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Access to Moving Image


Most of my past moving image works have had an element of text that was an intrinsic part of the work. Sometimes, this text was aimed towards improving accessibility in exhibition contexts whereas others it had merely an aesthetic function; occasionally both.

Split horizontal image: a script on the left, the black and white image of a woman on the right. Google Maps screenshot of a football stadium with open captions underneath. Image taken in the inside of a household portraying individuals

Therefore, the topics raised in Accessibility Session 2 regarding closed and open captions feels particularly relevant to the direction in which I want to take my work and the audiences who I want to engage with.

Given the intrinsic quality of some textual materials to my work, I have often incorporated this text through Adobe Premiere in open captions format in such a way that it can’t be removed without having to access the Premiere file. I do appreciate, however, the element of flexibility granted by closed captions format when traditional captions are required.

Moving forward, I am currently working on two projects for which all this knowledge will come in handy.

Shot of a woman sat in a park bench. Trees in the background and black and white pictures and shown in the foreground.

Firstly, I often make work based on family memories. The image above is a still from my current work in progress where I went on a walk with my mum and discussed her relationship to her parents and talked about memories that blend the personal and the historical in relation to my grandmother’s experience of the Spanish Civil War and its aftermath.

During this walk, we both attached a camera onto our bodies and filmed our perspective and body motion throughout while speaking informally.

At the moment, I imagine the film to be exhibited as a double-screen installation, each screen would be each of our perspectives and therefore captions are likely to be used given the importance of their position on the screen. Further experimentation with open or closed formats for this will be crucial in the following weeks.

My second project will be disclosed in the coming posts 🙂

Pablo Paillole

Pablo Paillole works with moving image, sound, text and photography to explore the relationship between popular culture and politics; fiction and reality; past, present and future. ​ Through his audiovisual installations – often personal and inspired by his own Spanish cultural heritage – he asks questions around the concepts of truth, narrative and history using archival media and found footage. His interest in archival media the ‘constructedness’ of information originally emerged in response to fake news and the way image-making mechanisms condition belief or plausibility. He interrogates the extent to which fictional characters and narratives bleed into the world’s socio-political reality, as well as reinforcing the archive’s authority and power against misinformation. Concerned with these overlapping opposites (fiction and reality, past and present) his practice stands as a necessary form of resilience against fake informational content that has proven to be a key agent in recent elections across the globe. Therefore, Pablo Paillole’s interdisciplinary art practice intends to re-interpret the conventional narrative construction processes; to disentangle the media’s conglomerate of fictional and factual content; and to fully acknowledge our past in order to understand our present.