Segunda vez

Der Filmessay der renommierten Künstlerin Dora García kreistum das Denken und die Kunstpraxis des argentinischen Psychoanalytikers Oscar Masotta. Die Regisseurin rekonstruiert einige provokante Happenings, die der Theoretiker im Gefolge Jacques Lacans in seinem Heimatland veranstaltete, ehe er durch den Militärputsch im Jahr 1976 ins Exil gezwungen wurde, und zieht eine Metaebene aus Diskussionen und Konversationen ein. SEGUNDA VEZ ist kein Biopic, sondern eine filmische Meditation über Terror, Massenpsychose und psychologische Einschüchterung, in der Diskurs und visuelle Assoziationsketten immer wieder neue faszinierende Legierungen eingehen. (Thomas Mießgang)

In Anwesenheit von Dora García.

“My Happening, I now repeat, was nothing other than ’an act of social sadism made explicit.”, writes the Argentinian intellectual Oscar Masotta in 1967. Spanish artist Dora García, employing different means of expression from re-staging and cinema to an enriching website with great texts accompanying the film, asks what the happenings of the mythical Lacanian of pre-dictatorship Argentinia can mean today. Even more she comes close to the ideal of fictional figure Pierre Menard from José Luis Borges’ story about a man who immersed himself in re-writing Don Quixote to the point of a deliberate anachronism. Due to an aesthetic of disorderly interruption and the constant pointing-out of the partly discomforting presence of the camera we never feel safe. The perversity of observing, the power structures of who is looking at whom become painfully palpable. Masotta’s reflections on psychosis and those of his contemporary Julio Cortázar on general moods associated with the Perón dictatorship are literally happening a second time. Finally García also shows that cinema always takes place in the presence. There is no doubt that the incidents of SEGUNDA VEZ are reflecting today’s social sadism. (Patrick Holzapfel)

In the presence of Dora García.

Trailer No. 2 Segunda Vez from Dora Garcia on Vimeo.