Laura Huertas Millán


Laura Huertas Millán (b. 1983) is a French artist and filmmaker. Her works have been presented in various cinema festivals, including the IFFR,[2] FIDMarseille,[3] Cinéma du Réel,[4] Berlinale (Forum Expanded),[5] and Locarno Film Festival.[6] Widely shown in the contemporary art world, her artworks are part of public and private collections in Europe and the Americas.[7][8]

Laura Huertas Millán
Laura Huertas Millán
Born1983 (age 39–40)[1]
Bogotá, Colombia
NationalityColombian-French
EducationPSL University, Beaux-Arts de Paris, Le Fresnoy
Websitehttps://www.laurahuertasmillan.com

Biography

Laura Huertas Millán was born in Bogotá, Colombia, in 1983.[9] She moved to Paris for college where she earned a PhD in Ethnographic Fictions in 2017. Since then, she has produced work in the genre of ethnofiction, a method which blends anthropological evidence with elements of creative storytelling. Her work deals with themes of imperialism, the post-colonial Other, and objectivation of non-Western bodies. Thus far, Millán has created a total of seven films. Many of Millán's works have been presented in solo and group exhibitions, solo screenings, and in cinema festivals. Millán also has written articles for art publications such as "De l'Amérique" (2011), "Les mythologies absentes" (2013), "The Obsidian King" (2016), and "The Liar" (2017).[10][11]

Education

Millán attend at the School of Fine Arts (MFA, 2009) and Le Fresnoy (MFA, 2012), and received her PhD in Ethnographic Fictions in 2017 from PSL University (SACRe program).[12][13]

Artworks

In Millán's work in ethnofictions: a work that introduces art in the form of storytelling, she draws her inspiration from Chick Strand and Trinh T. Minh-ha; both filmmakers who offer critiques from an "imperialist and colonialist gaze." In this perspective, Millán examines the study of anthropological origins, such as cultural and social development that is seen in humans. Her artworks intersects between cinema and contemporary art to convey post-colonialism and social history as methodologies to her work, which analyses the direct origins that impacts the way humans live. Jiíbie (2019), El Laberinto (2018), and Sol Negro (2016) are among of many eminent works created by Millán that examines modern life in relation to its history.

Jiíbie (2019)

In Jiíbie (2019), her work focuses on nature and the pivotal roots the plant, jiíbie (or mambe), and its sacred ties with the Muiná-Muruí community; the native people of America who "have used and revered the coca leaf" and its production in the Colombian Amazon.[14] The medium showcases the film in rich, dark colours with minimal gradient in the background to merge the distinct colors as the speaker voices the importance the plant. Jiíbie was presented in various cinema festivals, such as Berlinale, Punto de Vista, Cámara Lúcida, and among many more; the film was also exhibited at the Future Generation Art Prize at Pinchuk Art Centre and Venice Biennial.[15]

El Laberinto (2018)

Otherwise known as "The Labyrinth," Millán explores the cultures of contemporary Colombia, in which the devastation from narcocapitalism "coexists with enduring precolonial relations to the world, creating an accord between the violence of the drug wars, the violence of European conquest, and possibilities of survival and resistance against both."[16] Laura Huertas Millán's El Laberinto (2018) was awarded by Locarno Festival (best direction prize),[17] Bogoshorts Festival (best experimental short film; best editing; best script),[18] and the Uruguay International Film Festival (special mention; best short film).[19]

Sol Negro (2016)

In the film Sol Negro (2016), Millán employs the imagery of the solar eclipse to parallel the opera singer, Antonia, as she sings in an empty hall. Sol Negro, also known as "Black Sun," is evocative of the "dark spleen," in which doctors used to attribute "melancholic and suicidal drives, especially as they affected artists."[20] Antonia is alluded as the "Black Sun," as she sings alone to voice her struggles. The fiction entangles in family bonds as an introspective polyphony, as "the voices of aunt, mother and daughter (the director herself) are heard as she struggles, through fiction, to escape from her family's fate."[21] Sol Negro is credited by various screenings and has won many awards, such as the Muestra Internacional de Documental de Bogotá, Fronteira Film Festival, Doclisboa, and FIDMarseille.[22][23]

Filmography
  • Jiíbie, 25 mins, (2019)[9]
  • El Laberinto, 21 mins, (2018)[24]
  • jeny303, 6 mins, (2018)
  • La Libertad, 29 mins, (2017)[25]
  • Sol Negro, 43 mins, (2016)
  • Aequador, 19 mins, (2012)
  • Journey to a land otherwise known, 23 mins, (2011)
  • Sans laisser de trace, 3 mins, (2009)

Exhibitions
Solo Exhibitions
2019 Video Room: Laura Huertas Millán, Sao Paulo Museum of Art (MASP), Brazil.
2018 le chant du printemps. the spring song. Maison des Arts – Centre d’art de Malakoff, France.
2016 Ficción etnográfica. Museo de Arte Moderno de Medellín, Colombia. Disappearing operations. Laboratoires d’Aubervilliers, ENSBA, Paris, France.
2015 Apocalípticos e integrados. Metales pesados, Santiago de Chile, Chile.
2013 Aequador, Ici, Là-bas et Lisboa (duo). Villa Arson, Nice, France.
2011 Lógicas del fragmento. Alliance Française, Bogota, Colombia.

Collections
  • Fondation ENSBA, Paris, France
  • Kadist Foundation, San Francisco, USA
  • Départements des Hauts-de-Seine, France
  • Centre National des Arts Plastiques, France
  • Département de Seine-Saint-Denis, France
  • FRAC Lorraine, France
  • Cisneros Fontanals Art Foundation, Miami, USA
  • Banco de la República de Colombia

Honors and awards
Awards
2018 Emerging Artist Award, Fontanals Art Foundation (CIFO), Miami, USA.

Best Direction Prize, Pardo di domani competition, Locarno Film Festival, Switzerland.

Best Film Tenderfilm Award, Tenderpixel, London, England.

Best experimental film, Bogoshorts, Colombia.

Shortlisted, Future Generation Art Prize, PinchuckArtCenter, Kiev, Ukraine.

2017 Best Film, National Competition, MIDBO, Bogota, Colombia.

Grand Prix, Biennale de la Jeune Création Européenne (BJC), Montrouge, France.

Best short film, Fronteira Film Festival, Goiânia, Brazil.

Conseil départemental des Hauts-de-Seine Prize, Salon de Montrouge, France

2013 Arquetopia Resartis Prize, Videobrasil Biennale, Sao Paulo, Brazil.
2010 Video prize, Fondation Beaux-Arts de Paris, Paris, France.

Publications
Art Publications
2017 The Liar, in Permanent collection II, Aspen Art Museum, Aspen, USA.
2016 The Obsidian King, in Spike art quarterly, Vienna, Austria. Celestial Bodies, on Patricio Guzmán´s cinema, in Terremoto Magazine, Mexico city, Mexico. Avital Ronell´s Crackwars, duuuradio.fr.
2013 Les mythologies absentes, in Les cahiers du post-diplôme, EESI, Bourges, France. Histoire d’un vampire, in Film Papier, Galerie la Box, Bourges, France.
2011 De l'Amérique, in ENCOURS, Les Presses du Réel, Paris, France. Place ! Éditions Happy few and gallery Edouard Manet de Gennevilliers, Berlin, Germany.

Bibliography
  • Charlotte Selb, “Entrevues, Laura Huertas Millan”, Revue 24 images, Dec.19.
  • Clarisse Fabre, “Dans les festivals et les salles de cinéma, l’émergence du cinéma colombien”, Le Monde, June 16.
  • Erika Balsom, “Speaking into Being: The Ethnographic Fictions of Laura Huertas Millán”, the spring song. le chant du printemps. solo exhibition booklet, Maison des Arts, Malakoff, France.
  • Gilles Grand, “Voyage en la Terre Autrement Dite”, FID Marseille catalogue, Marseille, France.
  • Jesse Cumming, “ The Ties that bind: on recent works by LHM”, Cinema Scope #73.
  • Julien Bécourt, “L ́impermanence des choses”, Chronicart, July 27.
  • Julien Petit, “Lógicas del Fragmento”, solo show at Alliance Française catalogue, Bogota, Colombia.
  • Laura Huertas Millán's CV. https://www.laurahuertasmillan.com/s/LHMcvEN.pdf
  • Leo Goldsmith, “Swiss Watch, films at Locarno Film Festival” Artforum, Aug. 20.
  • Tony Pipolo, “Strangest things, on New York Film Festival”, Artforum, Oct. 3.

References
  1. "Jíibie". www.berlinale.de.
  2. "Laura Huertas Millán | IFFR". iffr.com. Retrieved 4 February 2021.
  3. "SOL NEGRO / BLACK SUN". FIDMarseille. Retrieved 4 February 2021.
  4. "Jiíbie". Cinéma du réel. Retrieved 4 February 2021.
  5. "Jiíbie".
  6. "El laberinto".
  7. "Kadist".
  8. "Cisneros".
  9. Schindel, Dan (25 December 2019). "Deconstructing Colonial Cinema with Ethnographic Fiction". Hyperallergic.
  10. "Permanent Collection II". Aspen Art Museum. Retrieved 22 April 2021.
  11. "#50 Winter 2017". Spike Art Magazine. 3 January 2017. Retrieved 22 April 2021.
  12. Russell, Cozette. "Laura Huertas Millan". The Film Study Center at Harvard University. Retrieved 7 March 2021.
  13. "Laura Huertas Millán". Escuela Internacional de Cine y Televisión (in Spanish). Retrieved 18 March 2021.
  14. "Jiíbie". Cinéma du réel. Retrieved 22 April 2021.
  15. "FUTURE GENERATION ART PRIZE @ VENICE 2019". futuregenerationartprize.org. Retrieved 22 April 2021.
  16. Erika Balsom, Speaking into Being: The Ethnographic Fictions of Laura Huertas Millán.
  17. "LOCARNO FESTIVAL". www.locarnofestival.ch. Retrieved 22 April 2021.
  18. "BOGOSHORTS FESTIVAL". festival.bogoshorts.com. Retrieved 22 April 2021.
  19. "International Film Festival of Uruguay - festivals". Filmitalia. Retrieved 22 April 2021.
  20. "SOL NEGRO / BLACK SUN". FIDMarseille. Retrieved 22 April 2021.
  21. "SOL NEGRO / BLACK SUN". FIDMarseille. Retrieved 22 April 2021.
  22. "Festival Scope". pro.festivalscope.com. Retrieved 22 April 2021.
  23. "Sol Negro". Doclisboa 2019. Retrieved 22 April 2021.
  24. Almino, Elisa Wouk (15 October 2019). "The Haunting Image of Home Amid Climate Change". Hyperallergic.
  25. "The fabric of freedom: Laura Huertas Millán's ethnographic filmmaking | Sight & Sound". British Film Institute.
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