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In the last decades, the use of video to formalize artistic proposals have experienced a notable increase. The video medium and all the systems derived from technological changes in the information and communication field have been a motif of study and work for visual artists. This has generated new audiovisual practices and established new types of relation with the spectators. In the same way, the non-lineal-edition of video have been extended thanks to the irruption of low cost computer devices that permitted the democratization of its use, and therefore, the growth of this kind of experimental art practices.

This digital art patrimony evolves rapidly and it's vulnerable nature increments the need of its documentation, archiving and adequate preservation.

In the national context, HAMACA has been realizing the service of cataloguing, ordering and preserving audiovisual pieces from the 70s to nowadays. Its aim to preserve this patrimony emerges as a reaction to the lack of attention that video heritage receives from the institutions.

Together with tasks of documentation and preservation of the audiovisual footage, HAMACA also promotes the social and institutional sensibility towards the need of creating new policies of national audiovisual patrimony preservation.