«This structural work deals with the quest for the “objective” time and interval sound of the painting imposed by the cinematic elements, thus preserving the woman in the painting from possibly ageing by the passing of time, but not the beholders from her obsessive look. The original size of the painting (72 x 53 cm.) is worked with, being imprinted onto 35mm film. The strips of celluloid execute the work up to down and left to right, projected 24 fps and with optical sound. Joining together music and painting is something that would have pleased Leonardo as musician, even though the sound issued from the work is not that of his own lyre. And the new technique, “pictocinematography” he would have never used it, aware as he was of a genius wich made him the precursor of cinema, since pleasant contemplation of the painting created for mankind is avoided. Keen on games and riddles, he would have defended the playful side, challenging the critics’ judgement, which should be quick and accurate… Concentrate so as not to lose that smile.» (Ana Isabel Aréjula, Madrid 2002)

Theoretical experiment that uses the technique of picto-cinematography, where “the search for the temporal objective duration of painting”, stands out; this comes to us via its real measurements on a 35mm film. This technique allows us to get “a new vision of a pictorial work”, within a temporal duration defined by cinematographic means. In this experiment, the same image of the painting remains in emulsion on the optical soundtrack, thus generating a sound.

Distribution on 35mm at:
· Light Cone (Paris, France)

Also is available to consult at the collection of ‘Xcèntric Archive’: cccb.org/xcentric/en/arxiu