Dora García intertwines politics, psychoanalysis and performance into Segunda Vez (Second Time Around). This staged documentary orbits the figure of Oscar Masotta—a pivotal theorist in the Argentinian avant-garde from the 1950s to the 1970s, whilst not being a biopic about him. Masotta's ideas on Lacanian psychoanalysis, politics and art (happenings and dematerialized art) changed the artistic landscape of that 1960s Buenos Aires preceding the dictatorship and with it the end of the avant-garde. The title, Segunda Vez, originates from a homonymous story written by a contemporary of Masotta's, Julio Cortázar, which recounts the climate of psychosis and uncertainty caused by the trauma of disappearances in Argentina.
In Segunda Vez, García weaves together a sequence of seemingly disparate scenes that are bound by the act of repetition and observation: posters plastered along a wall advertise their own transmission—a phantom message in a bustling city; two audiences converge on a cliff top, divided in their knowledge of the scenario in which they are participating; a person, tied up in white cloth and ropes, is carried and left in a forest; the brief appearance of a helicopter causes some excitement and consternation; a group of poor and aging people is assembled on a podium, paid to endure violent light and sound for an hour, while an audience observes them; a library brings reading groups together who are aware they’re being watched; after a mysterious official summons, strangers chat in a waiting room anticipating what may happen—one young man among them has been called to return for a second time around.
Masotta’s ideas on constructing happenings and audience have also given rise to four short films by Dora García:
El helicóptero (1967) by Oscar Masotta, happening again and filmed in San Sebastian in 2015
Para inducir el espíritu de la imagen (1966) by Oscar Masotta, happening again and filmed in Buenos Aires in 2016
Segunda vez, adapted from Segunda vez (1977) by Julio Cortázar and filmed in Buenos Aires in 2016
La Eterna, after Museo de la Novela de la Eterna (1967) by Macedonio Fernández and filmed at Universiteitsbibliotheek KU Leuven in 2016
See also Segunda Vez.
Camera Vincent Pinckaers
Sound Laszlo Umbreit
Technical supervision Boris Belay
Music Jan Mech & "Unexpected Places" by Alton and Hortense Ellis performed by Anna Gratacós (Madamme Mustash)
Editing Simon Arazi
Color grading Loup Brenta at Cobalt
Produced by Auguste Orts
With the support of Norwegian Artistic Research Programme, Oslo National Academy of the Arts, Flanders Audiovisual Fund, Trondheim kunstmuseum, Tabakalera, LUX and Independent Cinema Office, Image/Mouvement Centre national des arts plastiques, FIDLab, Universidad Torcuato Di Tella & KASK / School of Arts Gent