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Training in the practical research in making films or artistic audio-visual work
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EQZE has updated its prevention plan activated in June for the reopening of the center with a series of measures, protocols and recommendations involving the entire center community. The document regulates the security measures to be followed, opening and closing hours; cleaning, capacity, and the use of classrooms, facilities and technical equipment.
Xabier Erkizia
Tailer honek hausnarketa bat proposatzen du lozorroko entzutearen inguruan
October 29 > October 30
Manuel Asín
This subject proposes an approach to the filmmaker based on his/her materiality
November 9 > November 13
Luis Macías
The subject offers a basic introduction to the procedures involved in developing black-and-white film by hand
November 9 > October 13
Carolina Cappa
Researching the history of audio-visual technologies in order to identify film heritage
November 16 > November 20
Ute Aurand
A proposal to produce, make, edit and exhibit a garden of images and sounds
December 1 > December 4
Peter Bubestinger
Analysis and strategies of digital preservation
December 1 > December 4
The International Day of Audiovisual Heritage is celebrated on October 27th. A group of EQ...
[+ info]Rainer Werner Fassbinder (West Germany, 1978, 110 min.) Tabakalera | Cinema - Screen 1
[+ info]José María Martín Sarmiento (Spain, 1981, 35 min.) + Chantal Akerman (Belgium, 1980, ... Tabakalera | Cinema - Screen 1
[+ info]Rainer Werner Fassbinder (West Germany, 1980, 120 min.) Tabakalera | Cinema - Screen 1
[+ info]Éric Rohmer (France, 1983, 94 min.) Tabakalera | Cinema - Screen 1
[+ info]Carlos Marques-Marcet (Spain, 2019, 94 min.) Tabakalera | Cinema - Screen 1
[+ info]Training on restoration and preservation of the cinematic and audio-visual heritage
+Training in the conceptualisation and full development in cinema and audio-visual arts
+Training in the practical research in making films or artistic audio-visual work
+Do you want to be part of Elías Querejeta Zine Eskola? Contact us.
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"We make Jorge Oteiza’s ideas on the regenerative power of aesthetic education and the desire for unity that Walter Gropius developed at the Bauhaus our own, and in our case we extend these to our teaching and film praxis".
"We continue to perceive education as a technical plan for trades/occupations, in narrow areas of special knowledge or a particular way of earning a living materially. (...) But there is no calculation or protection for the fundamental teaching of a spiritual sensibility that we need to live together in our time".
"The way of teaching responds to the essence of the workshop: organic creation developed from craft skills. Avoiding any rigidity; giving priority to the creative activity; freedom of individuality, but rigorous study".
"Your film: let people feel the heart and soul there, but let it be made like handwork".
"To love a painting, you must be a potential painter, if not, you cannot love; and, in truth, to love a film, you must be a potential film maker; you must say: I would have done this or that; a person must make films themselves, even if only in the imagination, but it must be done, if not, they are not worthy of going to the cinema".
"Cinema must find its own way to express a series of thoughts; a way that only belongs to cinema".
"Art cannot be taught, art is discovered, it is experienced. Art it is transmitted in different ways to achieve a single understanding, sometimes with no dialogue whatsoever".
"There is no language. There is no art. There is no knowledge. There is but film as film: the beginning and the eternal moment".