We Want to Die

Canvas becomes a dynamic actor over the course of a 50 minute journey. The paths, far from being a simple cycling route, become brushes that paint the canvas against the terrain, carried along by stone, dirt, and mud paths or bathed in sunlight and rain.

Letícia Parente was a pioneer of video in Brazil, and In is one of her earliest video works. It depicts the artist entering a closet, suspending herself from a hanger, and closing the door. Parente used video as a political tool to protest the military dictatorship in Brazil, and to comment on the mass torture committed by the government. Much of her work concerned domestic space and its association with conventional roles to which women were expected to conform. Several videos by Parente transform daily household tasks into forms of resistance.

Collective video and performance work based on the book by John Berger and John Christie, I Send You This Cadmium Red. The video creation was made following a series of instructions generated by the group: each member of the Neofòbia collective made 45-second vertical films about previously agreed colours and sent them every 15 days at a specific time. It was not edited except to group the successive submissions into a triptych and play with random placement. No hierarchy is established and there are no individual authorships, only those of the collective. All decisions are made horizontally.

An obsessive exploration of the three geometric dimensions in hopes of reaching a fourth.

Collective and performative video work, interfering in three spaces. All actions are a series of interferences with the medium of each of the members of Neofòbia without interaction between them. It is divided into three steps.

Partly a parody, partly a mockumentary, partly an essay film - and also an actual behind the scenes documentary of two short films.

Hugo and Lucas working on how to show symbols for future projects.

The amplitude of time recollected. A hasty communion with rapidly desiccating memory, a blend of film and digitalia in which the shapes of living things are made to resemble mere scratches and scrawlings on the face of the void.

Impressions of a turbulent period in youth.

A moody combination of edited images from various news sources, essays, lectures, pop culture artifacts, and especially the film Koyaanisqatsi (1983), set against selected songs from Nine Inch Nails' 2013 record Hesitation Marks. Designed to feel like doomscrolling. Riddled with copyright infringements. Made for class.

Filmed by Jonas Mekas from the 44th floor of the Time-Life Building, “Empire” explores the passage of time without the use of characters or a traditional narrative. The film, that consists of one stationary shot of the Empire State Building, was made from standard 1,200-foot rolls of 16mm film with a more than eight-hour runtime.