Polítikus

“Polítikus”, includes a series of cinematic works in which the communicator addresses himself directly to the camera.

Political and social reality is shown in these works through “telluric expressionism” that travels to the depths of the human soul. The format corresponds to a tight perception time when browsing social networks, understood as a genre in itself.

Only the performer, Joan Simó, was present at the filming, and with his presence he channelled the essential keys of the topic to be discussed. So these have been happening for two years at one or two week intervals. These recordings are a result of the concern of getting up every morning and being surprised by the progressive hegemony of an almighty manipulation of the frightened and defenceless citizen.

The very peculiar place where the set was installed, a fortress from the beginning of the 10th century, preserves very old memories, in order to prevent any interference that could alter the electromagnetic vibrations. The lighting has been natural light at all times.

We present here a list of the clips filmed so far with post production by Oriol Vilaseca.

This acerbic humor, inspired by the rocambolesque country of Spain, continues to stubbornly distance itself from the universal values inherited from ancient Greece and seems determined to persist in doing so, anachronistically opposed to the much-desired dignity and evolution of ethics and morals. The question is always the same…

THE FOSSIL CULTURE

With the culture, something very similar is happening to us as what happens in commerce. On the one hand, works or products that are very distanced from the spectator or the consumer in favor of a dynamic of franchising.

Sometimes titles are subrogated to companies that can be produced in several locations at the same time. At the other extreme, there are proximity products that barely support a subsistence economy and a human relationship with the recipient.

Culturally, this translates into taquilla inversa ( voluntary tip at the end depending on what you see fit) concerts to support very poor productions . Culture is increasingly relegated to some big brands that year after year appear on the posters of the performing arts offer. Thus, the most respected will always be the works of those authors who are already in the cemetery, the most respectable fossil culture.

NO MORE TICKETS AVAILABLE

Already in the work “the Prince” exposed the distrust of being flattered by the numbing caressing vanities of this world. Fleeing success as the most perverse advisors. Society, itself, will phagocytise any impulse that should challenge it.

THE GREAT PUPPETEER

In this filming, the character expresses himself in a language that no one speaks but everyone understands. This is a resource that can be traced back to the Renaissance, when troubadours and minstrels moved from one country to another with frequent changes of language.

With a great proliferation of onomatopoeias and invented words, but which were very close to the meaning of what they wanted to communicate, they managed to make themselves understood, filtering in between some of the words they had learned. This language was called “the Grammelot”.

Here the “Great Puppeteer” manifests his power before the impotent citizen, to recognize that it is really what is manipulating them.

TV 9 NOU. Program 7 dies Interviewed by Jordi Molet. 14 december 2018

REVISTA PAUSA 39 / 2017. Maria Escobedo. Què fa l’Albert Vidal?

Based on a conversation with the creator and a subsequent reflection, Maria Escobedo allows us to enter into the almost anchorite lifestyle that Albert Vidal currently leads in order to understand the synergies involved in his creative procedures and methods.
Read more → https://www.revistapausa.cat/que-fa-lalbert-vidal-fent-parlar-el-sioux/
Albert Vidal’s Interview to the program (S)AVIS, TV3. 6/6/2019 → https://www.ccma.cat/tv3/alacarta/savis/albert-vidal/video/5863134/