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Cinematographic adaptations of Tomás Marco’s collaborations with ZAJ, Spanish avant-garde movement of the 1960s. I explore the poetic potentiality of the image as an infinite cumulus of the symbolic. In doing so I attempt to trace a shift that parallels the one that characterizes many ZAJ works and the movement itself: translating the apparently vacuous gestuality of the quotidian to a different temporal universe, not lineal, but heterocronic, complex, unveiling its concealed symbolic power and turning it into an incitement to reflection, into a provocation, into an insult.

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