Director BIO: Susana Sánchez Carballo (SILENT SCREAMS)

Director Biography – Susana Sánchez Carballo

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Susana is Costa Rican, graduated from a Master’s in Fine Arts in Cinematography from the University of Costa Rica (U.C.R) and a higher degree in Plastic Arts in Painting from U.C.R. Susana also has studies in Photography and Graphic Design in U.C.R.
In 2016, she was the winner of Biennial Miradas de Mujeres, organized by the Association of Women in Visual Arts of Spain, and her work was selected among 150 other international participants. That same year, she presented her work individually at Matadero Madrid in Spain.
She acted as a presenter on 5th International Congress of Museums of Women, in Mexico City in 2016. She also presented at the Second Cine-Foro, “Public Art and Technology”, at Sede Interuniversitaria de Alajuela in 2017, and at the First International Colloquium on Cultural Diversity and Regional Studies at U.C.R. Sede de Occidente in 2011.
Her article, “Uno de los Crímenes más Horribles”, was published in Instituto Tecnológico de Costa Rica’s Revista Comunicación, as part of 2012’s documentary “Bajo el Límpido Azul de tu Cielo”. In 2013, she also participated with Laboratorio de Innovación Urbana para la Convivencia y la Gobernanza de la Seguridad’s Series with the article “Activaciones Urbanas para la Apropiación del Espacio Público”. She has also collaborated with Onu-Habitat in projects of urban activation in poor areas, specifically in Guararí, Heredia.
Her work was selected as part PerfoArt Net. Bienal Internacional de Performance (2018); as part of the Sidewalk of the Americas of The Inter-American Development Bank (IDB), in Mendoza, Argentina; as part of “HOLANDA 2005-Exposición de Diseño Latinoamericano”, in Amsterdam, Holland; and as part of “First Biennial of the South”: Pueblos en Resistencia en Caracas, Venezuela (2016). She has also presented her work in different galleries and museums, such as: Medialab-Prado (Madrid), the International Museum of Women (San Francisco, EEUU), CISAS (Managua, Nicaragua), and the Museum of Costa Rican Art, the Museum of Art and Contemporary Design, the Museums of the Central Bank, the Museum of Women, the Mexico Cultural Institute, the National Gallery, The Spanish Cultural Center, and different sites of the University of Costa Rica. She has also given workshops on the human body, intervention of public spaces, digital art, and feminism, stage scenography at Laboratory Experimental Urban de la Cátedra Toriavac and at the School of Plastic Arts at U.C.R.
Currently, Susana does freelance on Graphic Design, Web Design and Photography, produces and exhibits artistic work and teaches at university level.

Articles on expositions:
• Interview on [programa de cooperación Televisión Educativa y Cultural Iberoamericana (TEIb)]. On the show “Noticias culturales iberoamericanas”
• Interview in Revista Cultural Mito (revista digital iberoamericana)
• Radio interview in Telemadrid, on “De uno en uno” (with artist Marisa González, vice-president of Women in Visual Arts).
• TV interview on “Desde la U” University of Costa Rica.



Short Film: SILENT SCREAMS, 8min., Costa Rica, Experimental

5d3ee1f3c8 posterThe social mechanisms of control and surveillance govern how we view things and our bodies. In the same way, they have functioned as a method of exclusion, which for years has systematically silenced the voice of populations that have been victims of violence.
With this video art I seek to achieve a transgression and a rejection to those impositions through my active and non-passive perspective as an artist and a woman in a patriarchal society. The above can lead to questioning that viewing in public space and how the role played by the representation of women in the sexual construction of this society is examined.
At the beginning of the audiovisual, private space that appears and disappears is presented through the elements that shape still life art, which refers to contexts that could be interpreted from domesticity and, therefore, as a metaphor of oppression, and seclusion.
But, as the video art moves forward, the bodies transcend those limits and build public territories; spaces in which they unfold, sometimes mutating to amorphous brushstrokes that allow another view to serve as resistance.
In short, they are bodies of women who reject submission and impositions within the parameters in which they do not wish to live.
A question that is always in my work and with which I wish to conclude, is the one that Patricia Mayayo (2011) establishes when she enunciated: ¨What happens when the female character is viewed frankly and openly? What does the image of a woman who views mean in a patriarchal society? (p.208)