The Flight of a Hummingbird Fans the Flames of a Pyre of Burning Frames
Marla Jacarilla

Marla Jacarilla loves cinema from her practice as a contemporary artist. Like the first avant-garde artists, she is an interdisciplinary author who conceives visual art without restrictive categorizations in this regard: she can combine film with video art, photography with literature, object poetry with performance. But Jacarilla’s love relationship with movies is much deeper than that of her colleagues on the same page. Because she also practices the art of loving films from a less common a priori perspective for a visual artist, that of film criticism. In short, Marla also thinks about and from the cinema.

In The Flight of a Hummingbird Fans the Flames of a Pyre of Burning Frames, the films, many and diverse, nourish an artistic project that expresses once again through the conjunction of different sources: photography, text, video, the oral story, the manipulated image of films, etc. the proposal consists of three parts or formats that correspond to three variants in the relationship between the image, the cinematographic inspiration, the word, the text, and the thought. The same concept unifies all the pieces: the reflection on the future and the present from moments taken in the cinema and, in some cases, also in reality.

“In this contrapuntal use of the story related to the image, Marla Jacarilla’s piece recalls the films of Chris Marker, the great master when it comes to turning science fiction into a territory to rethink the present and the concept of memory, and the inspirer of the title that heads this text. But in this case, the video, at times, approaches the pessimistic and proximity futurism of Charlie Brooker from Black Mirror in his way of turning the future into a mirror that amplifies the darker side of our present. Can cinema, through art, help us understand yesterday, today, and tomorrow? Marla Jacarilla invites us to this with The Flight of a Hummingbird Fans the Flames of a Pyre of Burning Frames.”

Excerpt from a text by Eulalia Iglesias, journalist specialized in film and audiovisuals and university professor in the Department of Communication Studies at the Rovira i Virgili University and member of the board of directors of the Film Critics Association of Catalonia.

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