Warning: The magic method WPML_Absolute_Url_Persisted::__wakeup() must have public visibility in /customers/9/6/c/galahernandez.com/httpd.www/wp-content/plugins/sitepress-multilingual-cms/classes/url-handling/resolver/wpml-absolute-url-persisted.php on line 30 Bio * Bio | Gala Hernández

I am an artist filmmaker and researcher based between Paris and Berlin.

I am a contractual PhD Candidate in Aesthetics, Sciences and Technologies of Arts at Paris 8 – Vincennes Saint-Denis University, ESTCA laboratory.  My artistic research project reflects on screen capture as a media in the post-internet era. I am currently a ATER/Assistant Professor in Visual Studies and Digital Art at the Université Gustave Eiffel after having taught for 3 years at Paris 8 University. I co-founded and co-direct the association After Social Networks. I am currently a visiting PhD researcher at the Filmuniversität Babelsberg Konrad Wolf (Germany) thanks to a doctoral research scholarship of the German DAAD (Deutscher Akademischer Austauschdienst).

My medium-length film La Mécanique des fluides (2022), supported by the CNC – DICRéAM and the EUR ArTeC, had its world premiere at FIFIB Bordeaux (France) – where it won the Grand Prix of the Contrebande Competition, Best Short Film Director of all competitions by France Télévisions, and the Best Short Film of the Contrebande Competition by BrefCinema – and its international premiere at DOK Leipzig’s international short film competition (Germany). It also won the Best Short film of the Documentary Competition award at SEMINCI Valladolid.

I have edited several issues of academic journals (Contratexto, Images Secondes), published in international journals (Interfaces, Digital War, Marges, Augenblick) and participated in collective books, such as Captures d’écran (Yellow Now, 2022), L’art tout contre la machine (Hermann, 2021), L’essai médiatique (LISAA éditeurs, 2022) or Radical film at the dawn of a new society (K-Verlag, 2022). I am currently coordinating a special issue on open source counter-investigations for the journal Multitudes.

My work combines interdisciplinary research with the production of essay films reflecting on the processes of individuation and the new modes of subjectivation produced specifically by computational digital capitalism. Particularly interested in approaching from a feminist, poetic and critical prism the discourses and imaginaries circulating in eminently masculine online communities, my film The Mechanics of Fluids is the first of a series of experimental documentary essays – that will be followed by HODL (in development)both proposing a reflection on the politics of representation of contemporary masculinity on the internet in its articulation to algorithms and digital flows of data, signs and capital.

I graduated in Fiction Filmmaking from ESCAC (Superior School of Cinema and Audiovisuals of Catalonia, Barcelona) and hold a Master in Contemporary Cinema and Audiovisuals Studies from University Pompeu Fabra (Barcelona) and the International Master in Audiovisual and Cinema Studies (IMACS) from Paris 3 – Sorbonne Nouvelle University and Paris 10 – Nanterre University.

Interested in edition, I worked as a video editor at PlayGround Magazine and was (briefly) educated in editing at the EICTV (San Antonio de los Baños, Cuba).

I have been the Festivals Coordinator of the international film sales agent Luxbox based in Paris.

I have published poems in some online magazines and fanzines, and a poetry plaquette with the publisher Ad Minimum: Amnesia of the birds (2016).

I have recently started translating (Marie-José Mondzain’s Images (à suivre), into spanish, for Metales Pesados).

Research activities

LECTURES & CONFERENCE PAPERS

  •  “Films machinima: notes sur un cinéma amateur virtuel”, conference « Les pratiques amateurs. Eclaircies du cinéma », 8-10 november 2022, Université Jean Monnet Saint-Étienne.
  • “L’image que jamais nous ne verrons deux fois. Télévision, plateformes de livestreaming et cinéma face à l’illusion d’immédiatie”, with Ariane Papillon, Colloque International des Études Françaises et Francophones du XX et XXIème siècles “Média/médiums”, University of Pittsburgh, 24-26 March 2022.
  • « S’approprier l’effondrement », with Allan Deneuville, Ariane Papillon & Ysé Sorel, symposium « L’art face aux urgences écologiques », organised by the journal Marges, 9 & 16 Octobre 2021, online.
  • “Sexe, mensonges et vidéo. À propos des régimes de vérité de l’intime”, in the conference “La preuve par l’image. Le médium contre les média”, organised by Dork Zabunyan and Aurélie Ledoux at Paris 10-Nanterre University, 23-24 June 2021.
  • “The Importance of Being Broadcast. Politics and Poetics of Virtual Visuality in Present. Perfect. by Shegze Zhu”, 109th College of Art Association Annual Conference (USA), 10-13th February 2021, online.
  • “Migrant Images. Migratory and digital flows in contemporary documentary cinema”, virtual conference “Arrêt sur images”, organised by the research team “Archiver le présent” of the University of Quebec in Montreal (UQAM, Canada), 6-9 October 2020.
  • “Impossible movements: refugee crisis and the between-the-images in Havarie by Philip Scheffner”, in the international virtual symposium “(Im)possibility”, organized by the doctoral students of the Department of Art, Film and Visual Studies of Harvard University, at Harvard University (USA), 8-10 October 2020.
  • “Common Images. What post-media does to cinema”, in the international conference “Critique de la Raison Automatique. Bêtise(s) et intelligence(s) de la numérisation du monde”, at the Gaîté Lyrique and the University Paris 1 Panthéon-Sorbonne, fall 2020.
  • “Appropriations and critical diversions of the vernacular video: the vernacular genre as a cinematographic genre” in the international colloquium “Les manières de faire vernaculaires”, organized by the laboratory LARCA, at the University of Paris 7 and at the INHA, from January 22nd to 24th, 2020.
  • « Poétique de la navigation comme flux de pensée: « Sitting in Darkness » de Graeme Arnfield », International Congress « L’essai médiatique », organized by the labs LISAA (Université Paris Est Marne-la-Vallée UPEM), EHIC (Université de Limoges), the Université de Bologne and the Université Catholique de Louvain-la-Neuve, at the Université Paris Est, 25-27 November 2019.
  • « Films on crisis, in crisis. Concerning « Havarie » by Philip Scheffner », International Congress « Filmic and Media Narratives of the Crisis: Contemporary Representations », organized by the Université Panteion, Université Sorbonne Nouvelle-Paris 3, Université Haute-Alsace, Centre d’Études sur la Communication Européenne, l’IRMÉCCEN and the PHILéPOL of Université Paris Descartes, at the French Institute of Athens, Greece, 7-8 November 2019.
  • “Ecologies of the videosphere: about ‘Roman National'”, at the International Congress “L’art tout contre la machine”, organized by the Collège des Bernardins, the laboratory RIRRA21 (University Paul Valery Montpellier 3) and the laboratory ESTCA (Université Paris 8 Vincennes Saint-Denis) at the Collège des Bernardins and the INHA, Paris, 10-11 October 2019.
  • “Silvered Water Syria Self-Portrait: the camera, a weapon against the regime?”, lectured in the conference “Regime-critical media and Arab diaspora: challenges and opportunities after the Arab spring”, organized by the Mediatized Diaspora Team: Controversial Policies among Arab Media Users in Europe (MEDIASP), Department of Intercultural and Regional Studies, University of Copenhagen, Denmark, 5-6 September 2019.
  • “Dialectizing YouTube, reconstructing the revolution”, lectured in the Ludovia Summer University “Digital and representations”, organized by the association Culture Numérique, in Ax-les-Thermes, France, 20-23 August 2019.
  • “Desktop films: the act of seeing with someone else’s eyes”, lecture in “Radical Ventriloquism: Acts of speaking through and speaking for” organized by Lee Campbell Christabel Harley, London Conference in Critical Thought (LCCT), Centre for Invention and Social Process, Goldsmiths, University of London, 5-6 July 2019.
  • “Vernacular video in the post-Internet era” lectured at the Conference ” Forms and places of the virtual: first cartography “, organized by Guillaume Soulez, Olga Kobryn, Éric Thouvenel, Ángel Quintana and Lisa Zaher. IRCAV Laboratory (Sorbonne Nouvelle University – Paris 3) and University of Girona, at the Centre of the University of Chicago in Paris, 20-21 June 2019.
  • “Confession in the Web 2.0 era: ‘Testament Series’ by Natalie Bookchin (2009-2017)”, in the workshop “Pour une cartographie des récits de soi: de l’autobiographie aux webcams” of the Annual Congress of the APFUCC, Congress of Humanities and Social Sciences, University of British Columbia, Vancouver, Canada, 1-4 June 2019.
  • “Recycling vernacular video from areas in social and political conflict”, lectured at the conference ‘What is Radical film? – Radical film Network Meeting’, organised by Julia Lazarus and Ursula Böckler in cooperation with the Harun Farocki Institute, at the Silent Green Kulturquartier, Berlin, 2-5 May 2019.

PERFORMED, VIDEO or NON-ACADEMIC LECTURES

  • Participation in a round table around the film “HUA HUA’s Dazzling World and its Myriad Temptations” as part of the carte blanche at the feminist film club TONNERRE of @clitrevolution at FIFIB Bordeaux, October 2022.
  • Participation to the round table “Documenter, expérimenter et réfléchir les socialités numériques”, international conference Remodeler nos interactions numériques. La subjectivité à l’ère du post-cinéma, Centre Pompidou & Columbia Global Center, Paris, 22-24 may 2022.
  • Performed lecture « Heureux qui comme Dylan », international conference Images en tr@nsit, Aix Marseille Université, 27-29 April 2022.
  • Performed lecture ” CINEMA ft. Yellow Vests – We’re coming to get you at home (Remix)”, with Seumboy Vrainom :€, in the international conference “La manifestation politique au cinéma. Continuités, ruptures, détournements de l’expérience contestataire “, organized by Camille Bui and Raphaël Jaudon, at the University Paris 1 Panthéon-Sorbonne, on January 31st and February 1st, 2020.
  • Video lecture “Video en mp plz: porno-politics of the visual virtual”, with Allan Deneuville, in the international online conference “The circulation of images”, organized by the Center of Excellence Jean Monnet IMAGO (Paris, École normale supérieure) and the the University of Geneva (Chair of Digital Humanities), in partnership with Purdue University and the Beaux Arts de Paris, 15-18th June 2020.
  • Participation in the online round table « Appropriation of domestic cinema » organised by the FICC – Festival de Cine de Cartagena (Spain), 25th November 2020.
  • Presentation, with Allan Deneuville, of the activities of the association After Social Networks, Rencontres ArTeC, 6-7 October 2021, La Gaîté Lyrique, Paris.

PUBLICATIONS 

  • « Salir del scroll. Por una mirada offline sobre la imagen digital » (« Getting out of scroll. Towards an offline gaze on the digital image »), introduction of the 34th issue of Contratexto, « Reinventions and new poetics of cinema in the post-internet era », Department of Communication, University of Lima (Peru). December 2020.
  • « Contes d’été virtuels. Le surcyclage de la vidéosphère dans Roman National», in Rodolphe Olcèse, Vincent Deville (eds.), L’art tout contre la machine, Paris, Éditions Hermann, 2021.
  • « Du vernaculaire comme genre cinématographique », Interfaces Journal, nº42, december 2020.
  • « Notes on the role of the camera within a (virtual) war », Digital War 1/1, January 2021.
  • Notice « Recyclage », in Roberto Barbanti, Isabelle Ginot, Makis Salomos, Cécile Sorin (eds.), Arts, écologies, transitions. Construire une référence commune, London, Routledge, 2022.
  • « Common Images. What post-media does to cinema », in Post-mass-media and participation, Augenblick Journal, n.80, 1/2021.
  • « La pratique du remploi face à internet », in Captures d’Ecran, Crisnée, Éditions Yellow Now, mai 2022.
  • « Flux numérique, flux de pensée. L’essai numérique comme poétique de la navigation à l’ère du capitalisme cognitif », in Langlet, Irène et Ouaked, Chloé (eds.), L’Essai médiatique, coll. Savoirs en textes, LISAA, 2022.
  • « Sexe, mensonges et vidéo. Vérité et visibilité de l’intime en régime porno-médiatique », avec Allan Deneuville, Revue Écrans, Classiques Garnier, avril 2023.
  • « Un hombre visto de lejos. Animismo y ecología en Histoires de glace », in Albornoz, Ignacio, Pinto, Ivan (eds.), Raul Ruiz. Elogio del barrio, Metales Pesados, Santiago, mars 2022.
  • « S’approprier l’effondrement », co-written with Deneuville Allan; Papillon, Ariane; Sorel, Ysé, in Marges, 35, L’art face à l’urgence écologique, 2022.
  • « Do incels dream of computational capitalism? On feminist film at the dawn of a new (statistic) misogyny », in Julia Lazarus, Ursula Böckler (eds.) Radical Film at the dawn of a new society, k-verlag, Berlin, 2022.
  • « Un âge de nouvelles enquêtes? », with Allan Deneuville and Jacopo Rasmi, in Revue Multitudes nº89, december 2022.
  • « Temps réel, illusion d’immédiacie et sousveillance: le cinéma face à “l’image que jamais nous ne verrons deux fois” », with Ariane Papillon, Revue Études Digitales, 2023.

NON-ACADEMIC PUBLICATIONS

EDITORIAL WORK

ORGANISATION of SCIENTIFIC and ARTISTIC EVENTS

TRANSLATION

  • Images (à suivre), Marie-José Mondzain, Ed. Metales Pesados, Chile, 2022. Co-translated with Ignacio Albornoz.