Physical Cinema in the Parque de la Memoria: Albertina Carri’s Operación fracaso y el sonido recobrado

Abstract

The new century has seen many filmmakers exhibit their images in museums in the form of installations through which these artists rethink their aesthetic in a different spatiality. In 2001, Argentine filmmaker Mariano Llin as premiered Balnearios at the MALBA, creating a new adjacent space for films. In 2006, Paz Encina’s La hamaca paraguaya was a watershed in this encounter between cinema and museums, as the fluctuation between these two spaces would prove vital for the completion of this coproduction between Paraguay, Argentina, and some European countries. In 2011, Lisandro Alonso’s Todas las cartas. Correspondencias f ılmicas stages a videodialogue with filmmaker Albert Serra. In 2015, Andr es Denegri’s installation, Instante Bony, curated by Rodrigo Alonso, takes up his collaboration with artist Oscar Bony. The same year, Albertina Carri presented Operaci on fracaso y el sonido recobrado in the PAyS room of Buenos Aires’ Parque de la Memoria. Although all these works are rooted in national coordinates, many of them foster a transnational convergence as these are displaced objects, existing between the movie theatre and the museum. This article focuses on one such circulation and examines Carri’s installation at the crossroads of contemporary cinema.