Cecilia Araneda 2015, <noindex srcset= photo by marcel beltrán” width=" height="398" /> Cecilia Araneda 2015 (photo by Marcel Beltrán)

Cecilia Araneda

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Cecilia Araneda was born in Chile and came to Canada as a child as a refugee. She grew up in northern Manitoba and currently lives in Winnipeg. She holds a BFA (hons) in Playwriting from York University (Toronto) and an MFA in Screenplay Writing from the University of British Colombia (Vancouver). Araneda is additionally a three-time alumna of the Film Farm.

Araneda has completed 14 short films as director to-date, which have screened at film festivals, artist run centres and art museums around the world, and which have been recognized with awards and distinctions in Europe and in the Americas.

Among the festivals that have presented her work include Visions du Reél (Switzerland), Ann Arbor Film Festival (USA), Jihlava International Documentary Film Festival (Czech Republic), Festival del Nuevo Latinoamericano (Cuba), Hamburg International Short Film Festival (Germany), Festival du Nouveau Cinema (Canada), and Images Festival (Canada).

Retrospective screenings of her body of work have been presented by the Canadian Film Institute - Café-Ex (Ottawa, 2010) and LIFT: Liaison of Independent Filmmakers of Toronto (Toronto, 2017), and are upcoming by the Winnipeg Cinematheque (Winnipeg, 2018) and Proyecto Corporalidad Expandida (Buenos Aires, 2018).

Araneda served as Executive Director of the legendary Winnipeg Film Group from 2006-2017, overseeing the organization’s evolution to supporting digital filmmaking and presentation, alongside its traditional strength in analogue forms; and conceptual expansion into a new organizational culture of inclusivity. Through her work for the organization, she supported the development of countless filmmakers who have gone on to national and international attention.

Araneda additionally served as VUCAVU's first Executive Director from 2017-2018, leading national research and organizational development within the emerging digital economy to create new opportunities for Canadian independent film and video through scale-based digital architectures and digital service solutions.

In 2005, Araneda co-founded together with Solomon Nagler the WNDX Festival of Moving Image, which has since become one of Canada’s most respected experimental film festivals. Araneda served as president of the board and member of the curatorial collective for its first nine years, and acted as festival producer for its first five.

In 2011, she was recognized by the Province of Manitoba as a woman media artist working for social change, nominated by MAWA: Mentoring Artists for Women’s Art.

In 2017, she served as the inaugural recipient of the LIFT: Liaison of Independent Filmmakers of Toronto Roberto Ariganello Award supporting the artistic practice of a non-Toronto Canadian filmmaker. She was also the recipient of the Manitoba Film Hothouse Award, supporting the ongoing self-directed creative development work of an established Manitoba filmmaker.

A practicing independent curator as well as a filmmaker, Araneda was also the recipient in 2017 of an international curatorial residency award with the FICWallmapu International Indigenous Festival in South America’s Mapuche Nation, funded by the Canada Council for the Arts.

In 2014 Araneda founded, together with interdisciplinary artist Praba Pilar and visual artist Monica Martinez, the time-limited Mujer Artista collective, a Winnipeg-based cross-disciplinary initiative to support the development of Latin women artists. “Speaking in Tongues,” Mujer Artist‘s collective show, was presented at aceartinc in January/February 2017.

Araneda is currently in development with a long-form experimental documentary film, Threshold.

Araneda is trilingual in (in order of dominance): English, Spanish and French.

Araneda works in video and film, in fiction, documentary and experimental modes, testing the image for what it tells us about ourselves – our past and how we imagine it in pieces and textures. Often in Araneda’s work, a fragment of a word or an image or a colour – red, for example – triggers an associational process of remembrance. To live with images which linger after the moment has passed: the signs of a presence and an absence. How we remember, how we forget, and the role of the image in stasis and unpredictable movement – these are the motors and the enduring questions of Cecilia Araneda’s memory work in film.