Art Collective

Private Parts is a document of a police raid on an alleged pornographic photography exhibition organized by Rhode Island School of Design students and hung in the Electron Movers* gallery at 128 North Main Street in Providence, Rhode Island. The intent of the photography show was humor, but the meaning of the exhibition was misconstrued by powerful Providence citizens – who hadn't seen the show – and a police raid was the result. The night before the opening, an officer was sent to evaluate the show and, finding nothing wrong with its content, info

This is the gaze that is reflected in the dark obsidian mirror.

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.

Radio reports analyze staged photographs we do not see, showing the victims of a mass murder committed by Mexican soldiers. The politicization of the film accounts for the duality between framing and mis-framing, and also shows the overflowing character of a process of transit.

Part of paraconsistent sequence series.

This is an audiovisual manifesto in support of people in resistance against a military coup.

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.

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.

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.

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.

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.