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    ‘Ámár’ DVDa

    ‘Ámár’ (Isabel Herguera, 2010) animaziozko kortometrajearen DVDa jasoko duzu zeure etxean + marrazki seriea eta soinu klipa artxibo digitalean + esker onak Sultana’s Dream blogean

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    ‘Selfportrait’ kamiseta

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    Isabel Hergueraren marrazki original bat (A4ean) bidaliko dizugu etxera + ‘Ámár’ animazio kortometrajearen DVDa + marrazki seriea eta soinu klipa era digitalean + Sultana’s Dream blogean esker onak

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    Isabel Herguerak irakatsitako animazio tailer presentziala

    20 orduko tailer presentziala. Indiako tailerretan zehar erabilitako metodologia berdinarekin jarraituko da. Material didaktikoan, lekualdatzean edota alojamenduan gastaturikoa ez da golardoan sartuko. 15 pertsona gehienez talde bakoitzeko.

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An english version of the project SULTANAS DREAM is available!

28 | 11 | 2012

I wanted to find a way to bring together the things I most enjoy, drawing in India, working with groups, and using drawing to document a real situation in which the art forms part of the narrative.

It was difficult to find a story that could be interpreted beyond the particularities of each culture and condition, one in which all of the participants could feel represented in some way and committed to the project.

Last year, I passed by an art gallery in New Delhi where, among some catalogs I discovered a book with a red cover. In the cover illustration, I recognized the figure of a woman piloting a spaceship. The title of the book was Sultana’s Dream. When I read the two-line summary, I knew this was the story I’d been looking for. The drawing workshops would serve to illustrate and reinterpret the story. But the question remained: How would we reflect a reality where ancestral practices and contemporary customs and uses coexist?

I owe the process that perfectly reflects this prochronism to the art curator, Cuauhtémoc Medina, and to the concept he proposed for the exhibit at PAC- Proyecto de Arte Contemporáneo in Murcia with the title Dominó Caníbal. A game based on the dadaist tradition/ game “exquisite corpse,” that allowed us to mix and incorporate art/drawings from one artist and another, mixing one time with another, to ultimately show the complex historical and social fabric of today’s Indian womanhood.

Maite and Unai have accompanied me on this campaign that we are doing from Ahmadabad, capital of the state of Guajart —a city that, despite three million residents, maintains the character of a provincial capital where people have time to chat with neighbors and leave their homes in the late afternoon to watch the sunset.

Starting here and continuing for the days, we will recount how we clear the path and shoo away the elephants.


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