Art Collective

Planetary battle over the porous body of the earth. This is the battle of the Earth.

Part of the paraconsistent sequence series.

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.

The word-based art and performances crafted by world-renowned artist Alison Knowles (b.1933) are central to the 1960s international Fluxus movement and its enduring legacy. Describing her experience as a student at Pratt University in the 1950s where she learned from Richard Lindner and Adolf Gottlieb, Knowles recalls her transition from Abstract Expressionist painting to the chance operations initiated by John Cage and Bertolt Brecht.

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

At this time even the flowery wars are ready to begin and the flowery atavism begins to flash. The flowers, the skulls, the moon and the sun are ready for the sacrificial trance. Part of Tonalli.

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

Here, a double morphology of conversion forces us to think about the trance of non-reconciliation, outburst and trance that go through the centuries of colonial violence until reaching us in the tension of an audiovisual disjunction: visible and enunciable. On the one hand the museum, habitat of barbarism, on the other hand the voice, place and body of the furious testimonial. Religious conversion that conveys communal violence. Archaeological conversion that imposes object immobility.

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 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.