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class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-13306\u0022 class=\u0022node node-artist article odd node-lang-es 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\/maxlecain.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-13306-pcKzn19Ey9Q\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\/maxlecain.jpg?itok=oaB0ZWaq\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\u003EMaximilian Le Cain\u003C\/strong\u003E es un cr\u00edtico y cineasta ubicado en la ciudad de Cork, Irlanda. Ha escrito para numerosas revistas como Senses of Cinema, Film Ireland y Rouge. Adem\u00e1s dirige la revista online sobre cine experimental Experimental Conversations.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EManifiesto\u003C\/strong\u003E \u003Cem\u003ELa mayor parte de mi trabajo de edici\u00f3n la hago de noche. Estos v\u00eddeos que realizo son nocturnos.\u003C\/em\u003E\u003C\/p\u003E\n\u003Cp\u003EMi cultura es el cine, incluyendo el cine experimental. Existe el cine y aquello que llamamos \u0027realidad\u0027. Existe el cuerpo, el m\u00edo en este caso, y adem\u00e1s est\u00e1 la noche. Existen l\u00edmites, errores, y sensaciones abrumadoras. Sonido, imagen, silencio: olvido. Es en la oscura intersecci\u00f3n de todos estos en los que trazo mis bocetos audiovisuales. \u00bfTal vez un intento de conciliar estos elementos? M\u00e1s probalmente se trate de un lugar donde existir con precisi\u00f3n. El movimiento en la c\u00faspide del agotamiento y la decadencia, la creaci\u00f3n en un tiempo en que todos los filmes ya han sido hechos. Pero la energ\u00eda persiste y las im\u00e1genes se siguen moviendo, moviendo en la oscuridad, enlanz\u00e1ndo sin cesar el cuerpo y la noche en una multitud de ritmos cambiantes.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EMaximilian Le Cain: Beyond the Cretinous World of Images An Essay by Esperanza Collado\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EImagine a cinema possessed by the aesthetics of interruption. A cinema that makes space stutter, light gaseous and time circular, turning the monologue of the actress into a maze of words multiplied in an abyss. Imagine a cinema of cuts, plastic and hypnotic, where the interstices of sense prefigure the outer surface of all images: a cinema that advances the \u2018impower\u2019 of thought in its most schizophrenic dimension. Imagine, at last, a cinema that fails to represent, because its images and sounds have been subjected to the laws of entropy. Welcome to Maximilian Le Cain\u2019s land, a land where an irrepressible and pulsating substance unfolds, itself in sufficient arrogance to aim at a luminous crack.\u003C\/p\u003E\n\u003Cp\u003EThrough his film and video making, Le Cain puts us before a world that is incomplete: a fragmented space, a disjointed speech, a flickering flux. And it is pleasing to find such a world, printed in its incompleteness as it were, because cinema -which does not need a language in order to articulate itself- will put us in contact with those pieces of experience, unfinished puzzles that cinema joins perpetually. This could surely resemble the eclectic structure of dreams, although it is actually thought\u2019s genuine work. Max\u2019s works are therefore \u2018thinking space\u2019, where the specificity of cinema -the vibration of light- is the hidden birth of thought.\u003C\/p\u003E\n\u003Cp\u003EIf there is a distinguishing element of tension in Le Cain\u2019s films and videos, very often accompanied by an overtone of suspense, terror or violence, it is caused by the impossibility to syncretise two planes of immanence, two parallel dimensions. The visual and sonic intermittency that characterizes these works are the symptoms proper of such a crash. Thus this aesthetics of interruption functions as a vehicle or catalyst for externalising pulses, anxieties, desires. Cinema becomes a sentient contraption that works as a sort of fail-safe device, kicking in when the system created between the filmmaker and his camera practice fails in attempting a harmonious encounter with a given space or experience.\u003C\/p\u003E\n\u003Cp\u003EBeyond creating a cretinous amalgamate of images, Le Cain deconstructs them, sublimating the quasi-corporeal presence of TV static, the pointillism created by re-photographing found-footage on a television monitor, or the pulsation of an intervallic screen where corpuscles of matter may emerge. These are some of the features of his latest works, where cinema is emphasized as a material system, rather than a recording medium.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EEnlaces externos\u003C\/strong\u003E\u00a0\u003C\/p\u003E\n\u003Cul\u003E\n\u003Cli\u003E\u003Ca href=\u0022http:\/\/vimeo.com\/operationrewrite\u0022\u003EOperation Rewrite\u003C\/a\u003E - Online video project in collaboration with \u003Ca href=\u0022http:\/\/expcinema.com\/site\/en\/wiki\/artist\/wiki\/artist\/esperanza-collado\u0022\u003EEsperanza Collado\u003C\/a\u003E\u003C\/li\u003E\n\u003Cli\u003E\u003Ca href=\u0022http:\/\/www.experimentalconversations.com\/\u0022\u003EExperimental Conversations\u003C\/a\u003E Online Magazine edited by Le Cain.\u003C\/li\u003E\n\u003C\/ul\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\u003ENacionalidad:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EIrlanda\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__56WtQpbTz4oiIHDYE-goa_4HU4O7exM69WZlto7mvmY.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}