BIO
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Marla JacarillaMarla Jacarilla (Alcoy, 1980). Visual artist, writer and film critic. BA in Fine Arts from the Universitat Politècnica de València.
Her awards include Fundación Guasch Coranty and Bòlit Mentor grants and the 2012 Art Nou Prize.
Recent solo exhibitions: Anotaciones para una eiségesis (Twin Gallery and Centro de Arte Alcobendas, Madrid, 2015), Obras (in)completas (EspaiDos, Sala Muncunill, Terrassa, 2014), Acotaciones tras la cuarta pared (La Capella, Barcelona, 2013). Major group shows: Especies de Espacios (MACBA, Barcelona, 2015), Huidas. La ficción como rigor (CAC Fabra y Coats, Barcelona, 2014), The Narrative Condition (Festival Art Souterrain, Montreal, 2013), Biennal d’Art Leandre Cristófol (Centre d’Art La Panera, Lleida, 2013), Factotum (Fundació Tàpies, Barcelona, 2013) and Pogo (Arts Santa Mònica, Barcelona, 2012).
PROJECT
Manual de instrucciones para interpretar falsas novelas, 2016
[From the series ‘Elucubraciones en torno a esa serie de características que debería tener –o no– la literatura del futuro’ (video installation: copy of ‘Seis falsas novelas’ signed by Ramón Gómez de la Serna, graphologist’s report, 22 photographs and 86’ video (color and B/W) ]
The instruction manual, says Manuel Vicent, is the literature of the future. The literature of the absurd, says G. K. Chesterton, is the literature of the future. Starting from these apparently unconnected and contradictory insights,
Manual de instrucciones para interpretar falsas novelas creates an ironic manual in the form of an educational video on how to interpret the Seis falsas novelas written by Ramón Gómez de la Serna between 1923 and 1927; six short stories in which the writer parodies what he sees as diverse literary styles (Chinese, Russian, Tatar, German, black and American).
A graphological analysis of the writer’s signature becomes the starting point for a video installation reflecting on literary and art hoaxes, on the role of museums and on concepts such as copy, appropriation, plagiarism or reinterpretation.
At the same time, the work in question becomes a metavideographic fiction reflecting on the creative process itself, mixing documentary techniques with others drawn from experimental fiction.
Manual de instrucciones para interpretar falsas novelas comprises 17 chapters of a varied nature. Six of them, reinterpreting Gómez de la Serna’s texts from the realm of fiction, are performed by two actresses from the world of the stage. Among the remaining chapters, we have a recording of the reconstruction of Ramón Gómez de la Serna’s study, a meditation on the nature of film, a situationist trip down Calle Ramón Gómez de la Serna and an interview with artist Ramón Ruaix.