Tote Hasen. Ulysses’s Wind
'Tote Hasen' (Dead Hare) It’s a set of audiovisual poems that allude to the condition of loneliness and the fight against our ego. This production is based on the story of Ulysses and his return to Ithaca. The myth is told from a broad perspective that intersperses two different narratives: on the one hand, Homer’s Ulysses; and on the other, the cryptic ‘Ulysses’ of James Joyce.
‘Tote Hasen. Ulysses's Wind’ develops a cinematic discourse based exclusively on images without text that offer the unfolding of a single character to its multiplication in different narrative times. The movie is encoded from successive Flashbacks and Flashforwards.
The trilogy amplifies the narrative axes through the symbolic exhibition of the images, offering a 'Postlineal Assembly' that amplifies the echoes, twists and relationships between characters trapped in a meaningful timelessness.
'Tote Hasen' is a study about human condition, an analysis of the transient states of loneliness that builds us, absorbs us, ruins us and always disappears in the other. Music and photography are intertwined in a romantic resignation of the sublime journey, where: "The real seems to be before the objective and the human, the central objective of the essay, is reflected only in the unknown landscape of an inner world. 'Tote Hasen' is a bigger landscape than the content of its own origin."
Ángel García RoldánWriterWriter
Ángel García RoldánDirectorDirector
Ángel García RoldánProducerProducer
Ulises TzolkinKey Castperformer
Lucia PalavKey CastPerformer
Angel García RoldanPhotographyDirector of Photography
Miguel A. Cepeda MoralesPhotographyDirector of Photography
Jesús García RoldánSound EngineerSound Engineer
Project Title (Original Language):Tote hasen. El viento de Ulises
Runtime:1 hour 11 minutes 41 seconds
Completion Date:July 16, 2017
Production Budget:2,000 EUR
Country of Origin:Spain
Country of Filming:Spain
Vera Icono Producciones A.C.Country: SpainRights: All Rights
My first pieces of video-art go back to 1998. Made with precarious analog procedures, these videographies had their origin in the interest that raised me the audiovisual media, more than a full mastery of his narrative. Even so, in these early works (‘Someone watching you’ 1999, ‘Garden orchids’ 2002, ‘The garden of the Esperides’, 2002) the image has a documentary source, and appropriate or recorded records built a kind of password-audio-visual that nowhere responds to its origin and in which "everything" represents the plot conclusion. Since then, my work at depth in this format, gaining in recent years more interest and importance than the rest of their productions elsewhere.
Most of my videograficos projects are characterized by their origin performance in which I am immersed in what I call as "States of reality", visions that cyclically revolve around the concepts of 'time' and 'life'. Through these videographies playing different aspects of contemporary video art (video, video-narrativas, video- documentary, video-footage, etc) on board my own biography, in fact they are a video-biografia that keeps a constant pulse with the ficcion of the narrative stories. Itself, complex allegories that built in order of deconstruct my life.
2007 is a crucial year for my career in the audiovisual world. receiving training in the School International of Cinema of San Antonio de los Baños in
Havana, Thanks to the Scholarship of the city of Córdoba (Spain) and FoundationAwardsAngelofPainting (Spain)withpiece‘ThePreacher’,2006.
This experience will mark my work that now will focus on the ideological limits of social and its history completely (‘Pigs’, 2007;) ‘Desal’, 2007; ‘Dogma’, 2007; ‘All loved was part of me’, 2008; ‘Prologue to a perfect human’, 2010). Other issues related to the emotions are also frequent (‘The adverse effects of weightlessness’, 2012), uprooting (‘The man never was’, 2010), and raids on mythological subjects (‘Närke’, 2008) that were always a reference in my work. During the period between 2012 and 2014, my audiovisual projects raise a return to nature, as necessary to tell new stories. My most recent videography to definitively adopted the current of the current video art for a pilot videonarrativa whose central axis is located in the actions carried out by the characters and introduced the concept of Assembly as an essential part of audiovisual essay. Noteworthy are of this period works (‘Tote Hasen. The butterflies of Larusa’, 2014; ‘Marat’, 2014, ‘After Icarus’, 2013; ‘The adeverse effects of weighlessness’, 2012; and ‘Probably Forgotten’, 2012).
During all these years, more than 15 since my first film, I have been selected and invited to participate in numerous shows and international competitions of video art including:Optical Festival (Spain,Argentina,Bolivia,France);Videoart Festival 100 Kubik (Cologne, Germany); Circus Project (Cuba); Videoraymi (Peru); Inshadow (Portugal); Biennial Mecosul (Brazil); Incineration (Spain); Everything you loved was part of you (Dublin, Damascus, Brussels), etc.
Some of these projects belong to the collections of contemporary art in public institutions such as the case of ‘Närke’ (2008) City Hall. Almedinilla or ‘Narcissus’ (2005) collection of contemporary art of the University of Granada.
During these years I have also developed comisariales projects related to video art through the production company with which law firm regulatory all her work Vera Icono Productions, highlighting especially developed for Circus Project (2010-11) in Cuba, or the Cycle of Video-art International Overseas for The Sample of Cinema Andalusian and Mediterranean. Archidona Cinema (2013-15) in Spain,Venezuela and Peru.
Tote Hasen. El viento de Ulises / Ulysses’s Wind
Tote Hasen. Las mariposas de Larusa A Marat
The adverse effects of weightlessness
Esperando a Robert Capa Prologue to a perfect human The man who never was
Nàrke. A tragedy in thre acts
Al loved was part of me Desal
Acronías After Word
Las orquideas del jardin El jardín de las Espérides
Alguien te observa