Sergio Belinchón

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Sergio Belinchón - Adios Amigo! ikono presents spanish photographer and filmmaker Sergio Belinchón's Adios Amigo!, a journey to Huesca in Spain, a landscape which served as a projection screen for the Italian version of America's fairy tales about the Wild West and it's brave heroes. Adiós Amigo! reviews the story of the Spaghetti Western of the 1960s and 1970s by comparing it to the reality right next to it. It mixes the romantic world of the lonely cowboys with images of modern freeways, deconstructing the world of Sergio Leone who himself deconstructed America's favourite myth and turned it into a dirty joke. In the world of Sergio Leone the singing cowboy with the white hat and the white horse saving teachers or fighting fierce natives received a serious beating. Leone's classic "Once Upon a time in the West" revealed his direction in the title already. The Wild West was a fairy tale. The real America was mostly built by ruthless businessmen, crooks and robbers or killers like the one played by Henry Fonda in "Once Upon a time in the West". Sergio Belinchón - Adios Amigo! A Fistful of Dollars directed by Sergio Leone in 1964 was considered by the critics as a film of a new genre: the Spaghetti Western. After this production in the next two decades over 600 other films were shot, many of them in Spain. The Spaghetti Westerns were known as low budget productions that were based on the historical background of American West and modified by adding Mediterranean mentality. Being produced over years this genre became part of the film history as well as of the Spanish life in the areas of film production. Sergio Belinchón - Adios Amigo! In an Interview for Videonale14 he said: "Normally I present my work in an exhibition contest, I work as an artist with photography and video/film. In this case, as in some other projects, I like to present it also in a cinema context. Nowadays, both contexts are often mixed, so one can see more cinema-like works in galleries and museums and more "artistic" works in theaters. What is better for me of the cinema context is the predisposition of the audience to attend for longer time a piece, and that is good for the work, but the piece has to fit some parameters that the gallery does not demand. The atmosphere is completely different in a museum or in a cinema. Adiós Amigo! Adiós Amigo! is a part of the artist´s oeuvre dealing with the story of Spaghetti Westerns that created ghost towns now abandoned in the modern Spanish landscape. The video shows a lonely cowboy riding through Huesca´s desert, passing by empty towns to finally end up riding his horse onto a modern empty highway that brutally bisects the landscape. As in a typical western, the cowboy crosses a river that leads him to the promised land. Looking for a better life, the man and his horse seem to be both lost and displaced.

Bio

Sergio Belinchón (Valencia, 1971) was the first photographer to have participated in the Museo Nacional Centro de Arte Reina Sofía’s exhibition project at the Abbey of Santo Domingo de Silos, Burgos. He is one of the most important young photographers on the Spanish art scene. After training at the School of Fine Arts in Valencia and studying on a scholarship at the School of Spain of in Paris, Belinchón has worked for the architect Santiago Calatrava and later received another scholarship from the Academy of Spain in Rome. Belinchón’s work has developed in successive series such as Metropolis around Paris or the series Roma. In Ciudades Efímeras, he approached the chaotic development of the Spanish Levante coast, while in Desierto de Atacama constructions and other elements are the waste of a rural landscape uninhabited from a long time ago.

Links

- Homepage of Sergio Belinchón - Sergio Belinchón at Galeire Invaliden1 - Interview for Videonale14

More Videos by Sergio Belinchón

The Good, the Bad & the Ugly REDUX version EL YANKEE El Yankee is a documentary tracing the memory of Alcolea de Cinca, in the province of Huesca (Spain), a village where those outdoor scenes that form the title of this work of art were filmed (Yankee, Tinto Brass, 1966). Through a series of interviews the aged memory of those who collaborated in the production of the film is shown, as well as the testimony of the young person that have never heard of the subject, therefore laying a bridge between the past and the present, memory and the forgotten. Untitled