Art Collective

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.

Part of the paraconsistent sequence series.

A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.

This is the third part of the hyperkinetic still life. This triptych is part of the Hyperkinetic and Hauntology film series.

A rhythmic constellation of a proletarian figure.

An elegy to the popular demands against ominous social and political events in the recent Mexico.

A wonderful and humorous example of early image processing, Parry Teasdale and Carol Vontobel perform to camera as their faces are morphed together, forming an image of one person. 

Part of paraconsistent sequence series.

Part of the paraconsistent sequence series.

In a radical action like Nam June Paik destroying a violin, and rolling up in bandages the bodies of the players in in a concert by Yoko Ono, the international avant-garde group Fluxus changed not only art, but the concept of it.

Part of the paraconsistent sequence series.

Comalli is the ancestral tool to cook our sacred food, our corn and tortillas. The circular tool that represents the dark side of the moon on which our earthly food burns. The cosmic dance of food and fire that nourishes our bodies. Part of the Lunar Films series.

Altares is an audiovisual shrine composed of small temples that contain images of ancient deities.

A contemporary vision of the ancient valley of Anahuac. It has been integrated into the life of the current city of Mexico.

This is the clinamen of our times, sparkling bodies into the spiral vortex as well as its chaotic spatial present. Part of the Scattered Geology Audiovisual series.

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.

These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence. Here our point of view sparkles under the spell and trance of things gathered, fallen, yielding, pluvial, Mesoamerican wind, goddess breath, breeze of sticks. percussive woods.

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

Notes for a DejaVu is a paramnesic experience of the images where Jonas Mekas still lives and we can hear him comment on the memory of an imaginary trip to Mexico. This film is shot with an expired 16mm celluloid during a popular protest. This is a movie that remembers. This is a political movie.

Under the spell of Toloache, the hypnotic images come up.

These are icebergs in the night, spilling and melting their dense materiality over the frame of Western rationality. A hyperkinetic reminiscence of the last night of the Titanic.

A call from the beginning, the ancestral water, the everlasting belly from where life cries out.

Taped on Prince Street in Soho, New York City, Skip Blumberg creates a one-word performance. Shouting the word "money" over and over, he attracts the attention of New York's finest. The video crew attempt to explain to the policemen that there is no public disorder as the streets were empty when they began to tape.

The video is an unwitting early example of the reaction of the state to the use of video cameras on the streets.