Hand Movie, Yvonne Rainer, 1966, 6’
19:00 Presentation: Mirari Echávarri
A choreography made of hands; a hand that brushes the water, that submerges in it; the fingers of the right hand make precise movements indefinitely; the left hand contracts and becomes agitated; the fingers of both hands type on a typewriter, pass the pages of a book; some hands touch their own image, others speak; the metonymic hands of the female body, in front of and behind the camera.
Since the 70s, feminist film theorists have devoted much of their efforts to expose the "divided subjectivity" that characterizes the female spectator who lives simultaneously as the subject and object of what has been called the male gaze in cinema. Interdisciplinary artists of different decades that have incarnated this division appropriate the fragmentation to which the body is subjected and make the parties take agency. The fragmented body manages to reorganize the cinematographic gaze and break the hegemonic discourse that tries to domesticate it and reduce it to a passive object.
This cinema, empty of faces and looks, invites us to watch it taking into account that, as the feminist philosopher Luce Irigaray says, without touch, sight would not be possible; and that, in that watching-as-touching, we could be affected.