Experimental Film

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

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

"A film about the time of the blast furnaces — 1917-1933 — about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction. This essay... on heavy industry and the gas of the blast furnace, convinces through the author's cool abstraction and manic obsession, and through the utilization of a single example of the self-destructive character of capitalistic production: 'The image of the blast furnace gas is real and metaphoric; an energy blows away uselessly into the air. Guided through a system of pipes, the pressure increases.

Petrolia takes its name from a redundant oil-drilling platform set in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years.

2005-2007 What is explained can be denied, but what is felt can't be forgotten. -- Charles Bowden Ghost: the outward and visible sign of an inward fear. -- Ambrose Bierce

Part of paraconsistent sequence series and the hauntology series.

Part of paraconsistent sequence series.

“Spellbeamed uses the acts of translation and transcription to amplify the questions: ”what is a score?” and “what kind of musicalities can be transmitted through extended ideas of scoring?” The inspiration for the piece was the archival collection of the great literary and cultural critic Walter Benjamin. The Benjamin Archive is a collection of texts, lists, commentaries, scraps, markings, dreamy musings, constellations, word fragments, toys, postcards and books.

Polished obsidian mirrors, tezcatl, were once used in ancient Mexico for divination, to traverse into the worlds of the gods and ancestors.

Through the obsidian mirror, the solar and lunar ritual used to be a celestial dance. In Ritual, suns and moons whirl around, glowing brighter as their paths cross.

1968 was the opening of the Summer Olympics in Mexico City, ten days after the massacre of students and civilians by military and police on October 2 in the "Plaza de las Tres Culturas, Tlatelolco."

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

The supposed existence of a golden kingdom motivated numerous expeditions, and the belief remained in force until the 19th century, although its location moved from Colombia to the Guianas, as the process of conquest and colonization of the South American territory progressed. A journey and a drift from extractive colonialism that is far from over.

Part of paraconsistent sequence series and the hauntology series.

"A meditation on history, memory, and change in Central and Eastern Europe, Buried in Light is a non-narrative journey, a cinematic collage. Cohen’s “search for images” began at a time of extraordinary flux, as the Berlin Wall was dismantled—opening borders yet ushering in a nascent wave of consumer capitalism. What he saw struck him as a profound paradox: the moment Eastern Europe was revealed was simultaneously the moment it was hidden by the blinding light of commercialism.

Born out of an "objective hazard" (a 16mm roll where two different subjects were imprinted by mistake), jeny303 is a composite work intertwining two portraits. On the one hand there is jeny, the feminine alter ego of a transgender millennial dealing with a heroine addiction. On the other hand there is the 303 building, an iconic modernist architecture in a public university in Bogota (Colombia). The images of the body and the edifice interlace and depict jeny303, a character on the threshold of a transformation to come.

Part of paraconsistent sequence series.

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.

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

This film was made from The New York Times newspaper articles. The semi-automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

The computer animation was transferred to one 100ft roll of 16mm Tri-X reversal film and then hand-processed. The reversal negative is the original.

Producer/ Director: Sabine Gruffat
Hand Processing: Matthew Kelson

Go-Rilla Means War is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant, Brooklyn. After finding the film unfinished and un-canned on the floor of The Slave Theater, Campbell collaborated with the unknown director (presumably amateur filmmaker Judge John Phillips who owned the Slave Theater) to finish the film.

We hear a female voice with a subtle Jamaican accent speak about her life. Sometimes we see an image; a bird, two birds, fire, someone digging a giant hole, cake, a red anvil with an effervescent essence, and sometimes we are left in the dark with only our imaginations in this sound-driven video. Along the way we consider the nature of human existence, the transfiguring power of sex, and the physicality of words.

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).

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

Colonial Transfer vindicates the eidetic chasm that produced the arrival of television in the cinema as well as the absorption, transduction and digital expansion of television and historical film archives, all linked by the negentropic outburst of a source code in trance. This is the state of ever-expanding media landscape in the post-covid quarantine. Our state of space-time.