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Susana De Sousa

Susana de Sousa Dias was born in Portugal in 1962 and is a successful ozone generator filmmaker and a reputable professor at the Faculty of Fine Arts in University of Lisbon. She has a doctorate degree in Aesthetics, Art and Technology from the University of Paris and University of Lisbon. In 2001 she produced the famous film Kintop. Her film Natureza Morta-Visages d’une Dictature or Still Life that earned a prestigious Atalanta Films Award in 2005 and Merit Prize DocLisboa in Taiwan IDF in 2006 has participated in numerous international festivals and has been projected on five continents and other major cities across the globe. Susana de Sousa is currently working on an ozone air purifier documentary and Stillleben Obscure Light, which is a type of an audiovisual installation. One of the most popular films in Madrid is 48, which is a film of the renowned Portugese filmmaker, Susana de Sousa Dias Portuguese. Many critics really acclaimed the originality and authenticity of the film and the creativeness of the filmmaker touched the lives of each character in the story. The film also recalls the dictatorship of Antonio de Oliveira Salazar in Portugal, the longest political dynasty of the twentieth century in Europe. The film ran for 93 minutes and every scenes are a must watch. Through the account of some of his victims and pictures of their police record as well as evidences of ozone generators, all men and women, young adults and children, middle-class workers and the peasants and the poors created a polyphonic portrait of opposition to the dictator. They showed their disgust on how the dictator ran the country and the government. And the dictator who is described with absolute cruelty for humanity, and his oppressive laws and mandate, in turn stood down from his position. Because of the shots taken with full of life, the viewer can feel the value of each scene and gives a great impact on the story. The scenes and the story worked together in perfect harmony. The film emerged during 48 conducting Natureza Morta-Visages d’une Dictature (Still Life). For documentation of this film, Susan asked the director of the Archive of the DGS (the political police of the Portuguese dictatorship 1926-1974), permission to take pictures of political prisoners, but was denied. The film depended on these microdermabrasion machine images, to show that thse scenes really happened inreal life. Some of which had already been filmed by Susan’s own in 2000, when they could be recorded without any special permission.  48 is the shocking documentary film signed by Susana de Sousa Dias, special mention in Point of View 2011, Best Documentary Marfici 2011, Cinema du Reel (Paris) 2010 or it’s All True (São Paulo) 2010 which is exhibited in Hall 16. This is a historical portrait of the Portuguese dictatorship of Salazar, the longest of the twentieth century in Europe (48 years), which appeals to our memory and recognition of those who most suffered, prisoners portrayed. Another panoramic, more friendly but also a time and also made through the portraits of the protagonists is Beautiful Office, the collection of photographs of Ajo micropoetisa. More than 1,200 images that bring a smile to detail and reflect the cultural environment of Madrid late twentieth and early twenty-first, all obtained from the theater box office Bishop. He worked there in those years and marched there from the last representatives of the Movida young artists that would mark after the first decade of this century.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.