The Swimming Pool, film premiere 2020
46 minutes, video installation, installation photos by Sander van Wettum
CAMERA AND EDITING, Carmen Dusmet Carrasco; WITH THE MAIN APPEARANCE OF, Delia del Carmen Carrasco Pardo; COMPOSED BY Lola de la Mata; SOUND MIXED BY room6audio; EDITING ADVISORS, Daniel van der Velden and Nirit Peled; TEXT AND TRANSLATION ADVISOR, Tina Bastajian; TITLE GRAPHICS, Alex Walker; ANIMATION ASSISTANCE, Diego Grandry.
"The film is an intimate portrait of a mother-daughter relationship through the eye of a camera. The mother is selling clothes on street markets in Southern Spain. The daughter is pursuing a design master degree in Amsterdam. And what, between these things, is the difference? It's a rhetorical question because there may be no real difference. Mother drives a Ford van with the bright coloured street market clothes in them, while she moves from job to job, gig to gig, trying her luck at job applications, living from day to day, and hand to mouth." — Daniel van der Velden
The Swimming Pool was developed over the course of a two-year domestic ethnographic research involving many travels to Southern Spain. In an attempt to find what it means to practice care, Carmen Dusmet Carrasco developed an obsession with capturing her mother’s precarious journey towards retirement. What began as a socio-economic study of female poverty in Spain led to an intimate negotiation of a mother-daughter relationship.
Projecting the imagination of a younger generation onto a future that is unfolding, the film is an intergenerational prism. In its rawness, it unapologetically poses a confessional question: How can younger generations take care of the elderly while safeguarding their own future?
The Swimming Pool, film poster 2020
The Swimming Pool, invitations 2020
screen print, labels, 52 pieces
Prior to the film premiere at the Design Department's graduation show, 52 invitations were sent out by post to close friends and donors who participated in an early crowdfund that made the production of the film possible. Unfortunately not many arrived. Designed in collaboration with Alex Walker.
Home Cinema, 2020
website and program
A project by Carmen Dusmet Carrasco, designed with Lukas Engelhardt, developed by Lukas Engelhardt, produced with Andrea González. Supported by the Medialab team and The Sandberg Instituut.
Home Cinema was an online temporary video broadcast screening four days of video works from graduating students of the Sandberg Instituut, Masters Rietveld Academie, 2020. What can we see together now that we cannot see each other? Due to the difficulties for many of us to meet physically, Home Cinema facilitates the distribution of moving image graduation works through its online parallel program, with each of them screening once every day.
Home Cinema is an online student run initiative with contributions from Emirhan Akin, Veronika Babayan, Carmen Dusmet Carrasco, Veronika Fabian, Andrea González Garrán, Francisca Khamis Giacoman, Kamila Kantek, Kyulim Kim, Tali Liberman, Laila El Mehelmy, Nicolò Pellarin, Luca Soudant, Linda Stauffer, Wouter Stroet, Ben Tupper, Levi van Gelder, Marilyn Volkman, Myrto Vratsanou, Klara Waara, Michael Weber, Romy Day Winkel.
Sandberg Instituut's Cinema Program | Graduation Show, 2020
Film programme for the Sandberg Instituut's Graduation Show 2020. During the course of four days the film program screened in the cinema of Het Hem. The contributors were Emirhan Akin, Veronika Babayan, Carmen Dusmet Carrasco, Veronika Fabian, Andrea González Garrán, Francisca Khamis Giacoman, Kamila Kantek, Kyulim Kim, Tali Liberman, Laila El Mehelmy, Nicolò Pellarin, Luca Soudant, Linda Stauffer, Wouter Stroet, Ben Tupper, Levi van Gelder, Marilyn Volkman, Myrto Vratsanou, Klara Waara, Michael Weber, Romy Day Winkel.
High probability of unemployment, low and falling incomes and no insurance in case of no income when incapable of work, are some of the defining attributes to 90% of self-employed visual artists in the Netherlands. Designers perceive funding plans as a promised land to potentially overcome precarity. But what is a designer confronted with when presenting oneself to art policies? Applications present competitive market systems and increased demand for usability. Good News investigates the semiotics of funding and questions how neoliberal art policies promote individuality, whilst controlling individual behavior. Through various visual narratives, the film unpacks the normative professional attributes prescribed by the creative industries.
All The Possible Beginnings, 2020
1 minute, video
'All the possible beginnings' is part of an ongoing research on the 'home video' as a political tool and as a manifestation of collective memory and confessional narratives. It was produced in the context of the open call 'Everything Happened So Much: archive as poem in an age of perpetual witnessing' for the One Minutes by artist Jesse Darling.
A Wedding: A Woman is A Woman, 2019
2 minutes, video
The concept of love—existing in a spectrum of infinite forms— and the concept of marriage—existing within a contract between two individuals, seem to be deeply intertwined in our collective imagination. The rigidity of institutional approval of love, leaves underrepresented many forms of love and thus, excludes many forms of love from benefiting of the bureaucratic benefits of institutionally recognised love.
Jumping Jacks, 2018
23 seconds, video
Performing funding semiotics.
Untitled (drapes), 2017
2 minutes, video, ceramics
Material research, ceramics and 3D animation.
Current Language, 2017
18 minutes, video
Algorithms have become the new means in which information is categorised. Information is accessible to a higher percent of society today, however, as Pierre Levy puts it, we interact with a massive media-library (post-encyclopedia); thanks to the interface, users are not required to comprehend the method in which information is categorised. But is it necessary to understand the method in order to fully achieve full democratisation of information? Would a deeper understanding of this computational process change the way we perceive information? And above all, does the method have to understand us? With Current Language, we engage on a research-based project where Google’s Cloud Vision API becomes the base ground to explore the above questions.