En La tierra que respira, el ritmo visual destilado por las propias imágenes toma posiciones para dar paso a la literatura corpórea como método de análisis forense de las huellas de los monumentos desmoronados. Sky Hopinka (Ho-Chunk/Pechanga) se mueve por la tierra para aprehenderla mientras busca el aliento de la lucha colectiva entre los márgenes de los documentos y los archivos sin importancia histórica oficial. Colectivo los Ingrávidos (Tehuacán) captura la lucha en carne viva, liberándola del tamiz mediático. Unidos por los extremos opuestos de una misma tierra, el resplandor del mito primordial y el pasado colonial se reflejan en las grietas del presente a través de una poesía visual que libera la tierra tomada.
This was a program in two parts:
PART 1: Cineteca Nacional de México, Mexico City (November 7, 2019)
When you’re lost in the rain (2019) by Sky Hopinka; La región más transparente (2019) by Colectivo los Ingrávidos; I’ll Remember You as You Were, not as What You’ll Become (2016) by Sky Hopinka; Pirámide Erosionada (2019) by Colectivo los Ingrávidos; Anti-Objectos, o espacio sin camino ni límite (2017) by Sky Hopinka, 2017; Soldadera / Percusión Visual (2014) by Colectivo los Ingrávidos
PART 2: La Cueva (microcinema), Mexico City (November 8, 2019)
Cloudless Blue Egress of Summer (2019) by Sky Hopinka; Nos han dado la tierra (2013) by Colectivo los Ingrávidos; Dislocation Blues (2017) by Sky Hopinka; Conflagración (2017) by Colectivo los Ingrávidos
* Both screenings were followed by a public discussion with a member of Colectivo los Ingrávidos.
Images that Breathe: Radical Memory in Times of Amnesia, a selection of belit sağ’s work including her activist video work as a member of the video collective VideA during the early 2000s in Turkey, found footage short videos and her more recent video essay work. The screening was followed by a public discussion with belit. UnionDocs, Center for Documentary Art, New York City (September 8, 2019).
Images are alive like the stories that they contain. They can be felt, smelt, touched, squeezed and heard. The evidence that each image holds varies depending on who is telling the story. For filmmaker belit sağ, images are durational points in time that can be rewound and forwarded. Through retelling, gesture, collage, and text, belit resists institutionalized history, examining how ideology is embedded in images. belit’s films ask what responsibilities do we have as viewers? What are the parameters of vision that guide us? Her expanded viewing proposes a personal, meditative exercise that invites the viewer to defocus knowledge, to amplify things that are overlooked, left on the side, or simply ignored. belit’s films create an open playground where knowledge is generated through the friction between facts and subjective fictions. Memory displays itself as a modular space of interconnections and storytelling becomes a closer way to look at facts.
my camera seems to recognize people (2015); cut-out (2018); Turks! (2011); 27-28-29 Haziran 2004 NATO Istanbul (29 haziran 2004) by VideA (2004); thank you (2013); disruption / aksama (2016); Ayhan and me / Ayhan ve ben (2015); past forward (2013); Kirk kere söylersen… / If you say it forty times… (2017); geriye kalanlar / what remains (2018)
The division of Love Within capitalism the division of labor is a form of economic control that transcends all aspects of society. The films presented in “The division of Love” unearth the artificial relationship between social and economic powers. Proposing a conversation between the work of Amber Bemak and D’Angelo Madsen Minax, the program focuses on the creative process that emerges from intimate collaboration, considering Love as a sentiment that is simultaneously fulfilling, painful, and hopeless. In their films mythology, failure, performance, fantasy, queer and trans embodiment, show Love as a form of resistance that disrupts the normative order of things. At the Baltic Analog Lab in Riga, Latvia (August 13, 2019).
Airplane Dance (2013) by Amber Bemak; Because of Us (2017) by D’Angelo Madsen Minax; Borderhole (2017) by Amber Bemak and Nadia Granados; The Eddies (2018) by D’Angelo Madsen Minax; Separation of the Earth (by Fire) (2014) by D’Angelo Madsen Minax; The Source is a Hole (2017) by D’Angelo Madsen Minax; and Goodbye Fantasy (2018) by Amber Bemak and Nadia Granados.
Intimate Topographies proposes alternative archival practices that account for histories of queer sexuality through spatial mapping. Landscape becomes a generative tool to think through practices of queer filmmaking and to go beyond into the creation of productive imaginaries. This program shows how exploration, uncertainty, human desire, and gender performativity, can produce work that proposes intimacy and sensuality as forms of remembrance. The double program is part of Kino stovykla (Cinema Camp), Salos manor, Lithuania (August 8-11, 2019).
Part 1: jeny303 (2018) by Laura Huertas Millán, The Eddies (2018) by D’Angelo Madsen Minax (the filmmaker is present), Strangely Ordinary This Devotion (2017) by Dani Leventhal ReStack & Sheilah ReStack, and It is April (2017) by Rindon Johnson
Part 2: Tell Me When You Die (41 min.), a trilogy by Amber Bemak and Nadia Granados followed by the discussion with D’Angelo Madsen Minax and Amber Bemak
On Duty & Spirit: An Evening with Reece Auguiste including Stillness Spirit (unreleased) and Duty of the Hour (2015), On Film screening series, University of Rochester (February 28, 2019)
Jury program for The Florida Experimental Film/Video Festival (FLEX), Tampa, Florida (February 8, 2019), including the work of Beatriz Santiago Muñoz, Parastoo and Faraz Anoushahpour, Laura Huertas Millán, Mounira Al Solh, Ja’Tovia Gary, Colectivo los Ingrávidos, and belit sağ. This program presents films that magnify the intensities and contradictions of shared history and shared intimate relationships considering how visual historiography provides points of entry to explore the relationship between our surroundings and our psychic spaces.
Curator of Weightless Present, a selection of works by Colectivo Los Ingrávidos, as part of The Alternative Film/Video film festival, Belgrade, Serbia (December 13, 2018).*Acción Cultural Española (AC/E) supported my participation in the Alternative Film/Video Festival through the Programme for the Internationalization of Spanish Culture (PICE), in the framework of Mobility grants.
Curator of Just Leave Me Alone, as part of the Curatorial Incubator v. 15, What the F**K?!: Video in the Age of Sublime Uncertainty, VTape, Toronto, ON (December 1, 2018), including the work of Larissa Sansour, Cheryl Rondeau, Serena Lee, Marnie Parrell, Emily Vey Duke and Cooper Battersby, Mary Kunuk, Nahed Mansour, and belit sağ. The films of this program disrupt and question the representational codification of fear and its implications across language, media, and social performance. Together they form an array of affectively mediated textures and raw experiences. Techniques of embodiment and direct experience function to defuse the powerful nature of fear and anxiety
Guest curator of the Reapropiación/Found Footage section of ULTRAcinema 2018, Xalapa, Mexico (November 22-25, 2018). The selection of the final two programs was done in collaboration with Azucena Losada and Michael Ramos Araizaga. REAPROPIACIÓN I / REAPROCIACIÓN II
Programming Committee member of the 53rd Media City Film Festival, Windsor-Detroit (November 7-10, 2018)
Co-Curator, with Herb Shellenberger, of Common Visions, aemi, The Guesthouse, Cork, Ireland (April 11, 2018).
Programmer of the screening The Dance of Memory / La Danza del Hipocampo (2014) by Gabriela Domínguez Ruvalcaba for the Women’s History Month Film Series 2018: Women Who Fight, The Little Theater, Rochester (March 22, 2018)
Co-Curator, with Herb Shellenberger, of Common Visions, Flaherty NYC series, Anthology Film Archives (Winter/Spring 2018)
Collective Programmer of Documentary Attunements, including a guest lecture by Pooja Rangan, Assistant Professor of English and Film and Media Studies at Amherst College, and a 16mm screening of Goodbye CP / Sayonnara CP (1972) by Kazuo Hara, On Film screening series, University of Rochester (February 19, 2018).
Collective Programmer of Immigration and Displacement, works by Emily Hong, Miasarah Lai, and Mariangela Mihai and Yervant Gianikian and Angela Ricci Lucchi, On Film screening series, University of Rochester (April 17, 2017)
Co-programmer, with Deborah Stratman, of Thin Places: Works By Deborah Stratman, University of Rochester (April 13, 2017)
Co-Programmer of Women’s History Month Film Series 2017: Trailblazing Women, The Little Theater, Rochester (March 5-26, 2017)
Collective Programmer of Queer Longings: Narratives of Desire, works by Jenni Olson, Dani ReStack, and Jared Buckhiester, On Film screening series, University of Rochester (November 29, 2016)
Collective Programmer of Voicing On Film, works by Chantal Akerman, Mounira Al Solh, Jayce Salloum, and Mónica Savirón, On Film screening series, University of Rochester (February 18, 2016)
Collective Programmer of Ben Russell’s The Garden of Earthly Delights, with Ben Russell in person, On Film screening series, University of Rochester (April 16, 2015)
Godina & Marc on Film, screening programmed and presented by Jurij Menden, On Film screening series, University of Rochester (March 30, 2015)
Andy Warhol’s Sexy Silent Films, screening programmed and presented by Douglas Crimp, On Film screening series, University of Rochester (November 6, 2014)
Programmer of the London Spanish Film Festival Short Film Section (2012-2016)
Co-curator, with Julian Ross, of Seasons Inter View. Takashi Makino for Zipangu Fest at Apiary Studios, London, UK (November 2011)
Co-curator, with Julian Ross, of Enter the Cosmos: Takashi Makino for Zipangu Fest at the Institute of Contemporary Art (ICA), London, UK (November, 2011)