Experimental Film

This is the path from the snake’s perspective.

A two-headed calf died when one head atrophied. It became a trophy that the artist used as a source for this 16mm film transferred to video.

This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.

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.

Performers throw themselves into an underground passageway. They exit through the mirror, a symmetrical mirror world which exists because of the placement and angle of the mirror as an upside-down place.

Performers: Ellen Krueger and Monica Wilson

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.

After the ominous attack that the paramilitary and police corporations carried out on September 26, 2014, in Iguala, Guerrero, the student Aldo Gutiérrez Solano remains in a coma until today. A brief homage to the resistance of the body fighting against power.

Lead is a tale of an early 20th Century Robin Hood, based on a story by James Williams, involving jumping trains and throwing coal off for needy Southerners.

Cast: Chris Barkley, Hassen Mahamud, Kenny West, James Williams. Cinematography: Jonathan Taee. Sound: Ayesha Ninan.

This title is only available on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.

Set between Swaziland and South Africa, in a region still struggling with the divisions produced by an apartheid government, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as the borders of consciousness dissolve and expand. Equal parts documentary, ethnography and dream cinema, herein is a world whose borders are constantly dematerializing.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Players: Trina Vester, Karin Westerlund, Lise Kelleman.

Shot on location in Kobenhavn.

Done To (alternately titled It Is, Done To) consists of simple still-frames accompanied by a complex, incongrous soundtrack, or silence. There are instances where image and sound coalesce; however, the majority of the images are overwhelmed by the at-times symphonic, at-times cacaphonous soundtrack, displacing the normal film viewing experience. The standard film format of going from frame to frame — and then and then and then — is what this film is concerned with.

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

This portrait is not simply an account of Simone Weil’s life, but rather the skein of her ideas. The “unoccupied zone” is therefore only marginally meant to refer to the southern part of France under Vichy. It is more importantly an existential labyrinth imaged by the film itself; a psychic space through which Weil passed while in exile in her own country.

Between the Frames is a series that offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.

The Critics: Between the Frames, Chapter 6

This is the invocation to the ancestral god of the underworld, the ancient annihilator, which preserves the ritual inertia of the bones and stones.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

Bracketed by the Fall of Berlin Wall and the Collapse of the World Trade Center, a decade that saw the ossification of the neoliberal project, the rise of third-wave feminism, the proliferation of digital media, and even, perhaps, the “end of history": postmodernism; the emergence of internet; the commercialization of gangsta rap, and independent film; AIDS activist; digital cinema, the Gulf War; rave and riot grrrl cultures; reality television; MTV. A new diagrammatic system.

The magic life of the objects reanimate the ancestrality of the aesthetic of dream.

Wittnerchrome, Exacto Knife, Fishing Line, Sewing Machine

The secret history of hobo and railworker graffiti. Shot on freight trips across the western US over a period of 16 years, Who is Bozo Texino? chronicles the search for the source of a ubiquitous rail graffiti--a simple sketch of a character with an infinity-shaped hat and the scrawled moniker, "Bozo Texino"--a drawing seen on railcars for over 80 years.

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.

Part of paraconsistent sequence series.

A poetic meditation on distance, Come Closer is a short and peripatetic film, casting an affective web between the locations of Lisbon, San Francisco and Brazil. Focusing on Brazilian-Algerian filmmaker Karim Aïnouz, musician Derrick Green –– the filmmaker’s brother and lead singer of Brazilian band Sepultura –– and her own work produced in Lisbon since 1992, Come Closer can be thought as a meditation on friendship and saudade.

Documentation of performance. Slow-motion dance move.

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants. Using a voiceover narration that collages direct observation, literary texts, historical fact, local folklore, and a bit of sheer fabrication, the film/video melds documentary and narrative, past and present.