The Andalusian Centre of Photography and the Andalusian Film Library, both managed by the Regional Ministry of Tourism, Culture and Sport through the Andalusian Agency of Cultural Institutions, are launching the cycle ‘Pérez Siquier and Cinema’, a programme of three screenings that deals with the relationship between the photographer and the seventh art. The first film, ‘Azul Siquier’, is scheduled for Tuesday 24 January, in which the director Felipe Vega looks at the life of the author and his contribution to 20th century photography. All the screenings will take place at the Museo de Almería at 7 p.m. until full capacity is reached.
The cycle ‘Pérez Siquier and cinema’ is part of the parallel activities of the exhibition ‘Siquier Collection’ that the CAF is showing on the occasion of the centre’s 30th anniversary until 9 April. For its curator, Juan María Rodríguez, Siquier found in the cinemas a refuge and essential nourishment to develop his gaze in the face of the impossibility of accessing an updated and complete visual education. “In them, Pérez Siquier reinforced the neo-realist spirit of a redemptive and humanist Europe after the Second Great War, which, initially and with nuances, he also deployed in La Chanca,” Rodríguez explains.
Azul Siquier’, by Felipe Vega (2019). Screening on 24 January.
In ‘Azul Siquier’ (2019), Felipe Vega reviews the history of this photographer in a tribute to his career from his black and white images of La Chanca to his period in colour and his tireless search for blue, a colour that is omnipresent in his work and so characteristic of it. The film pays tribute to the photographer’s gaze, with whom he maintained a friendship of more than a quarter of a century, and does so without artifice, showing the photographer’s personality and his good work.
Germany Year Zero’ by Roberto Rosellini (1948). Screening on 14 February
In the film, a portrait of a Berlin in ruins, Rossellini embodies well the photographic values that interested that first black and white Siquier, in line with the images of the Italian neorealist photographers he admired, Biasi, Gardin and, above all, Mario Giacomelli. “He took the form of formal audacity and aesthetic perfection, direct portraiture, yes, but also humanity, irony and a great capacity to penetrate the interior of reality and reveal its most fantastic and abstract essence. Just as Rosellini did,” Rodríguez assures us.
Shalako’ by Edward Dmytryk (1986). Screening 21 March
One cannot overlook his work in the world of cinema, such as in ‘Shalako’ (1968), directed by Edward Dmytryk. In it, he photographed Brigitte Bardot in images that are singular in his work and scarcely diffused. The curator says: “Siquier also fuses man with the parched grain of the desert in large, wide shots that show a fiercely parched earth”.
The three films will be screened at the Museo de Almería at 7 p.m. until full capacity is reached.