#38;nbsp;

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This project, an experimental video that combines documentary and animation, originated from photographic and video content captured in four Airbnb apartments where Ábalos worked as a cleaner for more than a year. Throughout her working hours, she documented the state in which guests left the rooms upon departure. Accumulating an important collection of documentary photos, Ábalos illustrated human figures and objects on the photographs, portraying the moments she imagined occurred in the rooms, following the traces the guests left behind.&#38;nbsp;
This film is the last work of the VISITANTES project, which consists of another&#38;nbsp;video installation and a book.


Proyecto financiado por Fondart Nacional - convocatoria 2022
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</description>
		
	</item>
		
		
	<item>
		<title>VISITANTES</title>
				
		<link>https://paulaabalos.com/VISITANTES</link>

		<pubDate>Thu, 22 Jun 2023 19:08:46 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/VISITANTES</guid>

		<description>

VISITANTES / 2021 - 20233-channel video installation&#38;nbsp;Book
Visitantes reflects on the implications of inhabiting a foreign space and the bonds generated there, 
and intuitively enters an imaginary determined by presences and faults. (Victoria Ramírez)

&#60;img width="2047" height="1151" width_o="2047" height_o="1151" data-src="https://freight.cargo.site/t/original/i/03eab41c87279f57d866db299cb58aaac194b6725f88e2e7d393baafe7fcfec2/visitantes-3_2047.png" data-mid="182995734" border="0"  src="https://freight.cargo.site/w/1000/i/03eab41c87279f57d866db299cb58aaac194b6725f88e2e7d393baafe7fcfec2/visitantes-3_2047.png" /&#62;
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Paula immerses herself in the different environments through which she passes, in an endless game of assembly and disassembly, where the furniture is key to the development of the bodies that use it. Thus, in a constant cycle, the order of the temporary dwellings is altered by presences that leave signs of use in their interiors, to later be erased and everything returns to its initial state.(Victoria Ramírez)
VISITANTES is a project that addresses imagination, inhabitation and the relationship of the body with space. It emerged from photographic and video material from four Airbnb apartments that Ábalos captured for over a year during her cleaning work, where she documented how guests left the rooms when they checked out.
The project focuses on the imagination, when rooms are filled with traces of people who are not present. It approaches the cleaning work as an almost forensic act, where one can deduce who they were and what happened inside by following the traces they left behind. 
After compiling a large number of documentary material, Ábalos drew human figures on the photographs, representing the moments she imagined occurred inside the rooms. Then, with the help of her friends, she recreated and filmed these moments in the same apartments. This project consists on a a book, a video installation of 3 channels, drawings, photographs, light boxes, and an animation. 


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	Documentation installation at “SCREEN TIME”. Group exhibition at MDBK Leipzig (2025)



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&#60;img width="2268" height="1277" width_o="2268" height_o="1277" data-src="https://freight.cargo.site/t/original/i/a7235135bb7aaf2a71081558e54aca20cd12b848def76099a1a7eeb85691003c/visitantes-7.png" data-mid="202357578" border="0"  src="https://freight.cargo.site/w/1000/i/a7235135bb7aaf2a71081558e54aca20cd12b848def76099a1a7eeb85691003c/visitantes-7.png" /&#62;

Exhibition at Ortloff. Leipzig (2021)


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&#60;img width="2268" height="1511" width_o="2268" height_o="1511" data-src="https://freight.cargo.site/t/original/i/11bc7a249d03053bc55ab1807308a033a3aa3b27431c570a1dc4ddaf29c17bb4/nac-13.jpg" data-mid="202358089" border="0"  src="https://freight.cargo.site/w/1000/i/11bc7a249d03053bc55ab1807308a033a3aa3b27431c570a1dc4ddaf29c17bb4/nac-13.jpg" /&#62;
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Exhibition NAC gallery, Santiago (2024)
Photos by&#38;nbsp;Valentina Osnovikoff




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Images of the light boxes
Photografy and digital painting (2023)
&#60;img width="1928" height="1306" width_o="1928" height_o="1306" data-src="https://freight.cargo.site/t/original/i/d51b4620351415ff3d5f6898109f0161e771e43c53cc6067f2c79029007438e9/Captura-de-Pantalla-2021-12-18-a-las-12.33.30_1928.png" data-mid="182995740" border="0"  src="https://freight.cargo.site/w/1000/i/d51b4620351415ff3d5f6898109f0161e771e43c53cc6067f2c79029007438e9/Captura-de-Pantalla-2021-12-18-a-las-12.33.30_1928.png" /&#62;Images from the book


Research with the finance support of (2021)

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Proyecto financiado por Fondart Nacional - convocatoria 2022 (exposición NAC y creación)

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</description>
		
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	<item>
		<title>DIARIOS DE TRABAJOS</title>
				
		<link>https://paulaabalos.com/DIARIOS-DE-TRABAJOS</link>

		<pubDate>Sun, 18 Nov 2018 12:13:52 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/DIARIOS-DE-TRABAJOS</guid>

		<description>DIARIOS DE TRABAJOS / WORK DIARIES / 20202 channels Video / 18:00 min&#38;nbsp;
Work Diaries consists of a compilation of video diaries that Paula Ábalos has created where she documents her time in different service jobs she has performed (in Chile and Germany) parallel to her artistic work to cover her costs of living.&#38;nbsp;


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In these autobiographical videos, which she first shot with her cellphone and later with hidden cameras, Ábalos appears working as a supermarket promoter, a kitchen assistant, preparing sausages in a stadium, cleaning in a fitness studio and working in a package distribution center. These videos emphasize the different times and rhythms of each work and describe - by voice over and texts - her tasks, the places of work and her perspective on her work and the workplace. Thus, it shows the contrast between the impersonal appearance of the locations and her personal view after remaining in them for hours.This video diaries are a way of recovering the lost time in which the author rents her body to companies, trying to reappropriate those hours, so they don't vanish. The project originates from the situation of not having time to develop her artistic work after having worked for a long time in a supermarket. Thus, the author decided to transform the space of her job into her studio, trying to materialize her observations in videos and notes. Methods she keeps up in current jobs.This project can be screened either as a single work or as individual parts. It can be shown either in a traditional cinema space or as a multi-monitor gallery installation.
 
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	<item>
		<title>CAMA-MÓNADA</title>
				
		<link>https://paulaabalos.com/CAMA-MONADA</link>

		<pubDate>Sun, 25 Feb 2024 12:13:25 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/CAMA-MONADA</guid>

		<description>

CAMA-MÓNADA / 2022Video essay / Full HD08:25 minCollaboration between Paula Ábalos and Carol Illanes


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&#60;img width="3444" height="1930" width_o="3444" height_o="1930" data-src="https://freight.cargo.site/t/original/i/33b53805857028ef4c11f13fc2bf407ce44394e292cdf24f9e3e7c6d9ff3d92c/Screenshot-2024-02-25-at-17.35.40.png" data-mid="205428951" border="0"  src="https://freight.cargo.site/w/1000/i/33b53805857028ef4c11f13fc2bf407ce44394e292cdf24f9e3e7c6d9ff3d92c/Screenshot-2024-02-25-at-17.35.40.png" /&#62;
Images of Cama-Mónada

"Cama-Mónada" is a collaborative video essay crafted by Paula Ábalos and art historian Carol Illanes. It delves into two photobooks authored by Ábalos, chronicling the rooms and beds where she slept for four years. These books and video serve as witnesses to her journey through various spaces, offering a chance to contemplate the images and concepts surrounding the imprints and remnants of this daily ritual of slumber, where the realms of the conscious and unconscious intersect.
Carol Illanes (1987) holds a Master's degree in Art History and Criticism from the Universidade Federal do Rio de Janeiro and a degree in Art Theory and Art History from the Universidad de Chile. She is dedicated to research and curatorship, linked to contemporary Chilean and Latin American art. Her projects have addressed various themes, including the relationship between art and public space, experimental video and the theory of history in Latin American art. He currently works in the artistic coordination of the Centro de Extensión Palacio Pereira, MINCAP.
Link to video

Link to books shown in the video:
LIBRO DE CAMAS
CAMA ARRENDADA


Transcription of the essay written by Carol Illanes:

(English translation of the original Spanish text, by Lydia-Marie Lafforgue)

The Bed-Monad1

There are few events which don’t leave a written trace
Georges Perec

Night rests used to be very distinct from the solitary form we have come to know today. In pre-industrial societies,
the majority of people used to sleep in groups, for example, next to family members or lords and their respective
servants. Beds used to be large and uncomfortable: simple wooden boxes with blankets wrapped around a stack of
straw, leaves, or wool. It was a communal space, often surrounded by bedbugs and lice, which––naturally––
resulted in different sleeping habits.

With the refinement of this artefact and the re-organisation of deep sleep according to the formula dawn equals
production time, these ancient customs would eventually disappear from our lives and biology. Like all modern
creations, the bed as we know it has a second origin. Namely, as George Perec recalls: “The bed is thus the
individual space par excellence, the elementary space of the body (the bed-monad), the one which even the man
completely crippled by debts has the right to keep.”2

Dreams of one’s own bed, memories of the first bed, and the strangeness and forensic delirium of being in someone
else’s bed are all repeated references to its origin in the individual––a sense that saturates the reiterating quality of
Paula’s imagery.
Why announce a presence, an existence? For what?
“What interests me the most,” Paula explains, “is how an apparently solid space can become a vibrant projection
of the bodies that inhabit it––an imaginary, inner world, a psyche, a space where the conscious and the
unconscious meet.” In my mind, what occupies the space between a blank page and a bed (precisely the point
Perec is making in Species of Spaces) is the same intermediate space that fills this diary: a frozen scene––
sometimes very full, sometimes very empty––but always ready to be embroidered with projections, memories,
or inventive ideas; something that alludes to a presence that is not there. Between the page and the bed, between
the blanket and the individual, there is a tension that oscillates between imagination and sensibility, between the
products of our minds, as Paula would word it, and what is really there.
Photography is the only medium that provides this documentary anchor, a trace that “someone was here”. What
we see in Paula’s images are inscribed bodies––not graphically and permanently, but imaginatively and
innocuously––on the surface of an orchestra of objects. The ego (almost) dissolves in an exterior of habitational
traces, but at the same time it withstands, it resists. These are the visible “signs”.

Perec views beds as places “where unformulated dangers threatened, the place of contraries, the space of the
solitary body encumbered by its ephemeral harems, the foreclosed space of desire, the improbable place where
I had my roots, the space of dreams and of an Oedipal nostalgia.”3 The space left open between page and bed is
a constant guard; Paula whispers to me just once to tell what it was really all about: “A fear of death, of things
that disappear. Of what ceases to be. Of what dissolves.” These were Paula’s words. I didn’t dare to inquire
further.

On these sheets and pages, the discomfort and boredom, the frustrated desire of curling up in bed anticipates the
pandemic claustrophobia of our times. The question that remains is why there is such a shift, such a radical
change in the type of photography from one book to the next? The first images resembled crime scenes. Pin
sharp portraits. The latest suggest suspension––ambiguity, angles, details. What continues, however, is the act
of repeating, which says a lot about History with a capital letter. Even here, there is a desire to make the ordinary
seem extraordinary. It is almost as if, in its resistance to the nothingness, the ego transcends its oneiric overflow
and, strengthened by its surroundings, overcomes its own dissolution. Simply by leaving a record or, at least, a
written trace.

Carol Illanes L.

1 Monad: in philosophy the simplest indivisible unit.
2 Perec, Georges. Species of Spaces and Other Pieces: Georges Perec. Translated by John Sturrock. New York: Penguin Group USA, 1974, p.
16. 3 ibid, p. 17.


</description>
		
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	<item>
		<title>HIPNAGOGIA - film in development</title>
				
		<link>https://paulaabalos.com/HIPNAGOGIA-film-in-development</link>

		<pubDate>Sun, 25 Feb 2024 16:24:40 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/HIPNAGOGIA-film-in-development</guid>

		<description>

HIPNAGOGIA  - (Work in progress)Animation film / 4K15:00 min

Currently in pre-production stage.Estimated completion date: August 2025.

&#60;img width="1920" height="1082" width_o="1920" height_o="1082" data-src="https://freight.cargo.site/t/original/i/921443654a850ad41c7abe444f97e1a4db64b64fa53276259b909df1459119ad/Screenshot-2023-05-12-at-09.33.01.png" data-mid="205428632" border="0"  src="https://freight.cargo.site/w/1000/i/921443654a850ad41c7abe444f97e1a4db64b64fa53276259b909df1459119ad/Screenshot-2023-05-12-at-09.33.01.png" /&#62;
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&#60;img width="3114" height="1750" width_o="3114" height_o="1750" data-src="https://freight.cargo.site/t/original/i/97d199febfac9619f289c3aab21afbde3096fb85e7d61a076ad54c510fb81603/Captura-de-pantalla-2023-06-06-a-las-18.03.35.png" data-mid="205428635" border="0"  src="https://freight.cargo.site/w/1000/i/97d199febfac9619f289c3aab21afbde3096fb85e7d61a076ad54c510fb81603/Captura-de-pantalla-2023-06-06-a-las-18.03.35.png" /&#62;
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&#60;img width="1667" height="934" width_o="1667" height_o="934" data-src="https://freight.cargo.site/t/original/i/e68bb80cfe9adf138866dc41be2d4518c2d2f1764225e076a60e9c826eb5b51e/Captura-de-pantalla-2023-06-06-a-las-18.06.02.png" data-mid="205428633" border="0"  src="https://freight.cargo.site/w/1000/i/e68bb80cfe9adf138866dc41be2d4518c2d2f1764225e076a60e9c826eb5b51e/Captura-de-pantalla-2023-06-06-a-las-18.06.02.png" /&#62;
Images of the Hipnagogía

This animated short film is about night work and is set in a parcel distribution center. Through a protagonist it is possible to see the psychological and social effects of working at night, where the boundaries between reality and dreams blur.&#38;nbsp;

A teaser of the film it is available.
Script, Direction and Art Direction by Paula Ábalos&#38;nbsp;
Produced by Miguel Yilales.
 Research and developtment with the support of KUNSTFONDS (2022) 
and &#38;nbsp;Land Kärntner – Kunst und Kultur (2023)

&#60;img width="1938" height="269" width_o="1938" height_o="269" data-src="https://freight.cargo.site/t/original/i/36517fd0f80b5e74340db6170c36d7444148149ca79462db43907fb7e2e1b97c/KF-Logo_monochrom_01-1.jpg" data-mid="205428628" border="0" data-scale="24" src="https://freight.cargo.site/w/1000/i/36517fd0f80b5e74340db6170c36d7444148149ca79462db43907fb7e2e1b97c/KF-Logo_monochrom_01-1.jpg" /&#62;&#38;nbsp;

&#60;img width="835" height="183" width_o="835" height_o="183" data-src="https://freight.cargo.site/t/original/i/85ace558c419dd53dfa4f6dce936a8d71c1a18852effd3371559b70aa89c8014/logo_kultur.jpeg" data-mid="205428630" border="0" data-scale="19" src="https://freight.cargo.site/w/835/i/85ace558c419dd53dfa4f6dce936a8d71c1a18852effd3371559b70aa89c8014/logo_kultur.jpeg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>MEMORIA - work in progress</title>
				
		<link>https://paulaabalos.com/MEMORIA-work-in-progress</link>

		<pubDate>Fri, 19 Jan 2024 15:46:01 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/MEMORIA-work-in-progress</guid>

		<description>

MEMORIA / THALLWITZ -&#38;nbsp; (Work in progress)Film installation / 2K&#38;nbsp;

 This project is currently waiting to enter in the editing phase.


&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/40575e0e1d195876be79fd7b12c3876e727349b8cbdb6cf4bf68b2fae00ebed3/CON-FOTO-ADELANTE_01_19_44_10.png" data-mid="202280154" border="0"  src="https://freight.cargo.site/w/1000/i/40575e0e1d195876be79fd7b12c3876e727349b8cbdb6cf4bf68b2fae00ebed3/CON-FOTO-ADELANTE_01_19_44_10.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/708816d3d9bb399010220a55b8808bc9660f6793b09ab54a1cd89ced425eb28c/_74B0007-copia-1_00_00_00_00.png" data-mid="202280138" border="0"  src="https://freight.cargo.site/w/1000/i/708816d3d9bb399010220a55b8808bc9660f6793b09ab54a1cd89ced425eb28c/_74B0007-copia-1_00_00_00_00.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/850c5da034884ec6fe48283218eeb80a837c35b3abc4b8af2937e58cb8e7690b/_74B0012-copia-1.jpg_00_00_00_00.png" data-mid="202280139" border="0"  src="https://freight.cargo.site/w/1000/i/850c5da034884ec6fe48283218eeb80a837c35b3abc4b8af2937e58cb8e7690b/_74B0012-copia-1.jpg_00_00_00_00.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/2b4cc5f7bf5b44c43bda04ffbbc4b855d86adccdefa4b3df69d2484090c3e02c/CASTILLO-INTERIOR_01_06_02_12.png" data-mid="202280150" border="0"  src="https://freight.cargo.site/w/1000/i/2b4cc5f7bf5b44c43bda04ffbbc4b855d86adccdefa4b3df69d2484090c3e02c/CASTILLO-INTERIOR_01_06_02_12.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/690b69619a5a0bf16cb7d6c5c3eaa3bee62fb5252a7c3bcc57c479bae00fa348/n-4-Scaniverse-2023-07-07-135348_00_00_01_01.png" data-mid="202280249" border="0"  src="https://freight.cargo.site/w/1000/i/690b69619a5a0bf16cb7d6c5c3eaa3bee62fb5252a7c3bcc57c479bae00fa348/n-4-Scaniverse-2023-07-07-135348_00_00_01_01.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/0b941f625bea292f378eeafd35c93479067a06da97044b9a01c443a7186df411/n-5-Scaniverse-2023-07-07-141206_00_00_04_40.png" data-mid="202280250" border="0"  src="https://freight.cargo.site/w/1000/i/0b941f625bea292f378eeafd35c93479067a06da97044b9a01c443a7186df411/n-5-Scaniverse-2023-07-07-141206_00_00_04_40.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/fc8cf2ce709dafcbc455203cd491e16a1222e63b0d274e2e045fa1b0a426caa3/ESC-LADY-GRACIA_01_11_01_06.png" data-mid="202280155" border="0"  src="https://freight.cargo.site/w/1000/i/fc8cf2ce709dafcbc455203cd491e16a1222e63b0d274e2e045fa1b0a426caa3/ESC-LADY-GRACIA_01_11_01_06.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/58769eb3ad28da26aaad08a9129d5a40eefd117d8281846be994bfd2bf68c709/n-CASTILLO-EXTERIOR_01_23_44_00.png" data-mid="202280254" border="0"  src="https://freight.cargo.site/w/1000/i/58769eb3ad28da26aaad08a9129d5a40eefd117d8281846be994bfd2bf68c709/n-CASTILLO-EXTERIOR_01_23_44_00.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/e36d1effacaf55e44d131cdf291acd1e6fb92355c625ee01d96e7802f50c53a2/n-ESC-NINA-JARDIN_01_00_38_16.png" data-mid="202280257" border="0"  src="https://freight.cargo.site/w/1000/i/e36d1effacaf55e44d131cdf291acd1e6fb92355c625ee01d96e7802f50c53a2/n-ESC-NINA-JARDIN_01_00_38_16.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/1eb64970f484bfd885701a9106293c76a26fe4f876880fa717e8235ecb250f56/1-LAGO-VERDE_01_32_45_22.png" data-mid="202280142" border="0"  src="https://freight.cargo.site/w/1000/i/1eb64970f484bfd885701a9106293c76a26fe4f876880fa717e8235ecb250f56/1-LAGO-VERDE_01_32_45_22.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/cbf456c5a275e315327d8d48bd7d836381a40a0ae6ea3e0e75d449b4b76110a6/n-8-Scaniverse-2023-07-07-151452_00_00_02_38.png" data-mid="202280252" border="0"  src="https://freight.cargo.site/w/1000/i/cbf456c5a275e315327d8d48bd7d836381a40a0ae6ea3e0e75d449b4b76110a6/n-8-Scaniverse-2023-07-07-151452_00_00_02_38.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/c6cf826db96105955c9ef0e6b78980f9612394620128669f60c58b22482488b7/n-8-Scaniverse-2023-07-07-151454_00_00_28_05.png" data-mid="202280253" border="0"  src="https://freight.cargo.site/w/1000/i/c6cf826db96105955c9ef0e6b78980f9612394620128669f60c58b22482488b7/n-8-Scaniverse-2023-07-07-151454_00_00_28_05.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/370fc4a2f9b467577f44159c7400abc7547b5070e179d16ead36a6737012cf04/ESC-LADY-GRACIA_01_14_44_10.png" data-mid="202280156" border="0"  src="https://freight.cargo.site/w/1000/i/370fc4a2f9b467577f44159c7400abc7547b5070e179d16ead36a6737012cf04/ESC-LADY-GRACIA_01_14_44_10.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/cbf456c5a275e315327d8d48bd7d836381a40a0ae6ea3e0e75d449b4b76110a6/n-8-Scaniverse-2023-07-07-151452_00_00_02_38.png" data-mid="202280252" border="0"  src="https://freight.cargo.site/w/1000/i/cbf456c5a275e315327d8d48bd7d836381a40a0ae6ea3e0e75d449b4b76110a6/n-8-Scaniverse-2023-07-07-151452_00_00_02_38.png" /&#62;
&#60;img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/b325a6e134abe2486d869671a66d5576ebc464c4904d5d56c557e033e87f7ec1/n-5-Scaniverse-2023-07-07-141208_00_00_21_07.png" data-mid="202280251" border="0"  src="https://freight.cargo.site/w/1000/i/b325a6e134abe2486d869671a66d5576ebc464c4904d5d56c557e033e87f7ec1/n-5-Scaniverse-2023-07-07-141208_00_00_21_07.png" /&#62;


Experimental essay-film about the abandoned castle in Thallwitz (Saxony), once known as the "Wolfgang-Rosenthal-Klinik" during the GDR (1943-1994), an important clinic specializing in maxillofacial and biporine reconstruction. The project explores the historical archives of the castle, built at the end of the 16th century, in relation to its current state. The narrative of the film focuses from a poetic point of view on the "act of seeing" and "what is created to be seen". It&#38;nbsp; meticulously observes photographs, videos, sculptures, the castle, gardens, and other objects created to observe.
This project also addresses questions related to memory and the persistence of objects in time, and explores the convergence between elements of the past and ongoing progress.

Thanks to FAIL INSTITUTE, Manu Washaus and Petra Neustadt.

Research of the project supported by:

&#60;img width="2409" height="669" width_o="2409" height_o="669" data-src="https://freight.cargo.site/t/original/i/c556352d3573e05dfa11997991dcb14a30b98f579ef9df9e78c0a193622b0d6c/Wappen-l-75-Kulturamt.jpg" data-mid="230436645" border="0" data-scale="24" src="https://freight.cargo.site/w/1000/i/c556352d3573e05dfa11997991dcb14a30b98f579ef9df9e78c0a193622b0d6c/Wappen-l-75-Kulturamt.jpg" /&#62;&#38;nbsp;
&#60;img width="1288" height="352" width_o="1288" height_o="352" data-src="https://freight.cargo.site/t/original/i/e5a4e67720e6e75728c27660530b9c6128732fbfc0cabcb7cbcb63c0556a417f/Screenshot-2024-01-20-at-14.02.04.png" data-mid="202280299" border="0" data-scale="29" src="https://freight.cargo.site/w/1000/i/e5a4e67720e6e75728c27660530b9c6128732fbfc0cabcb7cbcb63c0556a417f/Screenshot-2024-01-20-at-14.02.04.png" /&#62;


&#38;nbsp;


	
	


</description>
		
	</item>
		
		
	<item>
		<title>THE IMMORTALS</title>
				
		<link>https://paulaabalos.com/THE-IMMORTALS</link>

		<pubDate>Thu, 18 May 2017 18:14:48 +0000</pubDate>

		<dc:creator>paulaabalos.com</dc:creator>

		<guid isPermaLink="true">https://paulaabalos.com/THE-IMMORTALS</guid>

		<description>
LOS INMORTALES (THE IMMORTALS) / 20172 channels video installation
Book
&#60;img width="6000" height="3366" width_o="6000" height_o="3366" data-src="https://freight.cargo.site/t/original/i/e2f96358a6ca9a440d89831291c9774f7dfb7028bde66e6c6c96448dcb675beb/Los-inmortales_2017_Paula-Abalos_VideoStill-1.jpg" data-mid="202359284" border="0"  src="https://freight.cargo.site/w/1000/i/e2f96358a6ca9a440d89831291c9774f7dfb7028bde66e6c6c96448dcb675beb/Los-inmortales_2017_Paula-Abalos_VideoStill-1.jpg" /&#62;
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&#60;img width="5000" height="2807" width_o="5000" height_o="2807" data-src="https://freight.cargo.site/t/original/i/27a8deff498e8c882f96c9084d54b54770182f0017749eecc309016284a20629/2.-Still-de-video-LOS-INMORTALES.-Paula-Abalos.-2017_o.jpg" data-mid="99259477" border="0"  src="https://freight.cargo.site/w/1000/i/27a8deff498e8c882f96c9084d54b54770182f0017749eecc309016284a20629/2.-Still-de-video-LOS-INMORTALES.-Paula-Abalos.-2017_o.jpg" /&#62;
&#60;img width="5995" height="3358" width_o="5995" height_o="3358" data-src="https://freight.cargo.site/t/original/i/7a79ef4459a8a8815abc52e775543ef9e62ecfb390de371fcb23b61c2b426862/5.-Still-de-video-LOS-INMORTALES.-Paula-Abalos.-2017.jpg" data-mid="202359282" border="0"  src="https://freight.cargo.site/w/1000/i/7a79ef4459a8a8815abc52e775543ef9e62ecfb390de371fcb23b61c2b426862/5.-Still-de-video-LOS-INMORTALES.-Paula-Abalos.-2017.jpg" /&#62;
&#60;img width="1440" height="810" width_o="1440" height_o="810" data-src="https://freight.cargo.site/t/original/i/48b00b3b23e246efd4a3b82439591e1aca3114e1bc001fba00f751d0c8b0ea3e/OC-042020-PAULA-ABALOS-paulaabalos---THE-IMMORTALS.jpg" data-mid="202359285" border="0"  src="https://freight.cargo.site/w/1000/i/48b00b3b23e246efd4a3b82439591e1aca3114e1bc001fba00f751d0c8b0ea3e/OC-042020-PAULA-ABALOS-paulaabalos---THE-IMMORTALS.jpg" /&#62;
&#60;img width="5158" height="2891" width_o="5158" height_o="2891" data-src="https://freight.cargo.site/t/original/i/d0c00c49b0543e287823666a85f832308de0e1657c8f3d80d7b350d04e7c6a60/4.-still-de-video-los-inmortales.-paula-abalos.2017.jpg" data-mid="202359281" border="0"  src="https://freight.cargo.site/w/1000/i/d0c00c49b0543e287823666a85f832308de0e1657c8f3d80d7b350d04e7c6a60/4.-still-de-video-los-inmortales.-paula-abalos.2017.jpg" /&#62;


The IMMORTALS is a two-channel video piece that documents the social phenomena ofthe use of smartphones in the L’Orangerie Museum (Paris, France). This work portrays the viewer’s behavior in front of the painting “The Water Lilies” by Claude Monet. The work reflects on how social networks, smartphones and self-portraits (selfie), showing subjects in the foreground and the painting in the background, become relevant when contemplating said work of art. For this, the artist spent 60 hours in the museum documenting visitors. This project is also made up by a book of selfies gathered from public Instagram accounts.

 
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/b14292df2a733d810fd7ca15e3d18ea067aa3ce06c8fc3e5daea6cfd60a58766/2-expo-LOS-INMORTALES_o.jpg" data-mid="99259478" border="0"  src="https://freight.cargo.site/w/1000/i/b14292df2a733d810fd7ca15e3d18ea067aa3ce06c8fc3e5daea6cfd60a58766/2-expo-LOS-INMORTALES_o.jpg" /&#62;Die Ecke Barcelona, City Screen FESTIVAL LOOP
http://www.dieecke.cl/proyectos/barcelona/paula-abalos
&#60;img width="2268" height="1266" width_o="2268" height_o="1266" data-src="https://freight.cargo.site/t/original/i/d2afd3355606d38d28af58a4ffa1e5d0b155d372452033f96b70fac051bba965/Screenshot-2024-01-21-at-12.07.29.png" data-mid="202359536" border="0"  src="https://freight.cargo.site/w/1000/i/d2afd3355606d38d28af58a4ffa1e5d0b155d372452033f96b70fac051bba965/Screenshot-2024-01-21-at-12.07.29.png" /&#62;
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KUB Galerie. Leipzig&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/dcf17f96d68785b929dd81e70a69156573201d7572f060f26d629c9193c0fff2/02.-Proyector-13-09-6082_o.jpg" data-mid="99259482" border="0"  src="https://freight.cargo.site/w/1000/i/dcf17f96d68785b929dd81e70a69156573201d7572f060f26d629c9193c0fff2/02.-Proyector-13-09-6082_o.jpg" /&#62;Espacio el Cruce. Madrid (2018)

&#38;nbsp;

&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/50b478495e975d485fe2c35c6f6ede64330a9cd50654d94a31731ea727768e78/10-expo-LOS-INMORTALES_o.jpg" data-mid="99259481" border="0"  src="https://freight.cargo.site/w/1000/i/50b478495e975d485fe2c35c6f6ede64330a9cd50654d94a31731ea727768e78/10-expo-LOS-INMORTALES_o.jpg" /&#62;Book&#38;nbsp;






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