{"id":98297,"date":"2024-11-15T09:16:33","date_gmt":"2024-11-15T08:16:33","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98297"},"modified":"2026-06-26T12:06:28","modified_gmt":"2026-06-26T10:06:28","slug":"2016-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2016-edition\/","title":{"rendered":"2016 Edition"},"content":{"rendered":"\n

Temporada Alta celebrates 25 years<\/strong><\/h3>\n\n\n\n

The most noteworthy aspects of this twenty-fifth edition are: the Festival\u2019s role in the internationalisation of the Catalan scene, its rootedness in the various structures and spaces of our cities (schools, social organisations, secondary schools, associations\u2026), the presence of a more diverse and heterogeneous audience, the quality of the shows premiered and Temporada Alta\u2019s boost to the Catalan scene. Some of the leading artists in this edition include Krystian Lupa, Thomas Ostermeier, Peter Brook, Guy Cassiers, Milo Rau, Nicolas Stemann, Roc\u00edo Molina, Mauricio Kartun, Xavier Bob\u00e9s, Jomi Oligor, Shaday Larios, Llu\u00eds Pasqual and \u00c0lex Rigola.<\/p>\n\n\n\n

Shows: 99<\/strong> (+ cinema)
Co-productions: 28<\/strong>
Premieres: 33<\/strong>
Audience members: 47,731<\/strong> (total) \/ 96.31<\/strong>% (occupancy)
Venues: 28<\/strong> stages
Budget: 3,220,726.41<\/strong> \u20ac<\/p>\n\n\n\n

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PROGRAMming 2016<\/a><\/div>\n<\/div>\n\n\n\n
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Dossiers<\/strong><\/h2>\n\n\n\n
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presentation dossier<\/a><\/div>\n\n\n\n
closing balance<\/a><\/div>\n\n\n\n
management model<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

Poster 2016<\/h2>\n\n\n\n
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Pep Duran celebrates 25 years of Temporada Alta by filling the sky with signs charged with poetry.<\/strong><\/h2>\n\n\n\n

As well as bringing together some of the most outstanding contemporary Catalan artists, the posters from the different editions of the Temporada Alta festival reveal another curious fact: many of the artists who have created one of the posters are connected, in one way or another, with the world of theatre. Narc\u00eds Comadira, as well as being a painter and poet, is also a playwright. Frederic Amat has developed a prolific career as a set designer. In Carles Santos\u2019 work, music, theatre and the visual arts are often inseparable. And Jaume Plensa collaborated with La Fura dels Baus on some of the company\u2019s first operas. There are also other artists who have not entered the theatrical world directly, but whose work can nevertheless be said to draw on the ritual and festive roots that lie at the origins of theatre. This is the case of Antoni Miralda, known for his large-scale performances, and also of Eul\u00e0lia Valldosera: this artist\u2019s installations evoke intimate rituals and sometimes include elements as fragile as the ephemeral nature of a theatrical work.<\/p>\n<\/div>\n<\/div>\n\n\n\n

The Temporada Alta festival turns 25. Consciously or unconsciously, Salvador Sunyer has commissioned the poster for this edition from an artist, Pep Duran (Vilanova i la Geltr\u00fa, 1955), who, together with Frederic Amat, has the most firmly established relationship with the world of theatre among the list of artists with whom the festival has collaborated. As well as being an artist, Pep Duran is a set designer. He teaches at the Institut del Teatre and is currently working on the set design for the production of Lars Noren\u2019s El coratge de matar<\/em>, which director Magda Puyo will premiere at the TNC in October. Duran\u2019s poster follows in the line of the impact caused by the posters by \u00c0ngel Jov\u00e9 and Antoni Miralda. The split melon on Miralda\u2019s poster prompted many explicit comments. Pep Duran\u2019s \u2014a red oval shape, full of holes, or of protuberances with a hole at the end\u2014 could do so too. But that is not what it is. Looking more closely, one can see that Pep Duran\u2019s poster is, in fact, the photograph of a piece in relief. The protuberances are spools of thread. With them, the artist sought to evoke, as he explains, \u201cAriadne\u2019s thread, the thread of the Festival\u2019s 25 years\u201d. The spools may also be \u201c25 eyes\u201d, as if the poster were a portrait of Argus, the mythological giant whose head is surrounded by eyes and who never sleeps. \u201cThey are a sign in the sky\u201d, the artist concludes, thinking of how his work will look on the banners. On the other hand, the spools may evoke the textile past of the Coma-Cros, where the headquarters of El Canal is located, although the authorities do not seem willing to get down to work and set the centre fully in motion.
For Pep Duran, the poster is not an unfamiliar medium. He has made them since the 1970s, and has even made them for his own exhibitions. The spools he has used for the poster of this edition of the Temporada Alta festival refer to the humble materials that characterise his work. He uses them because they connect him with arte povera and, above all, as he himself says, \u201cwith Antoni T\u00e0pies, Joan Mir\u00f3 and Joan Brossa\u201d. In recent years, Macba has exhibited two pieces that highlight Duran\u2019s inventiveness with materials: a monumental ceramic Retaule laic<\/em>, shown at La Capella in 2011, and, last year, as part of the exhibition Esp\u00e8cies d\u2019espais<\/em>, an installation consisting of the recycling of a series of previous works.<\/p>\n\n\n\n

Antoni Ribas<\/strong><\/p>\n\n\n\n

Pep Duran<\/strong><\/h2>\n\n\n\n

Pep Duran (Chronology taken from the online magazine masdearte.com and the Macba website).
Vilanova i la Geltr\u00fa (Barcelona), 1955. Catalan sculptor, painter and set designer.
He trained artistically at the Escola de Formaci\u00f3 Art\u00edstica de Vilanova i la Geltr\u00fa and later at the Institut del Teatre in Barcelona, where he currently works as a teacher. He has lived in the city of Barcelona since 1970. In the 1970s, his main activity was the construction and design of sets and costumes, working at the Teatre Lliure and with the theatre company El Tricicle, among others. As for his visual work, painting and sculpture, it is dominated by the integration and accumulation of objects that produce surprising effects and create a surrealist atmosphere. In the 1980s, he took part in the artistic movement associated with postal art that emerged in North America, as shown by his participation in international exhibitions under this heading in Japan, Rome, Amsterdam and Cologne. His most recent creations move away from this variegated world and tend towards order and geometrisation, beginning to relate to constructivism and, more specifically, to the work of Tatlin. He has held major solo exhibitions and has taken part in numerous group shows, including: Muestra de Arte Joven<\/em> at the C\u00edrculo de Bellas Artes in Madrid (1985), Confrontaciones<\/em> at the Museo de Arte Contempor\u00e1neo in Madrid (1988) and Constants de l\u2019art catal\u00e0<\/em> at the Centre d\u2019Arts Santa M\u00f2nica in Barcelona (1992).
The artist\u2019s latest creations are the exhibition entitled Una cadena d\u2019esdeveniments<\/em>, presented in 2011, and the most recent is part of the group exhibition Esp\u00e8cies d\u2019espais<\/em>, which was on view until April 2016. Both exhibitions were presented at the Museu d\u2019Art Contemporani de Barcelona (Macba).<\/p>\n\n\n\n

Download the poster<\/a><\/p>\n\n\n\n

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Short 2016, The pleasure island<\/em><\/strong><\/h2>\n\n\n\n

The pleasure island<\/em> is the audiovisual piece created to present this year\u2019s Festival, a hybrid between an advert, a short film, a music video and a meme. Once again, Temporada Alta and Nanouk films have joined forces to present this proposal as the Festival\u2019s starting signal.
Year after year, the location where the advert is filmed has played a crucial role: if in 2015 the chosen location was Greece, in 2016 it was the Manhattan of the Spanish Coast: Benidorm. The filming system for this piece was very similar: a very small team, extensive fieldwork and strong interaction with reality. The ultimate aim was to create an auteur piece with a high artistic content.<\/p>\n<\/div>\n<\/div>\n\n\n\n

While last year the aim was to reflect on Europe, this year the focus has been placed on our own country, whether Catalonia or Spain, with the purpose of ensuring that the Festival\u2019s established audience, artists and other cultural agents involved feel represented and can help create a distinctive, collective identity through audiovisual media, a highly universal medium.
The director of this piece was inspired by Pleasure Island or Toyland, the place where Pinocchio, Carlo Collodi\u2019s famous character, ended up in search of eternal fun. A metaphor that has served him to shape a critical piece aimed at all those who reduce culture to mere entertainment.<\/p>\n\n\n\n

The director has said\u2026<\/strong><\/p>\n\n\n\n

Pleasure Island<\/em> or Toyland<\/em> was the place where Pinocchio, Carlo Collodi\u2019s famous character, ended up in search of endless fun. The infinite roller coasters, drink and games amazed all the children who had run away from home to escape their school duties. Little by little, and without being able to do anything about it, they turned into donkeys, until in the end they were used as slaves whose only purpose was to carry stones day and night.
Unlike other countries with a stronger tradition, here at home \u2014especially after the crisis\u2014 it feels as though culture has little more purpose or justification than to be entertainment. Just another sector of the leisure industry, there to help people switch off and have a good time. It feels as though creation, research or culture that requires a certain effort is either looked down on or considered a waste.
That is why, in order to explain Temporada Alta, this year we wanted the advert to have a strong critical vision that might prompt some reflection on what we consider a major danger: incorporating these ideas into the collective imagination while forgetting that, if art and culture have anything, it is that they empower people and give us the tools we need to build what we are and what we will become.
If culture in this country is only meant to serve as a distraction and a way of having a good time for a while, and nothing more, then the Temporada Alta festival has failed and has spent 25 years doing useless things.<\/p>\n\n\n\n

Artistic credits<\/strong><\/p>\n\n\n\n

Director: Salvador Sunyer i Vidal
Script: Salvador Sunyer and Victor Santacana
Production Designer: Victor Santacana
DOP: Oriol Barcelona
Focus Puller: Alicia Gali\u00f1a
Line Producer: Andr\u00e9s Mellinas
Production Assistant: Anna Mel\u00e9ndez
Account Manager: Sandra Olalde
Copy review and Translator: Francisca Torres
Editor: Sergi Cameron
Assistant Editor: Anna Mel\u00e9ndez
Sound Editor: Diego Pedragosa \u2013 Iristudis
Sound Mix: Marc Bech \u2013 Coser y Cantar
Sound Mix: Marc Bech \u2013 Coser y Cantar
Voice Actress: Julie Nash
Graphic Design: Tomeu Mulet
VFX Supervisor: Bernat Fontanals
Colour Correction: Llu\u00eds Velamaz\u00e1n
DCP: Ra\u00fal Busquets
Nanouk Films assistant: Airam Rodr\u00edguez
Nanouk Films Central Commission: Sergi Cameron, Ventura Durall, Salvador Sunyer
Special thanks: Caf\u00e9 Rom\u00e1n, Exodo Rental, Acariciando el Aire, Terra M\u00edtica, Mundomar, Aqualandia, Michele Catena, Benidorm Palace, Bit\u00f2 Produccions and PlayGround
Music: La Leyenda del Beso \u2013 Intermedio
Composed by: Reveriano Soutullo and Juan Vert
Performed by: Orquesta L\u00edrica de Madrid
Produced by: Nanouk Films \u2013 2016<\/p>\n\n\n\n

AWARDS<\/strong><\/p>\n\n\n\n

Grand Laus<\/strong> (the highest accolade at the Premis Laus)
German Design Award<\/strong><\/p>\n\n\n\n

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