The videography of Andrés Duque (Caracas, 1972) is situated in the documentary practices and periphery of non-fiction, an uncertain space -and visible outside the cinema screens- characterized by self-production, not being subject to standard formats or durations and generic hybridization.
His first film Ivan Z is a portrait of the cult filmmaker Iván Zulueta. He has subsequently made self-referential works as well as portraits of exceptional figures such as the composer Oleg Karavaichuk, which have won numerous awards and recognition at film festivals around the world (Punto de Vista, Cinéma du Réel, Dokufest, D'A, Unicorn Awards, Premios Goya, Premi Ciutat de Barcelona) and have been exhibited in cultural centers such as the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Museum of Contemporary Art of Barcelona (MACBA), Museum of Modern Art of Vienna (MUMOK), Museum of Contemporary Art of Moscow (GARAGE) and Hermitage Museum in St. Petersburg, among others.
His filmography includes Iván Z (2004), Paralelo 10 (2005), Landscapes in a truck (2006), La constelación Bartleby (2007), Life Between Worlds Not in Fixed Reality (2008), All You Zombies (2008), No es la imagen es el objeto (2009), Color perro que huye (2011), Ensayo final para utopía (2012), Primeros Síntomas (2015), Oleg y las raras artes (2016). Carelia - Internacional con monumento (2019), Monte Tropic, una historia del confinamiento (2022).
Andrés Duque has a degree in journalism and a Masters in Creative Documentary from the Autonomous University of Barcelona, having worked for the Latin American division of the HBO network as a screenwriter and producer of reports on film and chronicler of festivals such as Cannes, Berlin or Sundance. He teaches at institutions such as UPF, ESCAC and UAB (Barcelona) and Aalto University (Helsinki).
The videographic work of Andrés Duque is riddled with cracks to the inexplicable. His pieces start with a fun idea ( "if I'm not having fun with the camera, I know that something is wrong") and a pre-rational fascination by the harsh landscapes and people whose sensibilities collides with what is commonly accepted. With his digital camera and an enviable insight he focuses on the recording of shapes and surfaces, gestures and movements, latent situations and disconcerting scenes. His work are more than ideas, they create feelings and suggest new relationships with the world around us. Almost always, as evocative and intriguing.
In the later organization of the material, he tries to recapture that first impression: to present things as never seen before, single things out, take them out of context. Although its raw material is real, his documentaries are unstable works where the narrative component or representational faithfulness is blurred by omissions, suggestive associations, image manipulations and disconnections between this and the sound. Ways to increase the confusion and expand awareness.
