Los Ingrávidos

Mexican Erotica is a collective reappropriation film that explores sex and eroticism from various artistic and aesthetic points of view. A journey of textures, sensations and unmissable pleasures.

This is the vision from the “chinampas", the hectic life in the floating gardens, an ancestral system of audiovisual planting.

Part of paraconsistent sequence series. “A paraconsistent logic allows inconsistency without absurdity.” The works in this subcollection contain contradictions of time and place, reorganizations of past, present and future.

A voice for which an event impossible to internalize remains distant. An event that in its distance does not cease to make the narration of something that should not take place anywhere foreign. The military massacre against unarmed students in 1968.

Coral is part of the harmonic and hyperkinetic colors film series. In this part the transcendental experience of his harmony leads us to an aesthetical suspension of content. Part of the Harmonic and Hyperkinetic Color Film Series.

Short glitch video from Los ingrávidos.

No description available.

Short glitch video from Los ingrávidos.

A dissemination of suspended bodies in the liminal space.

This is the disappearance of the voice and the sound persistence of a flatline. A brief elegy for those who remained static and without assistance through the looking glass. This film is part of Hauntology series.

Short video from Los ingrávidos.

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.

This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.

Irradiation is the thermal emanation of vital heat, the ancestral support that immerses beings in the solar blood. This is the immersion of beings in the bloody solar flow that gives the intense color of our present time. Part of Tonalli.

Filmed in Kodachrome from 1959 exposed during the Mexican demonstrations organized during the International Women’s Day in March 8th, 2017 in Mexico. Corroded emulsion film, affected by a voice-event that recounts the ominous events that occurred at the beginning of May 2006 in San Salvador Atenco, when the government repression obscured the resistance voices of the people.

Part of paraconsistent sequence series. “A paraconsistent logic allows inconsistency without absurdity.” The works in this subcollection contain contradictions of time and place, reorganizations of past, present and future.

This is the hauntological image of the sacred Mesoamerican snake. The contemporary flickering of his shamanic presence. Part of the Hauntology nests.

Coyolxauhqui is a searing evocation of femicide in rural Mexico. It recasts the dismemberment of the Aztec moon goddess Coyolxauhqui by her brother Huitzilopochtli, sun, human sacrifice and war god. A visual poem about the cyclical nature of traditional myths and rituals, Coyolxauhqui is part of a trilogy that proposes itself as an act of political resistance, exploring the connection of current Mexican femicides to larger cultural formations.

During a press conference, Governor Javier Duarte de Ochoa announces an ominous “soliloquy” where he makes a sinister warning to journalists and the media of the State of Veracruz. Using the formal dimension of dubbing, as well as its associative, evocative, resonant and translating possibilities, this work explores through film the words of the ruler, establishing an asynchronous link and a time lag that puts on stage the grotesque expressionism of a governmental discursive delirium.

A cinema shot. The relationship that a shoot-out has with the image becomes somewhat different; the celluloid no longer supports, at 24 frames per second, the representation of a shooting, either acted or documented, but the celluloid has now become the direct carrier, the affected, in the shot in each frame.