Los Ingrávidos
약력
Colectivo Los Ingrávidos (Mexico) was formed in order to provide a radical, avant-garde alternative to the commercial and corporate mode of filmmaking in Mexico and internationally. They have created 300+ films since 2012. Their film and digital artworks have been exhibited at Arnolfini Gallery, International Film Festival Oberhausen, Flaherty Film Seminar, VDrome, Crossroads, Filmadrid, Ambulante Cine Documental (Mexico City), Media City Film Festival and the 2019 Whitney Biennial. They were awarded the Images Festival’s Marian McMahon Award and Third Prize at MCFF (2018). Their recent collection of poetry SOLARIS was published by Evidence at the Centre for Expanded Poetics (Montréal).
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In the stark black-and-white images and clamour of the bells, an ecstatic reverie emerges. The simplicity of the premise is deceptive – fanged teeth, in stark and reversed composition – it's in the rhythm of the edit that a new language pulsates. The spirits of these beasts live through their enduring dentata, here resurrected.
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Polished obsidian mirrors, tezcatl, were once used in ancient Mexico for divination, to traverse into the worlds of the gods and ancestors. Through the obsidian mirror, the solar and lunar ritual used to be a celestial dance. In Ritual, suns and moons whirl around, glowing brighter as their paths cross.
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Part of paraconsistent sequence series. “A paraconsistent logic allows inconsistency without absurdity.” The works in this subcollection contain contradictions of time and place, reorganizations of past, present and future.
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A short glitch video.
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Shot with 16mm Bolex cameras, our Teponaztli implies a moving anarchy, crowned anarchy of color, light, forms, rhythms, cadences, chains, superimpositions: silhouettes, contours, textures, intermittences, flashes, sparkles, opacities, darkness, dances, volumes, entrails, pulps, fluids, surfaces, faces and syncope, all of it to dizzying velocities. Here multiple entities, objects, pulses, forms, colors and figures all co-habit and co-exist according to an altered rhythm and order, the percussive rhythm of an audiovisual and cinetic teponaztli. Our Teponaztli implies a singular perceptive transformation.
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The replication of the proven techniques of the film avant-garde fills the image with natural lyricism; with the traditional multiple-exposure method of structural films, fragments of various flora are illuminated and hidden again by being submerged into the stock.
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Tonalli is an abstract shamanic composition in three parts. The opening one, dealing with the preparation for a Flower war (Xochiyáoyotl), is followed by images of a ceremonial brazier (Tlecaxitl), where Xolotl, the god of heavenly fire and protector of the sun, emerges in his turbulent opacity. Finally, Tonalli itself opens up to the eye—a solar irradiation that manifests in the world as the flowing cosmic blood in which all beings are immersed. A Mesoamerican spell in action.
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Experimental short of shifting, overlapping and amalgamated circumferences of the moon, on the tune of Julia Holter's "Goddess Eyes"
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These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. Our communal Selfie. So is the rest of the Capitalocene civilization.
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This is the clinamen of our times, sparkling bodies into the spiral vortex as well as its chaotic spatial present. Part of the Scattered Geology Audiovisual series.
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A hyperkinetic and shamanic tribute to "the king of Mambo" Dámaso Pérez Prado in times of pandemic vortex. This is a hauntological tribute under the spell of sinister cinematographic figures. Part of the Hyperkinetic and Hauntology series.
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Experimental short, coding and various televisual artifacts as a metaphor for colonial relations
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This is a fragment of the sacred lizard in desecrated times, an intermittent tour of the flashing body of the Cipactli lizard. Part of the Cipactli series.
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In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colorful heat stirs the new fire of their cosmic dance. Part of the Film Tonalli.
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Here a double morphology of conversion forces us to think about the trance of non-reconciliation, outburst and trance that go through the centuries of colonial violence until reaching us in the tension of an audiovisual disjunction: visible morphology and enunciable morphology. On the one hand the museum, habitat of barbarism, on the other hand the voice, place and body of the furious testimonial. Religious conversion that conveys communal violence. Archaeological conversion that imposes object immobility, and in the middle an impossible community, the one that remains of the colonial-national centuries.
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These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. So is the rest of the Capitalocene civilization.
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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.
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The post-Platonic cave in whose interior the nuclear catastrophe to come is disseminated.
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This is the nest image, the camouflage image, the vortex image, the haunt image, the net image, the drill image, the wire image, the cocoon image, the haunted image, the interconnected image, the pandemic image. The haunted space of the image. Part of the Hauntology nests.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short video from Los ingrávidos.
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Short video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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A pre-hispanic book that was kidnapped and rediscovered in the city of Dresden, Germany. It contains a presage of a destruction to come.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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A brief glimpse of the cycles of Coyolxauhqui, the moon goddess. Her cycles used to be a dance.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Short glitch video from Los ingrávidos.
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Inherent drone
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The politics of breathing.
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Using performative movements, the camera celebrates small shrines and affirms traditions of ritual and dance.
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On October 2, 1968, the people of Mexico staged a massive protest against the country’s bid to host the Olympic Games. The Mexican army responded by killing hundreds of students in the streets. Employing disruptive montage, Parallax combines images from this original protest in 1968 and those filmed on the 50th anniversary of the student massacre, held October 2, 2018. The film offers a critique of the cyclical nature of political tyranny, while attempting to develop a new audiovisual language that drifts between the political and the poetic.
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The magic life of the objects reanimate the ancestrality of the aesthetic of dream.
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Vision of Anahúac: Traveler, you have reached the most transparent region of the air.
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A political composition on natural resistance. These images are an expiring breath in danger of extinction. These images become extinguished, consumed: a drop of pure intensity which only appear 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.
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datamoshing
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Destruction of the digital image.
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The pyramid used to be a mountain
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In the river San Juan were found the bone fragments of Alexander Mora Venancio and Jhosivani Guerrero de la Cruz, two of the 43 missing students from Ayotzinapa. The official version said that the river San Juan was the last place where the remains were seeded. This is the experience of a river that carries their names, a river that cries and overflows the streets.
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Experimental short
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The sound of water against agitated electronic visuals.
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A journey to the center of the earth.
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Let us give to the dead, to our young dead, the bread from heaven, the spike of the waters, the splendor of all sadness, the whiteness of our condemnation, the oblivion of the world, and the broken memory, of all the living.
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Piedra de Sol sculpted in celluloid, face of flames, face devoured, adolescent face pursued, ghost years, circular days, that give to the same patio, to the same wall, the moment burns. Only face chiseled in film transparency.
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After the forced disappearance of 43 students from Ayotzinapa, the mexican plains burn in a conflict that shakes the people, affecting celluloid.
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¿Has Visto? shows the Mexican Mothers March that takes place annually on May 10th to protest against the disappearances of civilians.
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Filmed in Kodachrome from 1959 exposed during the Mexican demonstrations organized during the International Women’s Day in March 8th, 2017 in Mexico. Corroded emulsion film, affected by a voice-event that recounts the ominous events that occurred at the beginning of May 2006 in San Salvador Atenco, when the government repression obscured the resistance voices of the people.
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Coyolxauhqui is a searing evocation of femicide in rural Mexico. It recasts the dismemberment of the Aztec moon goddess Coyolxauhqui by her brother Huitzilopochtli, sun, human sacrifice and war god. A visual poem about the cyclical nature of traditional myths and rituals, Coyolxauhqui is part of a trilogy that proposes itself as an act of political resistance, exploring the connection of current Mexican femicides to larger cultural formations.
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Radical in both form and subject, this is a visually striking and impassioned testament to victims of crime and political corruption in contemporary Mexico.
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The capture of El Chapo Guzmán through the Operation Black Swan (Cisne Negro) penetrates in the scorched interior of the Mexican Film Archives that burnt on 1982. Clandestine prisons under the streets of Mexico City, layers of hidden black holes, and opaque histories.
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The scales of the snake refract a trance and invocation. In the epicenter, the pyramids join Izcóatl’s battle, the Obsidian Serpent propagates an exhortation: all the dances against the war.
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During a press conference, Governor Javier Duarte de Ochoa announces an ominous “soliloquy” where he makes a sinister warning to journalists and the media of the State of Veracruz. Using the formal dimension of dubbing, as well as its associative, evocative, resonant and translating possibilities, this work explores through film the words of the ruler, establishing an asynchronous link and a time lag that puts on stage the grotesque expressionism of a governmental discursive delirium.
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A woman raises her voice and gives a painful and endless speech that with time becomes even more overwhelming, because her words are heartbreaking and permanent impressions in the collective memory, stabbing with words an old Mexican film, a celluloid that tears apart until its disappearance.
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During a tour of one of the rooms of the Museo Casa de la Memoria Indómita (Museum of Indomitable Memory), which displays documents, photographs, and objects related to forced disappearances during the dirty war in Mexico, we attend the audiovisual enunciation of a phrase, perhaps diffuse, that becomes less and less circumstantial. The dirty war never ended. Our present is closed, contracted by a plane-sequence in the middle of a Memory that we desire more and more untamed.
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A cinema shot. The relationship that a shoot-out has with the image becomes somewhat different; the celluloid no longer supports, at 24 frames per second, the representation of a shooting, either acted or documented, but the celluloid has now become the direct carrier, the affected, in the shot in each frame.
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Experimental
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The first in the Alphabet series by Colectivo Los Ingrávidos.
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A woman of the Mexican Revolution. An armed militant who puts us in touch with the pulse of the field, a waterfall of colors and gaits, in the footsteps of a woman who vindicates her struggle that never ceases to exist.
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"All I wish is to lie down in the field and look at the sky beyond the grass stalks. And then die...
I had no where to go."
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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.
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Experimental short on Hiroshima.
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Experimental short, soundtrack of someone coughing and grasping for air, manipulated images of lung scans.
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Make the rich pay for COVID-19
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The bread basket is made of wicker.
