Felipe Esparza Pérez
Birth : 1985-07-11, Piura, Perú
History
Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture.
His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others.
Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.
Editor
A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?
Producer
A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?
Screenplay
A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?
Director
A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?
Director
Philosopher Zhuang Zi once dreamt he was a butterfly. This pleasant daydream tells this old story from a new perspective. Modern butterflies apparently dream in VR. Nature, technology and spirituality seamlessly meld when a monk and a child both embrace modern technology their own way.
Director
Video essay | HD | Color | 06:02 | Peru | 2021 A little girl is frightened when she sees workers leaving a factory in a movie theater. Later, perhaps to scare more children, she increases the production of optics for video. Do we win or lose with repetition? Perhaps it is too late to become unaccustomed to control. PROJECT REALIZED FOR MUTA - Festival of Audiovisual Appropriation
Sound artist: MICHAEL MAGÁN
Director
Documental experimental | 2k | Blanco y negro | 15:41| Internet | 2021
An elephant sways while Christ sleeps, at the same time, the sea of vigilance rests on algorithms that can see themselves, and, at the same time, the cinema can see without being seen. A short film made with life streaming images from security cameras open around the world.
Director
From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green. Returning to that well-remembered phrase, perhaps it could be thought that what cannot be talked about is not only the warning of a perceived border of the verbalizable, but also the disquieting disfigurement of certain limits that occur behind it. Or several. Perhaps all of them.
Sound
The inspection of an everyday landscape through a window that faces the street and a wall that moves.
Director
An exercise about long distance relations.
Editor
To their faithful inhabitants, Peru's mountains are a sacred space full of mystery. Nature is the focus, from juicy greenery to shiny mud, from biting winds to silent mist. In their midst, a healer who recommends not letting unimportant, worthless things distract you.
Director
To their faithful inhabitants, Peru's mountains are a sacred space full of mystery. Nature is the focus, from juicy greenery to shiny mud, from biting winds to silent mist. In their midst, a healer who recommends not letting unimportant, worthless things distract you.
Director
The disappearance of his wife isolated him in his memory. Between his beliefs and mechanisms not to forget her, he begins to accept the slow transformation of his landscape.
Director
This group of films is brought together by their intention to imagine that which is "outside". Something extra cinematographic, extra artistic, extra linguistic. In these "outside" the question of immanence arises, endowing the film with a quality to become a sort of cave instrument. The mountains, the plants, the clouds. The beams of light on the ground, the murmur of the river. The scratches, the mystery of the underexposed, the stalking of silence. This game of the pre-human from the human, or the pre-cinematic from the cinematographic, seems here to be constituted from a ritual of intuition, observation and/or luck. Possible, but incomplete. The sharpness of these stagings perhaps lies in their questions about the most appropriate material for their plastic art: the effect of time on man. - Carlos Renteria
Director
The video explores and connects elements of the Cult of the Virgin of Carmel, the main celebration of Paucartambo, in Peru. Plants, domestic animals, colonial houses, and ritual masks recreate the multiple environments in which this sacred experience takes place, during which human song is joined to birdsong.
Director
This film is a sort of ritual in itself, a place of passage, where the presence of the human being emerges festive, longing, torn and suffering. The sacred is shown as polyform and ubiquitous; through out-of-phase sound, rarefied time and the transfiguration of forms.
