Colectivo Los Ingrávidos

Thousandsuns
Cinema

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).

ALTARS OF ACTION: FILMS OF COLECTIVO LOS INGRÁVIDOS

SCREENING DATES: December 2 – December 23, 2020

FILMS IN THIS PROGRAM: Alphabet / A, 7.5 min, 2013; Eroded Pyramid, 9 min, 2019; Shrines, 3.5 min, 2019; Have You Seen?, 7 min, 2018; Parallax, 5 min, 2018; Tear Gas, 1.5 min, 2019; Impressions for a Light and Time Machine, 7 min, 2014; The Sun Quartet, Part 1: Sunstone, 8.5 min, 2017; The Sun Quartet, Part 2: San Juan River, 13 min, 2017; Soldadera / Percusión Visual, 5.5 min, 2013

Curated by Oona Mosna


Alphabet / A, 7.5 min, 2013

Eroded Pyramid, 9 min, 2019

Shrines, 3.5 min, 2019

Have You Seen?, 7 min, 2018

Parallax, 5 min, 2018

Tear Gas, 1.5 min, 2019

Impressions for a Light and Time Machine, 7 min, 2014

The Sun Quartet, Part 1: Sunstone, 8.5 min, 2017

The Sun Quartet, Part 2: San Juan River, 2017

Soldadera / Percusión Visual, 5.5 min, 2013

 

 

Against the exaltation of the image over sound, and the gradual isolation of violence, Ingrávidos proposes a relational image with political determination. Images disintegrate, separate from the sound, multiply, and stutter, connecting with each other and cracking up visual grammar like an egg. The interaction between the images dissociates their communal narrative practices, opening up the possibility of new critical approaches. Following Harun Farocki’s dialectical analysis of form and content, Ingrávidos subverts the hierarchical relationship between the visual form and the auditory, reclaiming the autonomy between them. The sound becomes the center of the attention, political discourses, machine guns, bubbling acid that dissolves bodies, and the audio recordings of police prosecutions create an overwhelming sound landscape that speaks directly to the political situation in Mexico, generating a complex and paradoxical relationship that disrupts the sense of discourse, and stimulates the perceptive domain of the viewer. – Almudena Escobar Lopez 

Curated by Oona Mosna