In these lunar paths the moon is the celestial body of brilliant colors that crosses with its cyclical and mythical dance the dark space of our present time and in whose dance the moon enters, moves away, approaches and lies on itself in a cycle rhythmic of celestial agitation. These are the shamanic ways of the moon. Part of the Lunar Films series.
This is the apparition, the ghostly flight over our present time of the infamous conqueror Pánfilo de Narváez. The exterminating angel of our times. Part of the Hauntology and Post-Covid series.
This tape documents Nancy Cain’s birthday party and captures the inner workings of the Videofreex’s social ethos. As pipes are refilled and passed around, and the music of Aretha Franklin and the Beatles croons in the background, members of the Videofreex take turns with the camera to experiment with the effects of light, proximity, and focus in the smoke-filled room. Activity includes brief clips of a television talk show host discussing current voting turn out, longer segments of close-ups of Nancy’s face, and Parry Teasdale’s attempt to continuously blow smoke into the viewfinder.
Part of paraconsistent sequence series.
Notes for a DejaVu is a paramnesic experience of the images where Jonas Mekas still lives and we can hear him comment on the memory of an imaginary trip to Mexico. This film is shot with an expired 16mm celluloid during a popular protest. This is a movie that remembers. This is a political movie.
Hirsch’s most ambitious film to date and the pinnacle of his trilogy, Nothing New depicts the epic rescue mission of a man whose parachute is caught on electricity power lines. Involving hundreds of participants in a desolate field facing the Jordanian border in the Jordan Valley of Israel, this communal cinematic endeavor aims to re-unite, if only for a brief moment, the collective spirit of the socialist Kibbutz movement in Israel, a movement that has undergone significant ideological modifications.
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.
A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times. Political faces accompanied by their corresponding dates. Peaceful figures whose placid portrait rests on the automated civilizational barbarism. This is part of the educational film cycle.
This is the gaze that is reflected in the dark obsidian mirror.
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.
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."
The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.
Pandora is one who communicates to the human world the powers of the night. These are glimpses of her visions.
A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop, a pure intensity which only appears when falling. In the presence of the image these audiovisual crowds become an affected body, assaulted by entropy. A face exhausted and reanimated by the continuous sound trance that traverses the battlefield. Faces for an eye that would not need to see.
This is the burial hymn for thousands of souls in anthropocentric times. The ghosts of the American way of life. Part of the Hauntology series.
Pitayas are the sacred Mesoamerican fruits that grow on Mexican nopales, an ancient plant. This is the colorful body, the vibrant blood and the radiant skin of the open life.
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.
Scratch of image. As a consequence of a global quarantine, an entire device emerged. With much of humanity locked up and eager for communication, a pandemic exhibitionism went viral. Covid-19 mobilizes an audiovisual pandemic. The result: a plague of viralized images.