An all-over textile constructed under the spell of Arachne, an audiovisual textile in five parts that exposes a web of raids in construction over the american houses, a landscape of protests under the webs of segmented time, the entrails of the american factory in movement through the endless american party.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

This is the audiovisual translation of the Walter Benjamin's Theses on the Philosophy of History.

Part of paraconsistent sequence series and the hauntology series.

This is the burial hymn for thousands of souls in the anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

This is Rothko's haunted painting and its circular detour. Bloody suppuration and enchanted absorption as an omen in times of pandemic vortex.

This is the crude and unnatural state of civilization, an image not yet processed or refined that hides and displays in its intermittence all the crude violence of the anthropocenic industry. The raw and fossil image of the Capitalocene. Part of the Hauntology series.

A Kafkian vision of the New World. The arrival of Karl Rossman to the contemporary Babylon under the spell of the paranoid avant-garde. Kinetic coexistence of the archaic forms in dissolution.

First of all: a dissolving is a structural device of the history of audiovisual language. Second: this piece is about a rearticulation of the dissolving device that captures the ominous historical and political events in recent Mexico.

Part of paraconsistent sequence series and the hauntology series.

A figure crosses, runs and flees through the cinematic space, there is no way out. The imminent catastrophe looms. With images by Dovjento and music by Stravinsky. Part of paraconsistent sequence series and the hauntology series.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the Olympic Games. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction. Part of the Hauntology series.

This is Warhol's haunted painting and its circular detour. Oily and greasy suppuration, as well as enchanted absorption as a harbinger in times of pandemic vortex.

In Hyperthermia the cinematic body becomes overwhelmed by the luminous projection of outside political factors, causing the internal temperature of the celluloid to rise to dangerous levels.

The Erosions series develops the concepts of oxidation, wear and entropy from an audiovisual and cinematographic perspective.

Other works in the Erosions series include Barranca and Viral.

This is the state of mind in the post-Covid quarantine. This is the state of the body into the pandemic vortex. This is our post-Covid eyes. Part of the Hauntology and Post-Covid series.

The perception of machines' movement within industrial work.

Part of paraconsistent sequence series and the hauntology series.

Part of paraconsistent sequence series and the hauntology series.

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

The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.

Pandora is one who communicates to the human world the powers of the night. These are glimpses of her visions.

This is the burial hymn for thousands of souls in anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.

Part of paraconsistent sequence series and the hauntology series.