Eli Cortiñas.

*1976 in Las Palmas de Gran Canaria, ESP

seit 1995 in Deutschland, lebt und arbeitet in Berlin.

2003 - 2008 Studium an der Kunsthochschule für Medien Köln bei Prof. Matthias Müller und Prof. Marcel Odenbach

2001-2002 Studium am European Film College, DEN


Ausstellungen [Auswahl]:

2012 Neither glance nor glory, Galerie Soy Capitán, Berlin

III Moscow International Biennale for Young Art, Moskau , RUS

2011 Les Rencontres Internationales, Centre Pompidou, Paris, FRA
Street Girls Bringing Sailors In Must Pay In Advance, Galerie Michael Wiesehöfer, Köln

2010 The excitement of ownership, Galerie Waldburger, Brüssel, BEL




Confessions with an open curtain

Date: 2011
Length: 05:25 min.
Format: 4:3
Specifications: Colour, Sound, Single Channel
Courtesy the artist, Soy Capitán, Berlin and Waldburger, Brussels



Wir sehen eine Frau in Rückansicht. Eine Sprecherin aus dem Off leitet ein: „When was it? How long? It seems a lifetime ago.“ Eine zweite Frau erwidert: „Why don't you start at the beginning?“ Schnitt. In der nächsten Szene setzt eine Kamerafahrt über Sofakissen ein, begleitet von Irving Berlins „What'll I do?“ Schnitt. Ein blau-grauer Vorhang wird zugezogen und eine Frauenstimme spricht: „Let me tell you what I said when she was born.“ Bildwechsel, zu einem hell-blauen Vorhang. Die Frau fährt fort: „Alright I said. I'm glad it's a girl and I hope she'll be a little fool. It's the best thing a girl can be in this world - A beautiful little fool.“ Der Blick der Kamera schweift immer wieder über die Rückansicht von Frauen und entlang sich sanft bewegender Vorhänge. Durch ihre Gesichtslosigkeit scheinen die Protagonistinnen zu einer Person zu verschwimmen. Die ersten Einstellungen zeigen bereits, dass diese collagenhafte Arbeit aus audio-visuellen Versatzstücken nicht darum bemüht ist, eine Handlung im filmischen Sinne zu ergeben. Die kinematografischen Erwartungen des Zuschauers werden auf die Probe gestellt und am Ende dennoch zielgerichtet auf eine filmische Botschaft hingeleitet. Cortiñas gelangt in ihrer Collage aus Found-Footage-Material zu einer präzisen Reflexion über filmisch reproduzierte Klischees eines spezifischen Frauenbildes. 

Till Fabian Bender




► 1. Your work has been chosen among over 2000 festival entries to participate in VIDEONALE.14. In which context do you prefer to present your work, festival/cinema context or exhibition? And what kind of difference does the respective mode of presentation mean for you / your work?


It depends on the video work itself. I do see my work as a constant exploration of the cinema language, its structure and the historicity and the popular culture, which is reflecting, but all my videos are mostly conceived as multi channel video loops with no particular beginning or ending. Some of them have a sculptural quality to them and need certain architecture as a body device to function. So, yes I prefer the exhibition situation because I don't follow a linear dramaturgy in the classic sense of story telling and I also want the viewer to be able to “jump” into the work at any time and be immediately thrown into the emotional engine of the scenery and the work.
I do have some works though, that have a more linear quality to them in terms of narration, or simply because they are single channel videos and I have experienced screenings in cinemas and festivals, that do work very well for them. Giving them a more concentrated audience, as it usually is in the classic cinema experience.



► 2. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Is there a particular theme, concept or problem your art addresses the most?


I am very interested in exploring rules of behavior in society; my work often deals with the definition of the female within certain constructions like family hierarchy, culture, religion, political devices and even the art world.
Underneath my investigation also lies a fascination with the mere representation of one medium into another.



► 3. In which way is the video medium an excellent possibility to express your intended subjects, especially in contrast to other media you use? Or do you work exclusively with video?


I see myself as a found footage artist who works mainly with video but also intensely with collage and sculptural forms and I see an immediate relationship between all these practices.
I have been strongly influenced by film and music, so a lot of my imagery comes from that source. I have a special predilection for the time period around the 60s/70s and the visual vocabulary from that film period, but also for currencies like the Italian Neo-Realism. I'm also very fond of sculpture and the space and the questions around the display and set up play a very important role while developing any of the works I do, regardless the medium I'm working on. In my practice it is always definitely about setting up a new context while taking away the original one a picture, an object or a moving image was originally in. Almost everything what comes into my hands has the initial potential to be re-written by erasing it's original purpose or source and to be charged with a new meaning or subject I would like to address. That's the amazing power of any kind of appropriation. 

  • Vom 17.2.-02.4.2017 findet die 16. Ausgabe der Videonale ̶ Festival für Video und zeitbasierte Kunstformen statt, mit einer... mehr
  • Videonale Bonn und Video Art Network (VAN) Lagos schließen sich zusammen, um gemeinsam das Projekt „VIDEONALE IN... mehr
  • mit Anderwald + Grond (Wien) Videopräsentation Christine de la Garenne und Diskussion   In Kooperation mit DAS... mehr
Logo Videonale e.V.


Zum Abonnieren des Videonale-Newsletter bitte E-Mail eintragen.


Stay informed on our latest news!