{"id":16438,"date":"2014-05-11T12:41:00","date_gmt":"2014-05-11T10:41:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=16438"},"modified":"2026-05-11T12:53:54","modified_gmt":"2026-05-11T10:53:54","slug":"we-only-guarantee-the-dinosaurs","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2014\/05\/11\/we-only-guarantee-the-dinosaurs\/","title":{"rendered":"We Only Guarantee The Dinosaurs"},"content":{"rendered":"\n

Esperanza Collado<\/a><\/h4>\n\n\n\n
2014<\/h5>\n\n\n\n

Performance<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Esperanza Collado,\u00a0We Only Guarantee the Dinosaurs<\/em>. Foto: \u00c9rik Bullot.<\/p>\n\n\n\n

From a territory inherited from the confluence of cinema, sculpture, and dance, the conditions of enunciation of the filmic image are transformed. Cinema’s luminous resonance occupies a space and has the potentiality of turning it into a tactile, magnetic, and gaseous geometry from which projecting does not simply consist of creating optical and magnified images through a film and onto a screen. To project also relates to thought processes and bodily actions.<\/em>*<\/p>\n\n\n\n

*Should We Put an End to Projection? <\/em>(Dominique Pa\u00efni, October 110 Fall 2004, The MIT Press.<\/p>\n\n\n\n

\u00abIf the performance suggests a pile-up of film history references, it is also informed by a conception of cinema through which all manner of concepts, disciplines, and categories run. Collado\u2019s references to physics, geometry, and optics, and her incorporation of very deliberate, slow, and methodical actions with her props, implies that the \u201cnegotiation\u201d of real and illusory film space at the center of We Only Guarantee the Dinosaurs<\/em> is, in fact, a measurement of different kinds of distances and scales, understood both literally and metaphorically, or both material and ephemeral terms. Collado quotes Dominique Pa\u00efni\u2019s 2004 essay \u201cShould We Put and End to Projection?\u201d, in which Pa\u00efni enumerates the word itself, unearthing hidden associations that become the bases for Collado\u2019s essentialist investigation.<\/p>\n\n\n\n

[…] projection, according to Pa\u00efni, is \u201ca word that refers to activities of thought as much as physical or bodily exertion\u201d, a phrase Collado cites approvingly in a statement accompanying the performance. The notion links Collado\u2019s work to that of Paul Sharits, in its exhaustive cataloguing of \u201cfilmic elements\u201d: \u201cprocesses of intending to make a film; processes of recording light patterns on raw stock […]; processes of processing; processes of projecting; processes of experiencing.\u201d A film, or a cinematic work, is at the intersection of this nexus of objects, disciplines, thought processes, and energies.\u00bb \u2014Jonathan Walley, Cinema Expanded<\/em>, Oxford Univerity Press, 2020.<\/p>\n\n\n\n

\u00abWe Only Guarantee The Dinosaurs<\/em> enchanted the audience with a carefully-constructed choreography guiding a series of objects through an earnest investigation of the essence of cinema (pre, present, post) and its possibilities. On\/off screen space dissolved; time and space unfolded in simple gestures; shadow play and dancing leaves, red ribbons and carpets, friends and muted fruits. The future of a thriving film art relies upon efforts like [this], so that cinema(rt) never dies and regenerates into forms we cannot yet know\u00bb. \u2014Jodie Mack, Love Letter to Esperanza Collado<\/em>, in La Furia Umana n\u00ba 7 2014.<\/a><\/p>\n\n\n\n

\u00abIn a day and age when moving images are so ubiquitous, so easy to make and handle, and so throwaway, this eccentric process by which she worked and worked in front of the audience towards a fragile apparition of a film image affected me as a purification ritual for the moving image itself, a rebirth, a small and indecisive miracle. Which risks making the performance sound very pompous – in fact it was very funny as well and full of healthy absurdity\u00bb. \u2014Maximilian Le Cain, EFS Publications 2016.<\/p>\n\n\n\n

\u00ab[We Only Guarantee the Dinosaurs<\/em>] muestra que una porci\u00f3n de hielo es YA montaje cinematogr\u00e1fico y que la casa del cine tiene muchas m\u00e1s estancias de las que el imaginario valetudinario ofrece\u00bb. \u2014Julius Richard, Transit: Cine y Otros Desv\u00edos<\/em> 2014.<\/p>\n\n\n\n

\u00abAs\u00ed, el eco de la primera impresi\u00f3n era que estaba ante un espect\u00e1culo de variedades, antiguo y divertido, para despu\u00e9s cortar con ello despreocupadamente e instalar en mi cabeza la magia del Cine. El sistema del Cine, de la Historia del cine\u00bb. \u2014Jorge N\u00fa\u00f1ez, Fuerza Vital <\/em>2014.<\/p>\n\n\n\n

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See more\/ Ver m\u00e1s<\/a><\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Esperanza Collado, 2014<\/p>\n","protected":false},"author":561,"featured_media":16439,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[532],"class_list":["post-16438","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obra","tag-paracinema"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/16438","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/561"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=16438"}],"version-history":[{"count":2,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/16438\/revisions"}],"predecessor-version":[{"id":16442,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/16438\/revisions\/16442"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/16439"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=16438"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=16438"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=16438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}