Part of paraconsistent sequence series and the hauntology series.

Part of paraconsistent sequence series.

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

A lighting psalmody by the current Mexican conflagration. Light through the veins.

Part of the paraconsistent sequence series.

In this interview with Melika Bass, a Chicago-based filmmaker and installation artist, Camilo Restrepo discusses how he became a filmmaker and how he chooses to document his native home of Colombia. After pursuing a degree in painting, Restrepo got a “regular job” but found himself pulled back towards creative pursuits. Equipped with a Super 8 camera, he set out to document his home honestly, and without an excess of materials.

Part of paraconsistent sequence series and the hauntology series.

This is the ritual consecration to the moon, on whose eroded surface the colorful blood of the fruits is poured, which is also our pulsating blood disseminated in the celestial body of the moon. Sparkling bleeding body that crosses the dark space of our present times. Part of the Lunar Films series.

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.

A look at the town of Rome N.Y., including an arts panel visit to the Art and Community Center.

We came into the world under the sign of Saturn, the star of the slowest revolution, the planet of detours and delays. Saturn pulls the word down into its vortex and turns the flow of events into rings, lines and particles. There we are all invisible. There we have no face. There we have no name. There our present seems suspended. There we are all limbo.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

Part of paraconsistent sequence series.

These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. Our communal Selfie. So is the rest of the Capitalocene civilization.

These are the remnants of mass culture in the collective unconscious that spill into reality. Part of the Hauntology and Post-Covid series.

In this interview, Indian artist Shuddhabrata Sengupta (b. 1968) discusses his role in the initiation of the Raqs Media Collective, a Delhi-based artist collective, active since the 1990s. At the time of this interview, Raqs had been creating documentaries, art installations, and educational programs for eighteen years. Sengupta likens the driving force of Raqs to that of a game of catch, a process generated by a back-and-forth dialogue mobilized through writing and in-person meetings. As children of the late sixties, Sengupta explains how and why the members of Raqs, (himself, Jeebesh Bagchi and Monica Narula) share an interest in investigating mass communication, technologies of visibility, and the significance of memory and travel. It is also for this reason, Sengjupta explains, that the Collective’s work is committed to fostering rigorous research in addition to art-making endeavors.

Sensemayá is a shamanic composition, an ecstatic dance, and ritualistic spell which distills and exudes the kinetic motion of the ancient snake that inhabits our present dislocated times. Shifting from the poetic to the unsettling and the foreboding, Sensemayá contorts and repeats its patterns, pulsating images that feel out of time, encompassing the past, the present and the future.

Part of the paraconsistent sequence series.

Part of paraconsistent sequence series and the hauntology series.

A dissemination of suspended bodies in the liminal space.

Parry Teasdale, David Cort and Chuck Kennedy visit The Kitchen in New York looking for Shirley Clarke, and bump into Steina and Woody Vasulka who are overseeing a show in progress.  A few doors down they find Shirley in her studio, dressed in white and full of energy.