Writer and Translator
Silvina López Medin is a writer, translator, and editor from Buenos Aires, now based in New York. Her books of poetry include: La noche de los bueyes (1999), winner of the Loewe Foundation International Young Poetry Prize, Esa sal en la lengua para decir manglar (2014), 62 brazadas (2015), and Excursion (2020), which was selected by Mary Jo Bang as the winner of the 2019 Oversound Chapbook Prize (Oversound, 2020). Her hybrid poetry book Poem That Never Ends (2021) was a winner of the Essay Press/University of Washington Bothell Contest. Her play Exactamente bajo el sol(staged at Teatro del Pueblo, 2008) was granted the Plays Third Prize by the Argentine Institute of Theatre. She co-translated Anne Carson’s Eros the Bittersweet (2015) into Spanish. Her writing has appeared in Ploughshares, Hyperallergic, Brooklyn Rail, and MoMA/post, among others. She holds an MFA in Creative Writing from NYU and is an editor at Ugly Duckling Presse.
En sus películas, la cineasta paraguaya Paz Encina combina ficción y material de archivo, imágenes condensadas y un inusual foco en el sonido, para abordar temas que atraviesan la historia de su país, como la Guerra del Chaco (1932–35), la larga dictadura de Alfredo Stroessner (1954-89), la deforestación masiva, y el desplazamiento de comunidades indígenas.
Paraguayan filmmaker Paz Encina (born 1971) combines fiction and archival material, precise imagery, and an unusual focus on sound to address issues that mark the history of her country—like the Chaco War (1932–35), the long dictatorship of Alfredo Stroessner (1954–89), massive deforestation, and the displacement of indigenous communities.
En mayo de 2019 la cineasta argentina Lucrecia Martel dio una charla en el MoMA, invitada por el Instituto Patricia Phelps de Cisneros Cisneros. Ya el primer largometraje de Martel, La ciénaga (2001), llamó la atención por la contundencia de sus imágenes, la puesta en tensión con el sonido, la exposición y espacios de quiebre en las relaciones de poder partiendo del núcleo familiar, y una sensorialidad extrema y extrañada. La idea de esta entrevista es dejar una marca escrita de su paso por el MoMA, donde habló sobre un esquema temporal alternativo basado en el sonido.
In May 2019, the Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. Martel’s first feature film, La ciénaga (2001), attracted much attention because of the tension between its powerful imagery and soundscape, its exploration of power relations as rooted in the family, and an extreme and estranged sensorial quality. The idea of this interview is to leave a written trace of her visit to MoMA, where she spoke about an alternative, sound-based understanding of time.
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