Art Collective

Lunar Pond is part of an audiovisual series about lunar cycles and rhythms in an attempt to evoke, integrate and develop the mythical presence of the Aztec lunar goddess Coyolxauhqui, thus evoking the eroded contemporary landscape of our time.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

Part of paraconsistent sequence series.

This extensive interview with California artist Doug Hall (b. 1944) provides unique insight into the culture and politics of experimental artistic production during the 1970s. Discussing the founding of the performance group TR Uthco, Hall offers context for his contribution to the field of video art, and shares stories of his collaborations with Ant Farm, Videofreex, and others. Ranging from his early years as an art student, to his romance with artist Diane Andrews Hall, to reflections on technology in art, this interview importantly extends the discourse surrounding topics of archive, performativity, and autobiography—subjects that have come to define the contours of video art today. 

Sensemayá is a shamanic composition, an ecstatic dance, and ritualistic spell which distills and exudes the kinetic motion of the ancient snake that inhabits our present dislocated times. Shifting from the poetic to the unsettling and the foreboding, Sensemayá contorts and repeats its patterns, pulsating images that feel out of time, encompassing the past, the present and the future.

The Politics of Breathing: Tear Gas.

Part of paraconsistent sequence series.

Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances. Mothers and relatives of the disappeared participated in the "March of National Dignity. Mothers searching for their Sons, Daughters and Justice."

This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

This is the nest image, the camouflage image, the vortex image, the haunt image, the net image, the drill image, the wire image, the cocoon image, the haunted image, the interconnected image, the pandemic image. The haunted space of the image.

An audiovisual experience of the current Mexican war.

A cinematic place where the mountains crash into each other in a field of magma and fire. A landscape of events.

A brief glimpse of a confessional detour during a pictorial drift.

This is the path from the snake’s perspective.

The film suggests a link between three political figures from the history of Mexican resistance: the Soldadera (woman guerrilla fighter), the Zapatista (member of the Zapatista Army of National Liberation), and the Normalista (students from the Ayotzinapa Normal School).

Part of paraconsistent sequence series and the hauntology series.

The Erosions series develops the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective. This is Barranca (Canyon).

This tape documents Nancy Cain’s birthday party and captures the inner workings of the Videofreex’s social ethos. As pipes are refilled and passed around, and the music of Aretha Franklin and the Beatles croons in the background, members of the Videofreex take turns with the camera to experiment with the effects of light, proximity, and focus in the smoke-filled room. Activity includes brief clips of a television talk show host discussing current voting turn out,  longer segments of close-ups of Nancy’s face, and Parry Teasdale’s attempt to continuously blow smoke into the viewfinder.

Tortillas are an ancestral and sacred food, our transmuted corn. The circular nourishment that represents the luminous and colorful side of the moon on which our life is nourished. This is the cosmic dance of the colorful Tortilla with the hyperkinetic fire that sustain our bodies and souls. Part of the Lunar Films series.

Under the spell of the alphabet, the silent figures of a past that has not been forgotten persist, a pedagogical reconstruction of a contradictory nation in transit as well as the emergence of a background color that delimits the contour and the persistence of ancient figures that have not been forgotten. This is part of the educational film cycle.

A Japanese Kabuki-influenced performance piece, shot in the woods in Winter. A masked woman emerges from a snowy forest and approaches a stone dwelling, where another woman is waiting.  The pair enact a tea ceremony in silence. 

In the next scene the tea tray appears in the road, and then disappears after a car passes.  Image processing magic.

Please note, production year is approximate.

This is the arche-fossil and the presence of the decay-image rate of his radioactive nucleus as an omen of interesting times. Part of the Scattered Geology Audiovisual series.

A brief dialogue between Marianne Renoir and Pierrot and a short description-reading from ‘Pierrot le fou’ about Diego Velázquez – these intersect with a visual moment to constitute the outline of a perception and the occurrence of the idea of ‘el pueblo,’ of a meeting.

Part of the paraconsistent sequence series.

This is our contemporary Mesoamerican temple, restored from an asymmetrical and intermittent grammarchy in motion.