Mar Gimeno Lumbiarres

→  Work

____  Exhibitions

                OO (immersive experience)
                Anita Gispert Vila



____  Performance

               Calypso
               Family Tree ᛉ
               EgoINatura
               IAMAIR



____ Filmmaking 

               Filla del Foc   (TV Movie)
             QUATRE (Dàhlia Duran)
               Avant series (videoart)



____ Film Still

                    Plot Points  (Clara Pais & Daniel Fawcett)
                  In the Water

   


→ About 

Mar Gimeno Lumbiarres (1994) is a spanish-catalan multimedia artist & curator based in Rotterdam (NL).

Her work emerges from filmmaking, which she cross-processes with photography, sound and performance.

Gradually Mar focuses on creating narrative constructions using cinematic tools and feelings.
She applies such through research projects, physical spaces, immersion and experientiality — crafting documentary and research pieces, art objects, to spaces and happenings.

Her themes swing between nature, life-death, inheritance, social impact and universal memory, witchcraft and esotericism. She finds beauty in the grotesque and holds that darkness is the essence of light.


→ Vimeo

Explore other film  works.


→ Contact

marglumbiarres(@)gmail.com
(+34) 638 461 409  @hamaremar
+ marglumbiarres.com (company)


4. Loren Eiseley




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            From The Immense Journey, 1957A billion years have gone into the making of that eye; the water and the salt and the vapors of the sun have built it; things that squirmed in the tide silts have devised it. Light-year beyond light-year, deep beyond deep, the mind may rove by means of it, hanging above the bottomless and surveying impartially the state of matter in the white-dwarf suns.
        Yet whenever I see a frog’s eye low in the water warily ogling the shoreward landscape, I always think inconsequentially of those twiddling mechanical eyes that mankind manipulates nightly from a thousand observatories. Someday, with a telescopic lens an acre in extent, we are going to see something not to out liking, some looming shape outside there across the great pond of space.
        Whenever I catch a frog’s eye I am aware of this, but I do not find it depressing. I stand quite still and try hard not to move or lift a hand since it would only frighten him. And standing thus it finally comes to me that this is the most enormous extension of vision of which life is capable: the projection of itself into other lives. This is the lonely magnificent power of humanity. It is, far more than any spatial adventure, the supreme epitome of the reaching out. 



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