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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-10773\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/maenza.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10773--u6LItkkJhM\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/maenza.jpg?itok=SVNBWfEe\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EJos\u00e9 Antonio Maenza\u003C\/strong\u003E (b.Teruel, 1948 - Teruel, 1979)\u003C\/p\u003E\n\u003Cp\u003ESpanish avant-garde filmmaker, his work comprises three feature films in the late 1960s: \u003Cem\u003EEl lobby contra el cordero\u003C\/em\u003E, \u003Cem\u003EOrfeo filmando en el campo de batalla\u003C\/em\u003E and \u003Cem\u003EHortensia\u003C\/em\u003E.\u003C\/p\u003E\n\u003Cp\u003EHe expresses a strong artistic vocation since young, showing interest not just in cinema, but in literature too. At seventeen he kept a diary, \u003Cem\u003EDesarrollo de un proceso\u003C\/em\u003E (\u003Cem\u003EDevelopment of a process\u003C\/em\u003E), where he records his may interests and concerns, many of them of a religious nature; he writes: \u0027I\u0027m very sensitive to the good and beautiful. Sensitive to sensibility\u0027. His readings and films he watched are very diverse and heterogeneous.\u003C\/p\u003E\n\u003Cp\u003ELiving in Zaragoza as a university student, he write his text \u003Cem\u003EH\u00e4ndelequia\u003C\/em\u003E, including photographs, newspaper ads, cartoon vignettes, philosophical and ideological themed discourses, etc... This text will serve as script for his first feature film, shot between 1967 and 1968, \u003Cem\u003EEl lobby contra el cordero\u003C\/em\u003E, filmed with continuous improvisations and ignoring any kind of technical orthodoxy: badly focused shots, careless lighting, questionable camera movements, etc. Ritual, the reflection on the film, millitant social attitudes (student protests, subversive proclamations) and mass pop culture (puppets, posters, department stores) are its contents.\u003C\/p\u003E\n\u003Cp\u003EHis collaboration with the poet Eduardo Herv\u00e1s gives birth to his next film, made in Valencia, \u003Cem\u003EOrfeo filmando en el campo de batalla\u003C\/em\u003E (\u003Cem\u003EOrpheus filming in the battlefield\u003C\/em\u003E) (1968-69), an attempt to combine the classical myth of Orpheus applied to the capitalist society wwith the theft of a film camera. Herv\u00e1s and Maenza caused a very tense shooting dute to authorship disputes. The main argument will be film at the service of political militancy, describing a society in crisis in which one can only detach from it through the free and hedonist sexuality practiced in the private sphere.\u003C\/p\u003E\n\u003Cp\u003EHis last film, \u003Cem\u003EHortensia\u003C\/em\u003E (1969), shot in Barcelona and produced by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Pere_Portabella\/\u0022\u003EPere Portabella\u003C\/a\u003E, exists only as a workprint, without any chance of watching the final edit, but the available images -shots of great aesthetical impact in their composition- gives the impression that Maenza had left the previous technical mschiefs behind, showing greater expertise with the medium. Dramatization (masks, allusions to the \u0027Noh\u0027 theater), happenings and ceremonials are the focus of many sequences.\u003C\/p\u003E\n\u003Cp\u003EMaenza\u0027s cinema, his thinking about his practice, dealt primarily with the \u0027idea\u0027 and not so much about its realization leading him to be integrated among artistic movements such as conceptual art. His personal universe was akin to the contemporary avant-garde: situationism, body art, french structuralism, arte povera, etc...\u003C\/p\u003E\n\u003Cp\u003EAfter his painful stay in the compulsory military service (he was in charge of cleaning the stables of the barracks), the deaths of both his mother and his friend Eduardo Herv\u00e1s (who commited suicide by coal gas posioning) his mental and phisical decline was unstoppable, leading him to be institutionalized with symptoms of schizophrenia, unable to gather the minimum stability required to continue working. Pere Portabella said of him: \u0027He was consumed by his own voracity, was against his time.\u0027 In late 1979 he was found seriously wounded near his home with signs of having been beaten and died a few days after. The circumstances of his death remain unclear, suggesting the possibility of suicide.\u003C\/p\u003E\n\u003Cp\u003EBesides his films, Maenza left behind numerous written texts, such as \u003Cem\u003EAquiles inm\u00f3vil\u003C\/em\u003E (short art film) and an untitled synopsis under the heading \u003Cem\u003EEl mundo es un hospital en el que cada enfermo quiere cambiar de cama\u003C\/em\u003E (\u003Cem\u003EThe world is a hospital where every patient wants each other\u0027s bed\u003C\/em\u003E). He also left many poems and an unfinished novel, \u003Cem\u003ES\u00e9ptimo medio indisponible\u003C\/em\u003E.\u003C\/p\u003E\n\u003Cp\u003E\u00a0\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ESpain\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}