Tagged with Video

DESCENDING INTO MEXICO CITY No. 009: BERNARDO LOYOLA, AND AN ILLEGAL BORDER CROSSING PARK

Yep. Bernard is in town once again. But this time he is not only descending for tacos, but actually back in Mexico for good, after many years of living in NYC.

Which makes me very happy indeed. So as part of my own personal celebration, I am reposting a blog entry I wrote in Feb 2010 about a VBS.tv episode that Bernardo and I did together.

Enjoy.

(Y bienvenido señor!)

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Some months ago, I got a call from Bernardo Loyola–senior editor at VBS, (plus DP, occasional producer, also director and now a dear friend who brings gifts in the form of chocolates with truffle oil and sea salt when he comes to visit Mexico City).

He had just read an article of mine that was published in Vice Magazine, which started off describing a certain amusement park in a certain indigenous town:

(“There is a certain amusement park in Alberto Town, in the Mexican state of Hidalgo. It is run by hñahñu Indians. There, instead of the usual merry-go-round or what not, amusement takes a different turn: one can pretend for a couple of hours to be an illegal immigrant trying to get across the border. You will be chased for 18 kilometers; there will be shots, barbed-wire fences, cactuses, sirens, shouting, running for cover and even a theatrical death or two:  all for 25 bucks a head. It is a simulacrum of the “torturous travails of a ‘mojado’ crossing the border, with educational objectives”, the organizers have explained several times. Non withstanding its educational and entertainment value “for the whole family, sometimes people even bring babies, like in real life”, the amusement park has been criticized by some as so-called training grounds for people who are truly planning to get across the border; by others for treating lightly the terrifying ordeal that real immigrants go through, in search for something a lot more basic than the American dream: just plain old food on the table and a roof over their families heads.

The idea for the theme park—even if it is in central Mexico, far from the real border– was not gratuitous. The town’s number of inhabitants dwindled to a little over two hundred (compared to an average of two thousand in former years) because their population started immigrating to the USA. So a council was formed and they decided upon a strategy: to gather stories of people who have been there and done that, all while reviving an ecological park and guaranteeing steady income for their townsmen so they would no longer feel the need to cross the border; only pretend to everyday.  Almost 80 towns-people work there, don their police uniforms or become masked coyotes for the tourists as soon as the sun comes down, so they can imagine what the real thing is like.”)

So, yes, Bernardo had read this, and was calling from New York with a proposal: that we travel together to Alberto and do a 30 minute documentary for VBS.

And so we did. We ran in the dark for a few hours, huddled beneath the bushes,  hopped on ‘Border Patrol’ trucks with wailing sirens, heard stories of real crossings, and all the time our feelings verged madly between enjoying the surreality of it all and quietly pondering the complex social scenario at our northern border–so palpably visible in this small town–, mulling over questions with no easy answers. Bernardo, Rodrigo Teie (who assisted us with an additional camera) and I where in a thoughtful mood on our drive back to Mexico City.

No easy answers, no. But creative ones in Alberto: that, for sure.

Click, click click to see the short VBS documentary.

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THEATRE OF WAR

Theatre of War, by Irish photographer Richard Mosse.

Says Lens Culture:

Set against the spectacular backdrop of the Tigris river in the background, a group of heavily armed and armored soldiers lounge around an empty swimming pool filled with rubble at one of Saddam Hussein’s formerly luxurious hilltop palaces. They could be extras on a film set waiting for the action to begin.

As the film’s credits read:

“Theatre of War is a slow, virtually static video piece redolent of classical history painting. Audio was recorded at the official US military hand-over ceremony at the nearby city of Saniya. A mullah’s prayer for unity among Arabs is spoken, after which the pan-Arab national anthem, Mawtini (My Homeland) is played, emphasizing Arab national solidarity and a pan-Arab territory. Made in Iraq in March 2009. Cinematography and Editing by Trevor Tweeten. Digital Color and Post Production by Jerome Thelia.”

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ALBERT MAYSLES, INTERVIEWED BY VBS

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Flying off to Oaxaca today, to work once again in collaboration with the whirlwind globe-trotting people of VBS; this time round, specifically, with Erik Lavoie, one of the original founders. And so while we trek the cobble-stone streets, visit studios, shoot interviews, and, of course, eat mole amarillo at the local market, I leave in my wake a VBS interview with Albert Maysles–one of the great documentary filmmakers of our times– produced and shot by Bernardo Loyola who is, alas, hanging out with our dear Christopher Doyle et al in China and will not accompany us this time round. (Condenado.)

Click image, or click here to see.

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TUNNEL

Screen shot 2009-11-24 at 12.31.48 PM

Tunnel, by Thomas Demand

Says The Exposure Project blog:

Ubuweb recently added a short film by Thomas Demand to their archives. Entitled Tunnel, the film, much like Demand’s photographs, is a meditation on the mass media’s pervasive influence over the viewing public. Ubuweb states:

“The film presumably shows a fast-paced tracking shot through the tunnel in which Lady Diana Spencer, Princess of Wales, died in a car crash. At first the viewer seems to remember seeing these images in the media. But in reality the set is a true to life, cardboard mock-up of architectural details. Under closer inspection, one also realizes that instead of reproducing reality Thomas Demand creates a perfectly-constructed model world. The cleverly-lit cardboard scenery takes up an incident of recent history and, in doing so, mirrors the illusionary features of what appear to be familiar images. The film literally reflects upon the model of our relationship to images from the mass media. In the process, the construction, representation and repetition of reality create a complex weaving of connections. That the accident used as the theme was the result of a hectic, car chase caused by paparazzi lends the work yet another aspect of the reflection of the media.”

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BEHIND THE SEAMS, A BULLETPROOF TAILOR

After posting the new photo series by  Milagros de la Torre, I remembered that our dear Bernardo Loyola (from VBS.tv) had told me, over Spanish tapas in Brooklyn, that VBS had recently interviewed Miguel Caballero, “the Armani of Bulletproof clothing”.

Click play, click click.

And take a look at Milagro’s work (a few posts below) if you have not seen it yet.

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ARCHIVE WORKS. CEMENTARY SERIES

New work by  Carlos Casas. Visual Artist. Sound Artist. Filmmaker. Toxico-padrino extraordinaire.

(This is both art installation material and also visual and audio research for one of his films in progress.)


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LIGHTNESS OF BEING: A REALM DEVOID OF AIR AND NO LINEAR DIRECTION OR GRAVITY, FLOATING IN POETIC MEMORY

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Images by Alinka Echeverría, Mexican artist. From the series Lightness of Being.

And take a look at her mesmerizing video on the same subjet right here.

(The music of the video is by the fantastic Ariel Guzik, with whom we worked on a project while I was still with Laboratorio 060)

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(“The brain appears to possess a special area which we might call poetic memory and which records everything that charms or touches us, that makes our lives beautiful… I have said before that metaphors are dangerous. Love begins with a metaphor. Which is to say, love begins at the point when a someone enters their first word into our poetic memory.”

-Milan Kundera, The Unbearable Lightness of Being-)

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TÓXICO PROJECT RESEARCH No. 007

[youtube]http://www.youtube.com/watch?v=vzPEQF4Ys28[/youtube]

“This is Arthur Lippsett‘s bleak avant garde masterpiece that is well known for being a primary inspiration on George Lucas’ THX 1138. But of course, 21-87 is an epic experimental film on it’s own accord.”

(Via Carlos Casas.)

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DEVELOPING A SIXTH SENSE

Pattie Maes– head of  MIT Media Lab’s new Fluid Interfaces, a group that researches the tools people use to work with information and connect with one another–presents a new device that blows the mind and completely changes the way we can relate to the world.

(Dear Señor Blackaller from the MIT Media Lab, if you are reading this, can you tell us if it is as amazing as it sounds?)

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THE PIGEON PROJECT

El proyecto de Benjami Aranda y Chris Lasch plantea el desarrollo de un sistema que permite registrar la ciudad tal y como la percibe una bandada de pájaros, en contraste con la representación convencional de la misma -basada en un sistema de mallas uniformes-  que nos ofrecen las tecnologías de información geográfica.

La bandada se mueve de forma compleja pero organizada, en base a múltiples decisiones locales de interacción entre sus componentes. El conjunto se convierte en un sistema fluido, de límites variables, pero que obedece a un claro sistema de organización interna.

Así, un vuelo corto ofrece una representación no cartesiana del entorno, afectada por aspectos ambientales (temperatura, dirección del viento, frecuencias ambientales, etc…) antes que puramente geométricos.

(Via Inútil e Inestable blog.)

(Y un video sobre el Pigeon Project aquí.)

(Y otra paloma, de otros tiempos.)

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PAISAJE (REDEFINIDO)

Passingby.net es un sitio para hipnotizarse viendo paisajes en movimiento de todo el mundo. De izquierda a derecha, de derecha a izquierda. También puedes mandar tus propios videos

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(IF ONLY WE COULD CONTEMPLATE THE FACE OF A RED ANT AS IT RUNS THROUGH THE GRASS ON A SATURDAY MORNING)

(and in general have tiny eyes on our fingers to reach deeper down into the shape and substance of small things.)

One. Fluxus Video by Yoko Ono (1966)

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“Starting in the early sixties, Fluxus followed in the footsteps of the Futurist and Dada avant-gardes, going against the established grain of Fine Art and Official Art and promoting imposture as an aesthetic dimension.
Fluxus interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life. Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), this video is part of a project consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. They celebrate ephemeral humor.” (UBU Web)

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