{"id":50528,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&p=50528"},"modified":"2025-09-03T08:16:46","modified_gmt":"2025-09-03T06:16:46","slug":"germaine-dulac-je-nai-plus-rien","status":"publish","type":"event","link":"https:\/\/graf.cat\/en\/events\/event\/germaine-dulac-je-nai-plus-rien\/","title":{"rendered":"Germaine Dulac. Je n\u2019ai plus rien"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":8,"featured_media":50529,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"event-venues":[734],"event-tags":[],"class_list":["post-50528","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-museu-tapies","event-category-exposicio"],"acf":{"title_ca":"Germaine Dulac. Je n\u2019ai plus rien","title_es":"Germaine Dulac. Je n\u2019ai plus rien","title_en":"Germaine Dulac. Je n\u2019ai plus rien","desc_ca":" \r\n\r\nComissariat per Imma Prieto, directora del Museu T\u00e0pies, i Imma Merino, cr\u00edtica de cine i professora universit\u00e0ria, el projecte sobre Germaine Dulac vol ser una reflexi\u00f3 sobre com les avantguardes van invisibilitzar certes artistes que posaven en tensi\u00f3 els discursos hegem\u00f2nics i heteropatriarcals que imposava la societat d\u2019entreguerres. Aquest \u00e9s un exercici de recuperaci\u00f3 de la mem\u00f2ria d\u2019un passat en qu\u00e8 moltes d\u2019elles van quedar relegades dins de la hist\u00f2ria de l\u2019art, Malgrat que les seves pr\u00e0ctiques van esdevenir fonamentals pel desenvolupament dels moviments art\u00edstics del segle xx.\r\n\r\nAmb la voluntat d\u2019obrir arxius i accentuant la idea de la import\u00e0ncia d\u2019un temps c\u00edclic \u2014tan caracter\u00edstic de la traject\u00f2ria tapiana\u2014, mirem enrere per tornar endavant fent recerca hist\u00f2rica i trobar veus silenciades, per\u00f2, alhora, buscant les possibles connexions amb la configuraci\u00f3 de les imatges des d\u2019aquesta perspectiva surrealista que tamb\u00e9 es treballar\u00e0 a l\u2019exposici\u00f3 dedicada a Antoni T\u00e0pies.\r\n\r\nEl 1927, Germain Dulac va dirigir el migmetratge La Coquille et le clergyman (La petxina i el clergue), que no es va projectar fins un any m\u00e9s tard, el 1928; es considera el primer film surrealista, anterior al c\u00e8lebre Un chien andalou de Luis Bu\u00f1uel, de 1929.\r\n\r\nLa pel\u00b7l\u00edcula, els decorats i l\u2019ambientaci\u00f3 de la qual eren obra del poeta Antonin Artaud, expressa l\u2019obsessi\u00f3 d\u2019un clergue per una dona casada amb un general. Germaine Dulac (Amiens, 1882 \u2013 Par\u00eds, 1942) va ser una productora, directora, realitzadora i guionista de cinema considerada la pionera del cinema surrealista de principis del segle xx. Dulac va realitzar m\u00e9s de trenta films entre 1917 i 1935, va escriure importants textos te\u00f2rics i va col\u00b7laborar en les grans revistes cinematogr\u00e0fiques de l\u2019\u00e8poca \u2014Le Film, Mon cine o Cin\u00e9magazine\u2014, on expos\u00e0 les seves idees sobre la import\u00e0ncia de l\u2019autoria o sobre el cinema com un espai art\u00edstic des d\u2019on poder explorar, a trav\u00e9s de les imatges, l\u2019interior dels \u00e9ssers humans. La seva col\u00b7laboraci\u00f3 m\u00e9s significativa va ser amb la revista radical feminista La Fronde.","desc_es":"Comisariado por Imma Prieto, directora del Museu T\u00e0pies, e Imma Merino, cr\u00edtica de cine y profesora universitaria, el proyecto sobre Germaine Dulac quiere ser una reflexi\u00f3n sobre c\u00f3mo las vanguardias invisibilizaron a ciertas artistas que pon\u00edan en tensi\u00f3n los discursos hegem\u00f3nicos y heteropatriarcales que impon\u00eda la sociedad de entreguerras. Se trata de un ejercicio de recuperaci\u00f3n de la memoria de un pasado en el que muchas de ellas quedaron relegadas dentro de la historia del arte, a pesar de que sus pr\u00e1cticas resultaron fundamentales para el desarrollo de los movimientos art\u00edsticos del siglo xx.\r\n\r\nCon la voluntad de abrir archivos y acentuando la idea de la importancia de un tiempo c\u00edclico \u2014tan caracter\u00edstico de la trayectoria tapiana\u2014, echamos la vista atr\u00e1s para volver adelante mediante la investigaci\u00f3n hist\u00f3rica y encontrar voces silenciadas, pero, a la vez, buscando las posibles conexiones con la configuraci\u00f3n de las im\u00e1genes desde esta perspectiva surrealista que tambi\u00e9n se trabajar\u00e1 en la exposici\u00f3n dedicada a Antoni T\u00e0pies.\r\n\r\nEn 1927, Germain Dulac dirigi\u00f3 el mediometraje La Coquille et le clergyman (La concha y el cl\u00e9rigo), que no se proyect\u00f3 hasta un a\u00f1o m\u00e1s tarde, en 1928; se considera el primer film surrealista, un a\u00f1o anterior al c\u00e9lebre Un chien andalou de Luis Bu\u00f1uel, de 1929.\r\n\r\nLa pel\u00edcula, cuyos decorados y ambientaci\u00f3n fueron obra del poeta Antonin Artaud, expresa la obsesi\u00f3n de un cl\u00e9rigo por una mujer casada con un general. Germaine Dulac (Amiens, 1882 \u2013 Par\u00eds, 1942) fue una productora, directora, realizadora y guionista de cine considerada la pionera del cine surrealista de principios del siglo xx. Dulac realiz\u00f3 m\u00e1s de treinta films entre 1917 y 1935, escribi\u00f3 importantes textos te\u00f3ricos y colabor\u00f3 en las grandes revistas cinematogr\u00e1ficas de la \u00e9poca \u2014Le Film, Mon cin\u00e9 o Cin\u00e9magazine\u2014, donde expuso sus ideas sobre la importancia de la autor\u00eda o sobre el cine como un espacio art\u00edstico desde el que explorar, a trav\u00e9s de las im\u00e1genes, el interior de los seres humanos. Su colaboraci\u00f3n m\u00e1s significativa fue con la revista radical feminista La Fronde.","desc_en":"Curated by Imma Prieto, director of the Museu T\u00e0pies, and Imma Merino, film critic and university lecturer, this exhibition dedicated to Germaine Dulac proposes a reflection on how the avantgardes reduced the profile of certain artists who challenged hegemonic and heteropatriarcal discourses, as imposed by society between the wars. This exercise involves reviving the memory of a period when many of these women were relegated to obscurity by art history, despite the fact that their practices were fundamental for the development of 20th-century artistic movements.\r\n\r\nWith the aim of exploring archives and accentuating the notion of the importance of cyclical time\u2014something that is very characteristic of T\u00e0pies\u2019 career as well\u2014we look to the past to return to the future, conducting historical research and discovering silenced voices, while at the same time seeking connections with the arrangement of imagery, from a surrealistic perspective shared with the exhibition on Antoni T\u00e0pies.\r\n\r\nIn 1927, Germain Dulac directed the medium-length film La Coquille et le clergyman [The Seashell and the Clergyman], which was not shown until a year later, in 1928. It is considered the first surrealist film, preceding the famous Un chien andalou by Luis Bu\u00f1uel, from 1929.\r\n\r\nWith the sets and production design created by the poet Antonin Artaud, the film depicted the obsession of a clergyman for a woman married to a general. Germaine Dulac (Amiens, 1882 \u2013 Paris, 1942) was a film producer, director and screenwriter, and is considered the pioneer of surrealist cinema in the early 20th century. Dulac made more than 30 films from 1917 to 1935, and wrote important theoretical texts, publishing in the leading film journals of the period\u2014Le Film, Mon cin\u00e9 and Cin\u00e9magazine\u2014where she explained her ideas on the importance of authorship, or on cinema as an artistic realm, enabling exploration of human\u2019s inner worlds through imagery. Her most important theoretical collaborations were with the radical feminist journal La Fronde.","event_category":103,"event_show_only_own_date":true,"_event_confirmed":true,"_event_public":false,"_event_free":false,"_event_price-min":0,"_event_price-max":12,"_event_web_ca":"","_event_web_es":"https:\/\/museutapies.org\/es\/exposicio\/germaine-dulac-je-nai-plus-rien\/","_event_web_en":"https:\/\/museutapies.org\/en\/exposicio\/germaine-dulac-je-nai-plus-rien\/","event_contact_email":"","event_apply_email":"","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"Museu T\u00e0pies","abe_event_category":"Exposici\u00f3","start":"2025-10-16 19:00:00","end":"2026-02-22 19:00:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":0,"until":"2025-10-16 19:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/50528","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/users\/8"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/50528\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-category\/103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media\/50529"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media?parent=50528"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-venues?post=50528"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-tags?post=50528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}