Latitude > Mexico
Erasure, capture, interruption
Guest program @ the mini microcinema (Cincinnati, OH) on March 17, 2016
Latitude stands for a range of exposures and acceptable error, freedom of action and the parallels that map a territory north and south of the equator. This program surveys experimental film and video from artists born or based in Mexico exploring the materiality of media, the social and political ramifications of precariousness, the obfuscation of memory and the eventness of urban and rural landscapes. Different generations and artistic practices are convened to highlight Mexico’s local and global audiovisual imbrications. TRT: 124 minutes
Julián Etienne & Juan Pablo González
All Water Has a Perfect Memory
2001|19 min|super 8mm
A girl drowns at the pool. Sound recordings, photographs, home movies and fabricated images attest the caesura that remembrances attempt to suture.
The End of the Existence of Things
Dalia Huerta Cano
As a uninflected voice accounts for a lost relationship, the images instill an enigmatic sense of warmth. A love letter to pain and loss soothed by the irrefutable permanence of the cinematic image.
An intimate and poised portrait of a neighborhood before its imminent disappearance.
‘On the Road’ by Jack Kerouac
The kinematics of typewriter and film meet in the transposition of Jack Kerouac’s On the road to a celluloid strip. A lettrist poem to modernism’s last inscription machines.
Impressions for a Light and Sound Machine
2014|7 min|16 mm, HD
The print of a melodrama from the Golden Age of Mexican Cinema is made to experience the harrowing pain of disappearances as punctuated by María Rivera’s rendition of ‘The Departed’ at a rally against violence.
2014|28 min|VHS, video 8, Hi8 D8, DV, AVCHD, 3 GP, AVI, Mpeg4, super 8mm
A revision of a decade’s worth of materials recorded across countries, occasions and formats; an audiovisual fugue on departure and return; a political-aesthetic call to resignify the unfathomable banks of moving images.
Genaro gathers discarded objects before the camera at the end of the day. His images are found while digitizing materials produced by Video Tamix, an indigenous media organization. The process repeats, remediated.
A road trip/performance from Oaxaca to the Texas border retracing the drug trafficking route travelled by Pedro Vásquez in the 1980s. The artist documents Pedro’s imagined landscape, one whose pastness could not seem less distant.
Someone Behind the Door
Alertness is the state of exception’s preferred mode of interpellation; mundane objects and events become ominous and the slightest social critique is branded as terrorism.
Melanie Smith with Rafael Ortega
2002|6 min|Betacam S.P.
Mexico City, subject to erosion caused by human and non-human actors alike, lies at the bottom of a drained salt lake. The film is a testament to the social experience of the city and its abstract mass.